First of all, I would like to thank the organisers of this seminar, a subtle handlin and Professor Bandari,
and also for giving me an opportunity to share my research from one going work that I'm doing.
And also listen to this wonderful presentations from yesterday, which are very educated and very insightful.
So I won't. This is a dwil tanks that I want to give the organisers and I would go without.
I think much I do, I would say to go on to my presentation that I'm making.
Yeah.
So what I'm going to talk about today is unlike other presentations that we had during the seminar, which were looking at a specific kind of case,
maybe my presentation is more about a kind of broader arguments that I'm developing as part of the book that I'm working on,
a critical history of Muraki literature. And the book is not a history of Meraki literature.
It is more of a critical examination of existing literary hysteria.
Graphics is in Marathi as well as in English, especially by Salvationist.
And I'm going to I just pull together a lot of references which can be useful as a kind of.
So I aim to make it a kind of portal for further research on the subject.
And I'm also aiming to come up with a kind of reconstruction of a Meraki literary hysteria.
Gruffy and the two glooming ideas that drive my project are actually not very new or novel.
The first idea that I'm. Which is my assumption, is that the object of literary hysteria, Guffey,
is not orthodox texts or even periods or a particular school, but more like a literary policies team.
So for that, I have drawn upon the notion of Bolly system theory, which I would just batuque one very briefly as a part of this presentation.
And second related to this is the idea that no literary policies deem as a complex of cultural system within
which text are produced and consume ever develops in historical isolation from other policy students.
And hence, there is a kind of dialogic relationship with Transcultural Brandts.
Regional spaces of various kinds as well as there are multilingual.
It is within something that I can really talk about. And this dialogic relationship has a kind of regional coordinate.
And that reminded me of the presentation we had yesterday on John Beebee.
We had we are looking at groups of gender royalism in there, which has a kind of dicken coordinate it.
So there is a kind of dialogic relationship with transregional cultural spaces of all kinds.
Is that the spaces maybe that the sense, the cost of policies famously theorised by Sheldon Panopto,
the Bushkin cost of this, as Richard eatin' calls it,
you may use the term the Hindustani gospel is, for lack of a better word, for kind of phenomena that Angelie has just mentioned.
And in my book, I also touched up on the Bangalore Cosmopolitan idea and these all transregional cities with which the
regional interact is that critical to understanding of historical development of Meraki literary policies.
And as we can see that we are going beyond the conventional EastWest kind of banquet.
Tell me that that is very often found in formulations, all Meraki literary history.
And for that, I have brought up on certain models of world literature and I stuff.
Talk about that. Sabeg before that. Coming up on the idea of war literature, I would just touch-up one.
What I mean by literary policies, deal and Dumar,
even Zohar provides a bit of model of literary system by borrowing Roman Yakoub since very famous schema of communication.
And this is the kind of schematic that he gives you as any interaction between the writer
and the reader or the composer and audience has these various complex dimensions to it.
But institutional is contextual. Did I mention that the Bath Water Board, but more specifically, we can say that he's talking about what is pointings.
Then there are aspects of market and media which are related to contact and gender, as Jakobsen is saying.
And the product, of course, the text.
What I have done that I have tried to argue that some of the primary institutional contexts of Meraki literary policies,
DEBE in precolonial period are essentially some of dayas Bunte and then ideologies of various kinds.
And the whole question of indirect patronage are differentiated patronage, a tome that is used Bandel a favourite.
It is a discussion of. Translation as refraction, something which I rely upon extensively.
An idea which is not explored fully by Sheldon Pollack because I think the whole question
of patronage in Locke or others seems to be a kind of relation between the king,
who gives money to the, ah, some financial support to the board.
That kind of of model of patronage is something that seems to be a kind of assumptions that underlie these kind of histories.
I have argued that there can be multiple kinds of patronage,
which I'm not directly what a working but more indirect kind of patronage and left fibula has,
of course, talk about things like status and commercial aspects and and reputation and ideology of the patronage.
