1 00:00:00,690 --> 00:00:07,290 First of all, I would like to thank the organisers of this seminar, a subtle handlin and Professor Bandari, 2 00:00:07,290 --> 00:00:12,710 and also for giving me an opportunity to share my research from one going work that I'm doing. 3 00:00:12,710 --> 00:00:19,530 And also listen to this wonderful presentations from yesterday, which are very educated and very insightful. 4 00:00:19,530 --> 00:00:25,320 So I won't. This is a dwil tanks that I want to give the organisers and I would go without. 5 00:00:25,320 --> 00:00:35,740 I think much I do, I would say to go on to my presentation that I'm making. 6 00:00:35,740 --> 00:00:37,180 Yeah. 7 00:00:37,180 --> 00:00:47,290 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, 8 00:00:47,290 --> 00:00:58,810 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, 9 00:00:58,810 --> 00:01:06,070 a critical history of Muraki literature. And the book is not a history of Meraki literature. 10 00:01:06,070 --> 00:01:11,060 It is more of a critical examination of existing literary hysteria. 11 00:01:11,060 --> 00:01:16,420 Graphics is in Marathi as well as in English, especially by Salvationist. 12 00:01:16,420 --> 00:01:24,910 And I'm going to I just pull together a lot of references which can be useful as a kind of. 13 00:01:24,910 --> 00:01:30,340 So I aim to make it a kind of portal for further research on the subject. 14 00:01:30,340 --> 00:01:36,340 And I'm also aiming to come up with a kind of reconstruction of a Meraki literary hysteria. 15 00:01:36,340 --> 00:01:49,000 Gruffy and the two glooming ideas that drive my project are actually not very new or novel. 16 00:01:49,000 --> 00:01:55,900 The first idea that I'm. Which is my assumption, is that the object of literary hysteria, Guffey, 17 00:01:55,900 --> 00:02:04,840 is not orthodox texts or even periods or a particular school, but more like a literary policies team. 18 00:02:04,840 --> 00:02:14,860 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. 19 00:02:14,860 --> 00:02:23,170 And second related to this is the idea that no literary policies deem as a complex of cultural system within 20 00:02:23,170 --> 00:02:33,250 which text are produced and consume ever develops in historical isolation from other policy students. 21 00:02:33,250 --> 00:02:38,470 And hence, there is a kind of dialogic relationship with Transcultural Brandts. 22 00:02:38,470 --> 00:02:43,210 Regional spaces of various kinds as well as there are multilingual. 23 00:02:43,210 --> 00:02:51,670 It is within something that I can really talk about. And this dialogic relationship has a kind of regional coordinate. 24 00:02:51,670 --> 00:02:56,770 And that reminded me of the presentation we had yesterday on John Beebee. 25 00:02:56,770 --> 00:03:04,660 We had we are looking at groups of gender royalism in there, which has a kind of dicken coordinate it. 26 00:03:04,660 --> 00:03:12,820 So there is a kind of dialogic relationship with transregional cultural spaces of all kinds. 27 00:03:12,820 --> 00:03:20,440 Is that the spaces maybe that the sense, the cost of policies famously theorised by Sheldon Panopto, 28 00:03:20,440 --> 00:03:23,890 the Bushkin cost of this, as Richard eatin' calls it, 29 00:03:23,890 --> 00:03:31,620 you may use the term the Hindustani gospel is, for lack of a better word, for kind of phenomena that Angelie has just mentioned. 30 00:03:31,620 --> 00:03:39,310 And in my book, I also touched up on the Bangalore Cosmopolitan idea and these all transregional cities with which the 31 00:03:39,310 --> 00:03:49,150 regional interact is that critical to understanding of historical development of Meraki literary policies. 32 00:03:49,150 --> 00:03:55,890 And as we can see that we are going beyond the conventional EastWest kind of banquet. 33 00:03:55,890 --> 00:04:03,610 Tell me that that is very often found in formulations, all Meraki literary history. 34 00:04:03,610 --> 00:04:11,690 And for that, I have brought up on certain models of world literature and I stuff. 35 00:04:11,690 --> 00:04:18,220 Talk about that. Sabeg before that. Coming up on the idea of war literature, I would just touch-up one. 36 00:04:18,220 --> 00:04:22,390 What I mean by literary policies, deal and Dumar, 37 00:04:22,390 --> 00:04:30,910 even Zohar provides a bit of model of literary system by borrowing Roman Yakoub since very famous schema of communication. 