The other aspect of Folley system is point X, where I look at various hundreds like a Pungo all be cut or wide eyed loughney and so on and so forth.
Bekoff, one example or the retelling of the epics in Meraki, for example, the.
Then languages and the processes of hybridisation that ADIC work, which is an important context of any literary policies.
And in. And I have also tried to focus upon the question of media.
And I have used the idea of media ecology instead of media,
which emphasises that no medium exists in isolation, but always in relation to other media.
So the precolonial Marathi literary policies team can be termed as orderly or
performative as some scholars have pointed out RECHTIN and manuscript traditions.
And the questions are public that publics that no watsky has also are discussed at length.
So that's about policy esteem. Then I come to the idea of world literature, and that is a kind of Parmly issue.
As my experience was in many of the seminars that I have attended,
that there is a tendency to look at world literature as a kind of a by-product of capitalism
or your European word system theory as Frank Commodity and many others have talked about.
And there are other formulations of world literature as well,
which I found quite useful for my one purpose and goal many contemporary formulations of war literature like the one by famously by Basco Casano,
or might be your Dambrot shot critique for the implication of the notion that the capitalist neo liberal Euroscepticism.
I have argued that these the notion of war literature itself is not singular and there
are certain formulations and models of world literature like the ones by boundaries.
Duties in a famous Czech scholar and David Damrosch can be fruitfully used in literary and cultural hysteria,
gruffy in South Asia as they can provide a model for underscoring most people's dialogic processes and textual circulations in white,
multilingual and diverse cultural contexts.
They can also help us to move beyond the post-colonial maximalist nativist approaches that you very often find in Baraki Literary Europe.
On the one hand, as well as more sense kid centric approaches to the question which are very often based on the idea of secularisation,
as famously proposed by Sheldon Pollack.
I'm not going to read this. I'm just going to talk about it very quickly. Damrosch idea of war literature is extremely broad.
It's talk about those literary works as well as the boards of reading those works which circulate beyond our culture of origin.
I bring translation on in Oriental languages, and instead of looking at war literature as a kind of canyon of words,
he's focussing on modes of circulation, which he called, says, world literature.
So it seems that his emphasis seems to move away from war as a product to more like war literature as a process.
That's what my understanding is.
And recently, he has also emphasised that war literature is almost always experienced by leaders within the national context in which they live.
So and he goes on to propose a kind of reversal of figure ground that it's the nation that frames most of the experiences of world,
at least as much as it's what literature that frames national canon.
This kind of formulation allows us to see Dick's leg. But what it does that affects the people, it's like be your war or genres like Gazelle or no.
This is what literature, but also allows us to understand the Sondra's of reading like literary criticism and literary history,
as well as a form of literature, because literary history, after all, is a mode of reading literature.
So how does these two ideas of war literature and Follett's esteem connect to the question of war,
Nicholas ization and the notion of war literature and the notion of war,
nuclearisation and aberrated by Sheldon Paula as models of how transregional spaces the world or model your cosmopolitan engages with the local DC
regional or the national scene to continue within the problematic top down framework of Sanscrit centric or your Eurocentric influence studies.
And Orlock has used the terms like where nuclearisation implies a kind of how sense could models become deterministic.
They determine and they are superimposed on the word role models.
And in my book, I have shown that how the tradition of Pickar, especially the kind of refined in Maracay and Dennis Shuri,
he's not the kind of replication of Sanskrit decock tradition,
but it's a performative genre, almost a theatre which relies extensively upon the fuq or into inverted commas that is fall into inverted commas as.
And it has a kind of inter literary. John wrote that a new model, new model of textual model is generated by our nation were in 13th century.
So my argument is that instead of looking at the relation between Transregional Head, you monic if you want to use that dub spaces with the regional.
We have to go beyond this Top-Down model and the emphasis should be on dialogue jism between the regional and the transregional one.
So we can understand insects. Such a situation. How individual salvacion vernacular, literary history,
culture and cultures like Meraki interacted dialogical not only with larger trans regional cultural spaces like Sanskrit Cosmopolis,
but also the clergy. And Costabile is something that I will just touch upon.