38 00:04:30,910 --> 00:04:39,040 And this is the kind of schematic that he gives you as any interaction between the writer 39 00:04:39,040 --> 00:04:46,460 and the reader or the composer and audience has these various complex dimensions to it. 40 00:04:46,460 --> 00:04:56,140 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. 41 00:04:56,140 --> 00:05:04,440 Then there are aspects of market and media which are related to contact and gender, as Jakobsen is saying. 42 00:05:04,440 --> 00:05:07,990 And the product, of course, the text. 43 00:05:07,990 --> 00:05:16,260 What I have done that I have tried to argue that some of the primary institutional contexts of Meraki literary policies, 44 00:05:16,260 --> 00:05:24,910 DEBE in precolonial period are essentially some of dayas Bunte and then ideologies of various kinds. 45 00:05:24,910 --> 00:05:32,770 And the whole question of indirect patronage are differentiated patronage, a tome that is used Bandel a favourite. 46 00:05:32,770 --> 00:05:40,140 It is a discussion of. Translation as refraction, something which I rely upon extensively. 47 00:05:40,140 --> 00:05:44,910 An idea which is not explored fully by Sheldon Pollack because I think the whole question 48 00:05:44,910 --> 00:05:51,120 of patronage in Locke or others seems to be a kind of relation between the king, 49 00:05:51,120 --> 00:05:55,410 who gives money to the, ah, some financial support to the board. 50 00:05:55,410 --> 00:06:05,790 That kind of of model of patronage is something that seems to be a kind of assumptions that underlie these kind of histories. 51 00:06:05,790 --> 00:06:09,030 I have argued that there can be multiple kinds of patronage, 52 00:06:09,030 --> 00:06:16,260 which I'm not directly what a working but more indirect kind of patronage and left fibula has, 53 00:06:16,260 --> 00:06:29,160 of course, talk about things like status and commercial aspects and and reputation and ideology of the patronage. 54 00:06:29,160 --> 00:06:39,760 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. 55 00:06:39,760 --> 00:06:48,090 Bekoff, one example or the retelling of the epics in Meraki, for example, the. 56 00:06:48,090 --> 00:06:56,530 Then languages and the processes of hybridisation that ADIC work, which is an important context of any literary policies. 57 00:06:56,530 --> 00:07:01,890 And in. And I have also tried to focus upon the question of media. 58 00:07:01,890 --> 00:07:06,090 And I have used the idea of media ecology instead of media, 59 00:07:06,090 --> 00:07:13,320 which emphasises that no medium exists in isolation, but always in relation to other media. 60 00:07:13,320 --> 00:07:18,900 So the precolonial Marathi literary policies team can be termed as orderly or 61 00:07:18,900 --> 00:07:24,750 performative as some scholars have pointed out RECHTIN and manuscript traditions. 62 00:07:24,750 --> 00:07:31,980 And the questions are public that publics that no watsky has also are discussed at length. 63 00:07:31,980 --> 00:07:42,320 So that's about policy esteem. Then I come to the idea of world literature, and that is a kind of Parmly issue. 64 00:07:42,320 --> 00:07:46,480 As my experience was in many of the seminars that I have attended, 65 00:07:46,480 --> 00:07:53,120 that there is a tendency to look at world literature as a kind of a by-product of capitalism 66 00:07:53,120 --> 00:08:02,420 or your European word system theory as Frank Commodity and many others have talked about. 67 00:08:02,420 --> 00:08:06,290 And there are other formulations of world literature as well, 68 00:08:06,290 --> 00:08:18,340 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, 69 00:08:18,340 --> 00:08:26,750 or might be your Dambrot shot critique for the implication of the notion that the capitalist neo liberal Euroscepticism. 70 00:08:26,750 --> 00:08:32,720 I have argued that these the notion of war literature itself is not singular and there 71 00:08:32,720 --> 00:08:36,820 are certain formulations and models of world literature like the ones by boundaries. 