Given the kind of time that we have on hand.
Downsized duties and is one of the under red and probably marginalised figure in conception of world literature today.
And it has something to do with his location in what is called Eastern Europe on the margins of Europe.
But the space that he inhabits them are dealing realities of those spaces has enabled him to come
up with very insightful and useful tool to approach this questions that we are dealing with,
especially when we are looking at this whole top down model,
which he calls the vulgarisation and One-sidedness implicit in the idea of influence of causality,
as in the approaches such as Sheldon Pollux or White Cohan's history of European literature.
They do not take into account or they neglect what duties in terms as the factors of autonomous individuality
of those literary cultures or the principle of selectivity and agency active in the recipient culture.
So do this in Smardon Love. What literature is a dynamic and evolving construct rather than a static, canonical one,
which is a historical kind of construct which is ever changing with history?
Do do doesn't belong to the period of the Soviet Union where kind of in order to probably oficial Marxist line,
you rely upon certain Hegel organism of teleology, which he seems to be following.
But I have been I'm not as selectively used duties in critically it and not schematically, but more as juristic.
So that's my argument,
that it's more constructive framework as compared to Eurocentric models like Moriarty's or Sanskrit centric New Orientalists approaches suggest Bloks.
So apart from this, very useful.
Opening up of the question of agency of the receiving cultures and fill out a principle of selectivity to use this term,
it is also useful because it does away with the customary excellently nativist and nationalist accusations
of very rare readiness against the presence of the rule of foreign non-native elements and tradition.
So he uses the term entirely already.
And his emphasis on the process in the literary process, which makes his framework extremely useful for literary historiography,
the kind of hysteria Goffredo am trying to propose in my work.
So it overcomes the typical post-colonial binary stick paradigm of literary studies, where one is struck either with cosmopolitan,
Eurocentric or Sanskrit centric approach or with a reactionary, nativist, nationalist approach.
And how that nativist nationalist bias is seen in literary historiography is one of the important analysis that I'm doing throughout my work.
So the history of Moroccan literature does not remain merely a variety of national or subnational
Nattu where it emerges as a figger against the background of larger world literary processes.
And at the same time, it enables us to see the world in a grain of sand, as Dan Brosh sees, alluding to bleak.
So this is by model of Moroccan literary history. So avoid literature in this.
Do Indian sense can be understood as a historically unfolding in the literary process,
as we have since cooked up a branch of provides us in printing 13th century?
You can be seen as the earliest phase, followed by the Persian, Arabic,
Hindustani and also Portuguese, something that has remained marginal to Morocco literary history.
But at the same time, a very important one. And the media was obviously or literate culture that Christian Norske has so insightfully described.
Then when we come to the 19th century, the English Muraki, leading to literary processes, become a new phase of world literature in Meraki.
And the chief media at this stage was print technology. And when we come to the post 90s period.
But the emergence of Internet as a global tool of immense power.
We believe that we are in the beginning of the next stage.
The post print phase up world literature and conceptualising world literature and its relation to individual policies.
Steam as a historical process that precedes and exceeds the print centric Eurocentric,
conceptual or conceptual off world literature will help us to complicate the idea of world literature itself.
So I'm trying to appropriate and recast for my own purposes.
Bagdadi of world literature. Your. So when it come to the 14th and 17th century, what have nationalist and nativist literary critics or historians?
How have they seen this period and this phase from 14th century,
century to early 17th century from probables date of naoum there in the 13th 50s to the emergence of Tukaram in 17th century end British.
You are Jean 17th century. This phase is described as a smartie Sultani period.
And Tiku is this phase is given to is the title of the poem attributed to someone from the US who describes the invasion by the Muslims
as catastrophe's from the skies and natural disasters like famine that accompany probably the phase of colour that he is describing.
Such factors indicate the influence of Bramnick does see some die on later historical reading of this period.
So according to many leading historians like to believe this period of two centuries is the more you go the age of darkness,
a dark night that would go on for too long.