72 00:08:36,820 --> 00:08:45,050 Duties in a famous Czech scholar and David Damrosch can be fruitfully used in literary and cultural hysteria, 73 00:08:45,050 --> 00:08:54,590 gruffy in South Asia as they can provide a model for underscoring most people's dialogic processes and textual circulations in white, 74 00:08:54,590 --> 00:08:58,760 multilingual and diverse cultural contexts. 75 00:08:58,760 --> 00:09:08,960 They can also help us to move beyond the post-colonial maximalist nativist approaches that you very often find in Baraki Literary Europe. 76 00:09:08,960 --> 00:09:18,950 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, 77 00:09:18,950 --> 00:09:25,190 as famously proposed by Sheldon Pollack. 78 00:09:25,190 --> 00:09:33,740 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. 79 00:09:33,740 --> 00:09:43,040 It's talk about those literary works as well as the boards of reading those works which circulate beyond our culture of origin. 80 00:09:43,040 --> 00:09:51,110 I bring translation on in Oriental languages, and instead of looking at war literature as a kind of canyon of words, 81 00:09:51,110 --> 00:09:56,540 he's focussing on modes of circulation, which he called, says, world literature. 82 00:09:56,540 --> 00:10:04,040 So it seems that his emphasis seems to move away from war as a product to more like war literature as a process. 83 00:10:04,040 --> 00:10:06,710 That's what my understanding is. 84 00:10:06,710 --> 00:10:16,940 And recently, he has also emphasised that war literature is almost always experienced by leaders within the national context in which they live. 85 00:10:16,940 --> 00:10:30,110 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, 86 00:10:30,110 --> 00:10:37,510 at least as much as it's what literature that frames national canon. 87 00:10:37,510 --> 00:10:47,800 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. 88 00:10:47,800 --> 00:10:54,280 This is what literature, but also allows us to understand the Sondra's of reading like literary criticism and literary history, 89 00:10:54,280 --> 00:11:02,410 as well as a form of literature, because literary history, after all, is a mode of reading literature. 90 00:11:02,410 --> 00:11:10,600 So how does these two ideas of war literature and Follett's esteem connect to the question of war, 91 00:11:10,600 --> 00:11:16,900 Nicholas ization and the notion of war literature and the notion of war, 92 00:11:16,900 --> 00:11:28,330 nuclearisation and aberrated by Sheldon Paula as models of how transregional spaces the world or model your cosmopolitan engages with the local DC 93 00:11:28,330 --> 00:11:39,370 regional or the national scene to continue within the problematic top down framework of Sanscrit centric or your Eurocentric influence studies. 94 00:11:39,370 --> 00:11:49,190 And Orlock has used the terms like where nuclearisation implies a kind of how sense could models become deterministic. 95 00:11:49,190 --> 00:11:57,880 They determine and they are superimposed on the word role models. 96 00:11:57,880 --> 00:12:07,790 And in my book, I have shown that how the tradition of Pickar, especially the kind of refined in Maracay and Dennis Shuri, 97 00:12:07,790 --> 00:12:11,530 he's not the kind of replication of Sanskrit decock tradition, 98 00:12:11,530 --> 00:12:25,990 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. 99 00:12:25,990 --> 00:12:41,500 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. 100 00:12:41,500 --> 00:12:53,510 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. 101 00:12:53,510 --> 00:13:09,910 We have to go beyond this Top-Down model and the emphasis should be on dialogue jism between the regional and the transregional one. 102 00:13:09,910 --> 00:13:15,190 So we can understand insects. Such a situation. How individual salvacion vernacular, literary history, 103 00:13:15,190 --> 00:13:23,950 culture and cultures like Meraki interacted dialogical not only with larger trans regional cultural spaces like Sanskrit Cosmopolis, 104 00:13:23,950 --> 00:13:28,180 but also the clergy. And Costabile is something that I will just touch upon. 105 00:13:28,180 --> 00:13:34,740 Given the kind of time that we have on hand. 106 00:13:34,740 --> 00:13:43,530 Downsized duties and is one of the under red and probably marginalised figure in conception of world literature today. 107 00:13:43,530 --> 00:13:51,600 And it has something to do with his location in what is called Eastern Europe on the margins of Europe. 108 00:13:51,600 --> 00:13:57,570 But the space that he inhabits them are dealing realities of those spaces has enabled him to come 109 00:13:57,570 --> 00:14:08,790 up with very insightful and useful tool to approach this questions that we are dealing with, 110 00:14:08,790 --> 00:14:12,540 especially when we are looking at this whole top down model, 111 00:14:12,540 --> 00:14:19,350 which he calls the vulgarisation and One-sidedness implicit in the idea of influence of causality, 112 00:14:19,350 --> 00:14:25,770 as in the approaches such as Sheldon Pollux or White Cohan's history of European literature. 113 00:14:25,770 --> 00:14:32,940 They do not take into account or they neglect what duties in terms as the factors of autonomous individuality 114 00:14:32,940 --> 00:14:40,110 of those literary cultures or the principle of selectivity and agency active in the recipient culture. 115 00:14:40,110 --> 00:14:48,180 So do this in Smardon Love. What literature is a dynamic and evolving construct rather than a static, canonical one, 116 00:14:48,180 --> 00:14:55,160 which is a historical kind of construct which is ever changing with history? 117 00:14:55,160 --> 00:15:05,430 Do do doesn't belong to the period of the Soviet Union where kind of in order to probably oficial Marxist line, 118 00:15:05,430 --> 00:15:10,860 you rely upon certain Hegel organism of teleology, which he seems to be following. 119 00:15:10,860 --> 00:15:22,560 But I have been I'm not as selectively used duties in critically it and not schematically, but more as juristic. 120 00:15:22,560 --> 00:15:23,620 So that's my argument, 121 00:15:23,620 --> 00:15:35,370 that it's more constructive framework as compared to Eurocentric models like Moriarty's or Sanskrit centric New Orientalists approaches suggest Bloks. 122 00:15:35,370 --> 00:15:43,470 So apart from this, very useful. 123 00:15:43,470 --> 00:15:52,200 Opening up of the question of agency of the receiving cultures and fill out a principle of selectivity to use this term, 124 00:15:52,200 --> 00:15:58,920 it is also useful because it does away with the customary excellently nativist and nationalist accusations 125 00:15:58,920 --> 00:16:05,760 of very rare readiness against the presence of the rule of foreign non-native elements and tradition. 126 00:16:05,760 --> 00:16:09,150 So he uses the term entirely already. 127 00:16:09,150 --> 00:16:18,340 And his emphasis on the process in the literary process, which makes his framework extremely useful for literary historiography, 128 00:16:18,340 --> 00:16:25,800 the kind of hysteria Goffredo am trying to propose in my work. 129 00:16:25,800 --> 00:16:33,210 So it overcomes the typical post-colonial binary stick paradigm of literary studies, where one is struck either with cosmopolitan, 130 00:16:33,210 --> 00:16:40,620 Eurocentric or Sanskrit centric approach or with a reactionary, nativist, nationalist approach. 131 00:16:40,620 --> 00:16:54,360 And how that nativist nationalist bias is seen in literary historiography is one of the important analysis that I'm doing throughout my work. 132 00:16:54,360 --> 00:16:59,740 So the history of Moroccan literature does not remain merely a variety of national or subnational 133 00:16:59,740 --> 00:17:05,640 Nattu where it emerges as a figger against the background of larger world literary processes. 134 00:17:05,640 --> 00:17:14,730 And at the same time, it enables us to see the world in a grain of sand, as Dan Brosh sees, alluding to bleak. 135 00:17:14,730 --> 00:17:20,280 So this is by model of Moroccan literary history. So avoid literature in this. 136 00:17:20,280 --> 00:17:27,010 Do Indian sense can be understood as a historically unfolding in the literary process, 137 00:17:27,010 --> 00:17:32,640 as we have since cooked up a branch of provides us in printing 13th century? 138 00:17:32,640 --> 00:17:36,570 You can be seen as the earliest phase, followed by the Persian, Arabic, 139 00:17:36,570 --> 00:17:44,940 Hindustani and also Portuguese, something that has remained marginal to Morocco literary history. 140 00:17:44,940 --> 00:17:58,260 But at the same time, a very important one. And the media was obviously or literate culture that Christian Norske has so insightfully described. 