Not because of Meraki invasion, that's what he says, but because of cultural decadence in which Muraki lost its authentic character.
And the same narrative is continued by Baran's Bayern Me.
This because Meraki literally an outline and even nativist critics like by the end of their Mardie,
I would say in his book on Tukaram that this was but this was a part of moral Maharashtrian assertion of independence against Muslim invaders,
a part of Indian Refah mission which began with the loss of political freedom.
And you would go on to say that the fanatical Muslim powers had reduced the Hindu population to social importance.
And he called sick Badin period, excepting one major point, if not so the problem in Morocco, literary hysteria.
Graffy is connected to the larger historiographical problem that a protester
jacked up by has talked about the typical schematic division of three British
Indian history into Hindu and Muslim periods where both the Hindu versus Muslim binary and they are seen as a kind of homogeneous kind of constructs,
a historical construct. Some I am. I have tried to complicate this narrative, focussing on the police's theme of Marathi,
a literary history, and in my own project, instead of slugging them all,
all the people in that period as Islamic period,
I tried to show the dynamic nature and differential nature of various kinds of regime, for lack of a better word, one of them Islamic.
They are not very happy with the film Islamic being attributed to such regimes in first place.
And there even we have formulations by Robert Wald, who has argued that Islamic world can be considered as a special premodern world system,
which is a and if you consider Islamic world as a premodern world system,
then you are complicating the Eurocentric notion of world system on which the idea of world literature as formulated by be,
and I guess no one seems to be based upon. So I'm just skipping many things.
So this period, in my analysis, is not blank or dog meat.
We see an emergence of new some paradigms, like the thought that there's some of that and in some of that, and I guess and that literature,
as well as emergence of Jennine Muslim Marathi, Centas, which is very important, as well as the Kunie Literatures by the Sufis.
I think Angelie mentioned look, Bushcare Sonis writing on the topic.
So how does this framework help us to look at some of the important text of this beauty and
some of the important writers of this so-called blank period or a period of decadence?
He's obviously the book Shaman 2G Bhaji Bahaman.
You are McKune J. And I have relied largely upon writings of Rocky degree,
and I have taken dairy's writings at face value because I'm not actually trying to examine historicity of the documents or text that he talks about.
But some of the books are extremely fascinating, the outcomes.
It doesn't get Bunda, which is a form of a new order.
But what Ron and his books are, Dwight, Prakash and Prakash, the sort of somewhat down on the bone.
And a more interestingly, is the book called Upon Chicot or Not, which obviously talks about the way the notion of five elements being produced.
He he is a kind of glossary of Muraki and Sanskrit spiritual terms translated into what he calls us of India or Muslim language for.
So there are terms like and he's kind of creating a glossary where on one side you have Sanskrit domes, probably for the technical terms from Nargiz.
Some guy out there and he's probably this book is written in response to a nuance
and the founder and the text says that all Merimee is equivalent to Bismillah Poola.
There is Gloucester's. What's Bulwer jewelled are lingered.
There is translated as a moment to look at you then so on and so forth, and a end up on Chicanas, says Shaam with Jibran money.
Many, many men money. Bunchy Karana Cockroach, a Hindu Muslim on it.
Obviously the historic city of the sticks is very clear. But if we assume that these texts are from the BBA, that is being discussed.
And this is an open question.
It tells us something about the period which is very often seen by nationalist historians in Hindu assist Muslim tombs, which is extremely reductive.
And we have some more examples like cheque moments, YORGA, some drum and very interesting text,
similar to punch occurences, digest ma or Pair of Eyes by Sheikh Muhammad.
And it means pair of eyes and two eyes are two probably to some provisor, probably the Muslim sort of seen as a some of die, but that's more likely.
That's an assumption that I'm making and I'm not really sure rather than as a kind of a political identity and construct that is largely 19th century.
It seems to consolidate in 19th century. So these kind of encounters between.
Meraki and Muraki the traditions and chic moments, but deep traditions and Muslim and Sufis and know why AM uses the term Morar Mussulman Sufi.