141 00:17:58,260 --> 00:18:07,080 Then when we come to the 19th century, the English Muraki, leading to literary processes, become a new phase of world literature in Meraki. 142 00:18:07,080 --> 00:18:13,660 And the chief media at this stage was print technology. And when we come to the post 90s period. 143 00:18:13,660 --> 00:18:18,210 But the emergence of Internet as a global tool of immense power. 144 00:18:18,210 --> 00:18:21,120 We believe that we are in the beginning of the next stage. 145 00:18:21,120 --> 00:18:28,180 The post print phase up world literature and conceptualising world literature and its relation to individual policies. 146 00:18:28,180 --> 00:18:34,830 Steam as a historical process that precedes and exceeds the print centric Eurocentric, 147 00:18:34,830 --> 00:18:43,620 conceptual or conceptual off world literature will help us to complicate the idea of world literature itself. 148 00:18:43,620 --> 00:18:48,240 So I'm trying to appropriate and recast for my own purposes. 149 00:18:48,240 --> 00:19:03,360 Bagdadi of world literature. Your. So when it come to the 14th and 17th century, what have nationalist and nativist literary critics or historians? 150 00:19:03,360 --> 00:19:08,880 How have they seen this period and this phase from 14th century, 151 00:19:08,880 --> 00:19:21,930 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. 152 00:19:21,930 --> 00:19:28,020 You are Jean 17th century. This phase is described as a smartie Sultani period. 153 00:19:28,020 --> 00:19:39,030 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 154 00:19:39,030 --> 00:19:52,800 as catastrophe's from the skies and natural disasters like famine that accompany probably the phase of colour that he is describing. 155 00:19:52,800 --> 00:20:00,090 Such factors indicate the influence of Bramnick does see some die on later historical reading of this period. 156 00:20:00,090 --> 00:20:08,550 So according to many leading historians like to believe this period of two centuries is the more you go the age of darkness, 157 00:20:08,550 --> 00:20:13,440 a dark night that would go on for too long. 158 00:20:13,440 --> 00:20:21,870 Not because of Meraki invasion, that's what he says, but because of cultural decadence in which Muraki lost its authentic character. 159 00:20:21,870 --> 00:20:24,920 And the same narrative is continued by Baran's Bayern Me. 160 00:20:24,920 --> 00:20:32,550 This because Meraki literally an outline and even nativist critics like by the end of their Mardie, 161 00:20:32,550 --> 00:20:42,020 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, 162 00:20:42,020 --> 00:20:46,840 a part of Indian Refah mission which began with the loss of political freedom. 163 00:20:46,840 --> 00:20:53,960 And you would go on to say that the fanatical Muslim powers had reduced the Hindu population to social importance. 164 00:20:53,960 --> 00:21:04,560 And he called sick Badin period, excepting one major point, if not so the problem in Morocco, literary hysteria. 165 00:21:04,560 --> 00:21:11,130 Graffy is connected to the larger historiographical problem that a protester 166 00:21:11,130 --> 00:21:17,340 jacked up by has talked about the typical schematic division of three British 167 00:21:17,340 --> 00:21:29,970 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, 168 00:21:29,970 --> 00:21:39,720 a historical construct. Some I am. I have tried to complicate this narrative, focussing on the police's theme of Marathi, 169 00:21:39,720 --> 00:21:48,300 a literary history, and in my own project, instead of slugging them all, 170 00:21:48,300 --> 00:21:53,140 all the people in that period as Islamic period, 171 00:21:53,140 --> 00:22:02,050 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. 172 00:22:02,050 --> 00:22:08,860 They are not very happy with the film Islamic being attributed to such regimes in first place. 173 00:22:08,860 --> 00:22:18,630 And there even we have formulations by Robert Wald, who has argued that Islamic world can be considered as a special premodern world system, 174 00:22:18,630 --> 00:22:23,610 which is a and if you consider Islamic world as a premodern world system, 175 00:22:23,610 --> 00:22:33,720 then you are complicating the Eurocentric notion of world system on which the idea of world literature as formulated by be, 176 00:22:33,720 --> 00:22:46,470 and I guess no one seems to be based upon. So I'm just skipping many things. 177 00:22:46,470 --> 00:22:51,570 So this period, in my analysis, is not blank or dog meat. 178 00:22:51,570 --> 00:22:58,870 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, 179 00:22:58,870 --> 00:23:08,040 as well as emergence of Jennine Muslim Marathi, Centas, which is very important, as well as the Kunie Literatures by the Sufis. 180 00:23:08,040 --> 00:23:15,000 I think Angelie mentioned look, Bushcare Sonis writing on the topic. 181 00:23:15,000 --> 00:23:23,160 So how does this framework help us to look at some of the important text of this beauty and 182 00:23:23,160 --> 00:23:32,330 some of the important writers of this so-called blank period or a period of decadence? 183 00:23:32,330 --> 00:23:37,440 He's obviously the book Shaman 2G Bhaji Bahaman. 184 00:23:37,440 --> 00:23:43,820 You are McKune J. And I have relied largely upon writings of Rocky degree, 185 00:23:43,820 --> 00:23:59,350 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. 186 00:23:59,350 --> 00:24:02,860 But some of the books are extremely fascinating, the outcomes. 187 00:24:02,860 --> 00:24:06,190 It doesn't get Bunda, which is a form of a new order. 188 00:24:06,190 --> 00:24:14,310 But what Ron and his books are, Dwight, Prakash and Prakash, the sort of somewhat down on the bone. 189 00:24:14,310 --> 00:24:26,930 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. 190 00:24:26,930 --> 00:24:38,680 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. 191 00:24:38,680 --> 00:24:49,610 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. 192 00:24:49,610 --> 00:24:55,460 Some guy out there and he's probably this book is written in response to a nuance 193 00:24:55,460 --> 00:25:03,600 and the founder and the text says that all Merimee is equivalent to Bismillah Poola. 194 00:25:03,600 --> 00:25:06,580 There is Gloucester's. What's Bulwer jewelled are lingered. 195 00:25:06,580 --> 00:25:15,580 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. 196 00:25:15,580 --> 00:25:22,360 Many, many men money. Bunchy Karana Cockroach, a Hindu Muslim on it. 197 00:25:22,360 --> 00:25:31,860 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. 198 00:25:31,860 --> 00:25:33,640 And this is an open question. 199 00:25:33,640 --> 00:25:45,310 It tells us something about the period which is very often seen by nationalist historians in Hindu assist Muslim tombs, which is extremely reductive. 200 00:25:45,310 --> 00:25:53,200 And we have some more examples like cheque moments, YORGA, some drum and very interesting text, 201 00:25:53,200 --> 00:25:58,750 similar to punch occurences, digest ma or Pair of Eyes by Sheikh Muhammad. 202 00:25:58,750 --> 00:26:11,140 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. 203 00:26:11,140 --> 00:26:23,800 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. 204 00:26:23,800 --> 00:26:33,200 It seems to consolidate in 19th century. So these kind of encounters between. 205 00:26:33,200 --> 00:26:45,350 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. 206 00:26:45,350 --> 00:26:52,340 But again, as I think it is, Bouchon who has pointed out how the film Sufi's problematic. 207 00:26:52,340 --> 00:26:55,940 It's not very clear, but that terminology often she can't. 208 00:26:55,940 --> 00:27:03,860 Her and Josimar is definitely underscored by sectarian, not in the Christian sense of the word sectarian. 209 00:27:03,860 --> 00:27:11,180 But some provi are fun to kind of low on dicks because it's done this improv that it has 210 00:27:11,180 --> 00:27:21,800 got its own metaphysical outgroup for which or equivalences being given by the translator, 211 00:27:21,800 --> 00:27:31,310 if you want to use that. Then there's obviously very famous example of Hindu somewhat. 212 00:27:31,310 --> 00:27:42,630 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. 213 00:27:42,630 --> 00:27:47,830 Well, you men begin by flinging all sorts of charges against each other. 214 00:27:47,830 --> 00:28:02,230 And by the end of the whole composition, they reach a conclusion that Rudolfo Jackson, that he God has no cost. 215 00:28:02,230 --> 00:28:10,630 And which suggests a kind of shared groans of dialogue which were available. 