But again, as I think it is, Bouchon who has pointed out how the film Sufi's problematic.
It's not very clear, but that terminology often she can't.
Her and Josimar is definitely underscored by sectarian, not in the Christian sense of the word sectarian.
But some provi are fun to kind of low on dicks because it's done this improv that it has
got its own metaphysical outgroup for which or equivalences being given by the translator,
if you want to use that. Then there's obviously very famous example of Hindu somewhat.
And I'm not going to be deal for this, but it it's attributed to a nut and it's a kind of dialogic compositions where, I mean, pretty standard.
Well, you men begin by flinging all sorts of charges against each other.
And by the end of the whole composition, they reach a conclusion that Rudolfo Jackson, that he God has no cost.
And which suggests a kind of shared groans of dialogue which were available.
And each maybe sect or some of that maybe had a space where there was a kind of
encounter and a dialogue rather than simple conflict between Hindus and Muslims,
as was proposed by nationalist historians of Marathi literature, such as the last one or two minutes.
And at the end of it. This is the last point. And these translational encounter,
these dialogic encounters that I referred to an essay by Tony Stewart in his where he talks about how the
Thompson criticism is not a very useful tome because of some certain assumptions that are existing in the tome,
as if there are two finished religious systems, historically static, out of which a third product is made by distortion.
So instead of that, he proposes that such kind of encounter should be seen as dialogues system.
Translational models are refraction again using Lefebvre as work or dynamic equivalence.
So these are the tomes that he has suggested.
So these are the pre colonial models of translation which need to be explored in that historical context, too.
And what we can see that it's not a simple kind of adoption of any transregional model,
simple duration from those models, whether they're Sanskrit or whether they are Percy.
And the kind of inventions of a new word, John Rosenberg Mackler, which are interlibrary and very often in a very different context.
And this process is largely in the context of some paradigms and one that we shouldn't be approaching it.
So that's Sabeg conceptualising these histories of cross language, cross regional cross religious dialogic interactions.
We can come up with Borst, nationalist, Borst, nativist, non Eurocentric,
non essentialist model of literary and cultural disputed grupp is of South Asia.
Yes, what I'm attempting to work out and what I'm suggesting here.
So with this, I want to end my presentation and I want to thank once again the organisers.
And I would be really happy to have your input so that I can maybe we can work and modify some of the work that I'm doing in the ongoing project.
So thank you. Thanks very much indeed. Suchin, that's a really challenging, wide ranging set of questions for us and proposals.
So let me try to open right to to our audiences to put in their questions through Q&A.
If you would so. Well, Stewart will give us a shot.
It's such an amazing tool to gather his breath. Still sending in your questions.
Yeah, we got a couple of questions already in the Q&A. See, I.
I find it very hard to see where these questions are.
They want me to read them. So I see.
Yes. Sorry. I see. So here we are.
Very good question. From Elmau Conca. When can one place Panopto literature in your model.
Yeah. Yeah. Actually Montebourg is a very important some day and in some way it's a very interesting contrast to the what charism per day.
And I have relied upon the examination which sees makes a distinction between closed
some paradigms very they're like them honeyball eyes and more open some guys.
And this classification is done by. Jessica.
And he has examined how literary works of these poems, these sectarian spaces are shaped by the ideologies.
For example, mineable would be largely white like these.
So their treatment of Rukmani somewhere, it would be very different from the last three treatment of the same topic, which is based.
Which uses the group for the way to, for instance. Just so it fits in to the frame of Polish system.
Given that institutional contexts are largely some paradigms and puns and we need to have a
better conceptualisation of these somebodies rather than just merely calling them sects.
Because so and in my project, I've examined how the dynamics of these somebodies change,
how much Honeyball as they undergo as the kind of fragmentation after 14th century on, in their eyes, the invention of new scripts.
So I have examined that in my work. It's been.
So. Thanks. Such an odd question here from Christian.
Thank you for this wonderful and provocative paper.