216 00:28:10,630 --> 00:28:17,710 And each maybe sect or some of that maybe had a space where there was a kind of 217 00:28:17,710 --> 00:28:26,110 encounter and a dialogue rather than simple conflict between Hindus and Muslims, 218 00:28:26,110 --> 00:28:35,230 as was proposed by nationalist historians of Marathi literature, such as the last one or two minutes. 219 00:28:35,230 --> 00:28:40,710 And at the end of it. This is the last point. And these translational encounter, 220 00:28:40,710 --> 00:28:51,190 these dialogic encounters that I referred to an essay by Tony Stewart in his where he talks about how the 221 00:28:51,190 --> 00:29:02,650 Thompson criticism is not a very useful tome because of some certain assumptions that are existing in the tome, 222 00:29:02,650 --> 00:29:11,800 as if there are two finished religious systems, historically static, out of which a third product is made by distortion. 223 00:29:11,800 --> 00:29:18,660 So instead of that, he proposes that such kind of encounter should be seen as dialogues system. 224 00:29:18,660 --> 00:29:25,840 Translational models are refraction again using Lefebvre as work or dynamic equivalence. 225 00:29:25,840 --> 00:29:28,000 So these are the tomes that he has suggested. 226 00:29:28,000 --> 00:29:38,950 So these are the pre colonial models of translation which need to be explored in that historical context, too. 227 00:29:38,950 --> 00:29:46,990 And what we can see that it's not a simple kind of adoption of any transregional model, 228 00:29:46,990 --> 00:29:51,700 simple duration from those models, whether they're Sanskrit or whether they are Percy. 229 00:29:51,700 --> 00:30:01,630 And the kind of inventions of a new word, John Rosenberg Mackler, which are interlibrary and very often in a very different context. 230 00:30:01,630 --> 00:30:08,980 And this process is largely in the context of some paradigms and one that we shouldn't be approaching it. 231 00:30:08,980 --> 00:30:19,180 So that's Sabeg conceptualising these histories of cross language, cross regional cross religious dialogic interactions. 232 00:30:19,180 --> 00:30:24,100 We can come up with Borst, nationalist, Borst, nativist, non Eurocentric, 233 00:30:24,100 --> 00:30:29,190 non essentialist model of literary and cultural disputed grupp is of South Asia. 234 00:30:29,190 --> 00:30:36,460 Yes, what I'm attempting to work out and what I'm suggesting here. 235 00:30:36,460 --> 00:30:42,390 So with this, I want to end my presentation and I want to thank once again the organisers. 236 00:30:42,390 --> 00:30:55,450 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. 237 00:30:55,450 --> 00:31:07,030 So thank you. Thanks very much indeed. Suchin, that's a really challenging, wide ranging set of questions for us and proposals. 238 00:31:07,030 --> 00:31:16,030 So let me try to open right to to our audiences to put in their questions through Q&A. 239 00:31:16,030 --> 00:31:23,330 If you would so. Well, Stewart will give us a shot. 240 00:31:23,330 --> 00:31:31,050 It's such an amazing tool to gather his breath. Still sending in your questions. 241 00:31:31,050 --> 00:31:36,030 Yeah, we got a couple of questions already in the Q&A. See, I. 242 00:31:36,030 --> 00:31:40,960 I find it very hard to see where these questions are. 243 00:31:40,960 --> 00:31:45,310 They want me to read them. So I see. 244 00:31:45,310 --> 00:31:49,180 Yes. Sorry. I see. So here we are. 245 00:31:49,180 --> 00:31:56,290 Very good question. From Elmau Conca. When can one place Panopto literature in your model. 246 00:31:56,290 --> 00:32:07,180 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. 247 00:32:07,180 --> 00:32:13,390 And I have relied upon the examination which sees makes a distinction between closed 248 00:32:13,390 --> 00:32:21,370 some paradigms very they're like them honeyball eyes and more open some guys. 249 00:32:21,370 --> 00:32:24,920 And this classification is done by. Jessica. 250 00:32:24,920 --> 00:32:36,050 And he has examined how literary works of these poems, these sectarian spaces are shaped by the ideologies. 251 00:32:36,050 --> 00:32:39,640 For example, mineable would be largely white like these. 252 00:32:39,640 --> 00:32:47,720 So their treatment of Rukmani somewhere, it would be very different from the last three treatment of the same topic, which is based. 