Suchin, I'm interested to hear you say more about your project in relation to the construction of a Marathi Cosmopolis.
If it Cosmopolis is the product of discussion about its own nature and scope, as in the Sanskrit Cosmopolis.
How do you think of the role of your project in actually producing a Marathi Cosmopolis?
I have met a very interesting question because most of my project has focussed upon Marathi as in relation to other kinds of costs and policy.
But now when you ask about it, I have matched up on the multi centrality of Marathi cultural space.
For example, I looked at the door as a space which produced important theatre, and I also looked at Borodai,
which is a very important site outside what is understood as a more modern monastery.
So there were spaces. There are spaces like indoor or Tanjore water or a broader reach out outside the maudlin map of Monastir,
which can be considered as Meraki cosmopolitan. But I haven't used that.
But I want to thank you for that very useful way of conceptualising this Vollertsen polycentric space of Marathi literature.
So I will use that. So thanks, Christian, for, again, providing a very useful insight to us as you know what is done in your books.
I don't know if I have been able to. Other questions now.
Yeah, it's funny that on a couple of questions from and follows that there is one my daughter.
Yes. Can you read them, please?
Yes. He says that. Thank you for your paper.
Have you considered the kind of models that someone like Alexander Beecroft uses for what you're calling for?
Ecology's rather than economies? You know, a critique of AMBRISH gets in the way that there's order, for example.
Michael Elden's work on Egypt. Well, it's not I haven't seen that quite definite.
Thanks for that. Useful suggestions. I will definitely look up these ideas, but I have looked at some something called ecology of some paradise.
So various funds have a kind of ecology's which are shipping and dynamic read without which you can and cannot understand
the history of Marathi literature and very often am left asking a question with such kind of some paradigms exist today.
For example, Merdeka.
Some of that, in fact, the modern use of the word some day alludes to Merdeka or some birthday, and we get on Monday as some Friday.
These more doing the recasting of that. So here's a question that I'm asking.
But I would look up Beecroft work.
Thanks. Thanks for association. And then there's a couple more.
Can you see them from Maturi? Yes.
There there's one by World Bank tradition. In fact, househusbands. Yeah.
I didn't see that one. If you can see such a.
Could you. Yeah. I have to respond to a fair louses question and question.
And I think it's being repeated in a middle banker's question. And Muhanna both because mountable is a very.
And what are called Bunder. Some today against what to he as a class.
That is a is the idea that I have followed and how it has changed.
OK. That is my buddy. It was asking, can you elaborate on your characterisation of Porlock as new Orientalist,
Sanscrit centric view of maybe literary cultures on the subcontinent can be considered as new Orientalists for lack of a better word?
Again, I think the problem with Pelops, some model is excessive reliance on Canada.
And I find that even Meraki and goods that would be sort differing the way trans regionality is that negotiated with regional,
is it, Jane, just with probably to literary culture.
So to come up with a singular model is a problem, Sanskrit centric, where the day she is seen as a receiving kind of passive receiver of Sanskrit,
which was never, ever the case, for example, mineable proves there is nothing like it in Sanskrit.
How can you consider literature as a Garibay to John Ragdoll?
So it's very sensitive. Same thing to you from.
That's my response to my duty. Then Rachel's Derman says, I was wondering if a spatial model of Woods was integral to the reasons you are describing.
Yes. But at the same time, what needs to be done and I don't think I have space to do it in the current project needs to look at,
oh, the ideal world, for example, in this area. That is the whole notion of what McCain Davian we saw as a very important idea.
Evelyn took that on works. So I think that would be a very interesting way of looking at it.
Again, following Porlock, you can use the Tome's insight out of view of war literature.
If that is possible. But given the constraint of space in my own project, I don't think I would be able to explore that.
But thanks for that suggestion. And then this interesting, interesting questions from Christian Suchin.
If we were in person,
I'd now tend to out us and ask if she'd reflect on how the Miller Territory Register's diverse literary ecology is in relation to some of your ideas.
Of course, most unfortunately, we're not in person.
I don't know if you'd like to send in whether you'd like to confirm that this is something you'd like to reflect on.
Yes, I remember Professor Fellows sending me some lines from earlier, actually, through which he thought was all good.
Ratti because the sweet chocolate that it was from the region now quiet was right.
And whenever the king probably used to come, I think it's not there.
I'm not sure who uses glitterati to hide certain things.
That's what he had to say to me. So it varies a kind of my dealing reality within the so-called Muraki that needs to be.
And I think we can look at it as world literature, where I've looked at Hindustani compositions attributed to Nahm.
There were an all important anthropoids right up to around us and Tukaram.
So that itself is a kind of sign of multilingual.
It is within as well. Angelie was saying so probably.
I don't know how. Yes, he. Yes. That's what Salian they are saying.
So I'm put but I'm publishing some more are coming in such an.
I don't know if you want to comment on these some more.
That's from. Yeah, yeah. Yeah. She's referring to the, the, the bay incident in the lead up to that I just mentioned.
Mm hmm. Mm hmm. No it's from Christian.
Yeah. So you want to have a look at that. All right.
Yes. I think we. I was looking at two please book where he has not paid sufficient emphasis on
multiplicity of registers or even dialects if he can use that term in midair.
In the old English is something that I think we should be looking at in the old Moratti itself.
So any other any other questions? Now we've got time for one more.
And before we come to the end. But perhaps I could ask of a very quick one such and then it's a very naive question.
Which is, you know, I'm sort of thinking like a pragmatic historian.
Your models started out as literary models. Yeah.
Then they became more model models, as it were, of sectarian exchange.
And then they went back to being literary models again.
Now, of course, as we all know, what is literary and what is religious is is an impossible question,
a silly question to ask when literary genres also very often the genres in which religious expression is in which we hear religious expression.
But I wonder as as it were primarily a literary person, how do you think about that?
How do you know that crossover?
Because undoubtedly, although although that interface is very kind of permeable, the religious and the literary, it is also,
it seems to me true that there is a specificity about religious and sectarian practise, just as there is a specificity about about literary practise.
And I wonder if you said that how you think about that interface.
That that's yeah. That's a very interesting question, because even if we look at it as deadly and it was definitely literary,
Kotva was definitely an idea that was being used.
Right. Good to come in school talks about how we look. And you written as a career being Kobie in does as well.
And committer is a very important idea, even if we are looking at sectarian frames.
Besides, the selection of genres are often influenced by sectarian ideologies as well.
Jessica has pointed out, for example, the use of Pru's in my honeyball has something to do with the way the philosophy and the
extensive use of a bomb that will be as a performance has something to do with that.
Wait, wait. Philosophy of a lot of Currys, which emphasise Chavira as a kind of communion Maharastra.
My rest. That's the term and it's what he uses.
So there is a kind of communion model in rockery, which unlike which is not prominent, which is there, but not prominent genre in Mohanna boys.
So sectarian ideologies have a very important impact on on the selection of literary xandra as well.
So in using the word Kelm policies themes, how politics is shaped by the institutional ideologies is something that I have Datchet upon.
And when Gengar very interestingly contrasts Rukmani swimwear in the Muhanna board tradition and in the Vatican
tradition to show how their aesthetics and we tick's default because of their metaphysical ideologies.
So I'm using the term ideology also in a very broad sense as some world view.
Metaphysical world view war. Bottom article or the view of some day.
Okay. Yeah. Thank you very much for my address.
Many questions there. There are others in the list now.
Of course, I'm sure us because we would be happy to hear from members of the audience who who want to see these conversations.
Yeah. Professor Sumit Gwisai pointed out would be so much ideas.
16TH century grammar. Yes, I read that. Thanks a lot.
I will definitely look better. I was not aware of that. Thanks.
Brooke is a great look of this. Okay.
Thank you very much indeed. Thanks a lot. Thanks for having me.
Thanks for doing wonderful questions. So now I'm going to hand over to strata composer who is going to chair the second part of our session here.
Shata, let me hand over to you.