253 00:32:47,720 --> 00:32:55,880 Which uses the group for the way to, for instance. Just so it fits in to the frame of Polish system. 254 00:32:55,880 --> 00:33:02,690 Given that institutional contexts are largely some paradigms and puns and we need to have a 255 00:33:02,690 --> 00:33:10,070 better conceptualisation of these somebodies rather than just merely calling them sects. 256 00:33:10,070 --> 00:33:17,330 Because so and in my project, I've examined how the dynamics of these somebodies change, 257 00:33:17,330 --> 00:33:27,260 how much Honeyball as they undergo as the kind of fragmentation after 14th century on, in their eyes, the invention of new scripts. 258 00:33:27,260 --> 00:33:32,680 So I have examined that in my work. It's been. 259 00:33:32,680 --> 00:33:38,450 So. Thanks. Such an odd question here from Christian. 260 00:33:38,450 --> 00:33:41,540 Thank you for this wonderful and provocative paper. 261 00:33:41,540 --> 00:33:50,740 Suchin, I'm interested to hear you say more about your project in relation to the construction of a Marathi Cosmopolis. 262 00:33:50,740 --> 00:33:58,280 If it Cosmopolis is the product of discussion about its own nature and scope, as in the Sanskrit Cosmopolis. 263 00:33:58,280 --> 00:34:05,390 How do you think of the role of your project in actually producing a Marathi Cosmopolis? 264 00:34:05,390 --> 00:34:15,600 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. 265 00:34:15,600 --> 00:34:23,990 But now when you ask about it, I have matched up on the multi centrality of Marathi cultural space. 266 00:34:23,990 --> 00:34:32,720 For example, I looked at the door as a space which produced important theatre, and I also looked at Borodai, 267 00:34:32,720 --> 00:34:38,270 which is a very important site outside what is understood as a more modern monastery. 268 00:34:38,270 --> 00:34:50,420 So there were spaces. There are spaces like indoor or Tanjore water or a broader reach out outside the maudlin map of Monastir, 269 00:34:50,420 --> 00:34:55,220 which can be considered as Meraki cosmopolitan. But I haven't used that. 270 00:34:55,220 --> 00:35:04,280 But I want to thank you for that very useful way of conceptualising this Vollertsen polycentric space of Marathi literature. 271 00:35:04,280 --> 00:35:17,740 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. 272 00:35:17,740 --> 00:35:24,800 I don't know if I have been able to. Other questions now. 273 00:35:24,800 --> 00:35:33,210 Yeah, it's funny that on a couple of questions from and follows that there is one my daughter. 274 00:35:33,210 --> 00:35:38,300 Yes. Can you read them, please? 275 00:35:38,300 --> 00:35:40,730 Yes. He says that. Thank you for your paper. 276 00:35:40,730 --> 00:35:46,850 Have you considered the kind of models that someone like Alexander Beecroft uses for what you're calling for? 277 00:35:46,850 --> 00:35:54,620 Ecology's rather than economies? You know, a critique of AMBRISH gets in the way that there's order, for example. 278 00:35:54,620 --> 00:35:59,210 Michael Elden's work on Egypt. Well, it's not I haven't seen that quite definite. 279 00:35:59,210 --> 00:36:08,780 Thanks for that. Useful suggestions. I will definitely look up these ideas, but I have looked at some something called ecology of some paradise. 280 00:36:08,780 --> 00:36:17,360 So various funds have a kind of ecology's which are shipping and dynamic read without which you can and cannot understand 281 00:36:17,360 --> 00:36:25,580 the history of Marathi literature and very often am left asking a question with such kind of some paradigms exist today. 282 00:36:25,580 --> 00:36:26,720 For example, Merdeka. 283 00:36:26,720 --> 00:36:37,080 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. 284 00:36:37,080 --> 00:36:40,640 These more doing the recasting of that. So here's a question that I'm asking. 285 00:36:40,640 --> 00:36:45,020 But I would look up Beecroft work. 286 00:36:45,020 --> 00:36:48,860 Thanks. Thanks for association. And then there's a couple more. 287 00:36:48,860 --> 00:36:52,260 Can you see them from Maturi? Yes. 288 00:36:52,260 --> 00:36:57,380 There there's one by World Bank tradition. In fact, househusbands. Yeah. 289 00:36:57,380 --> 00:37:01,040 I didn't see that one. If you can see such a. 290 00:37:01,040 --> 00:37:08,650 Could you. Yeah. I have to respond to a fair louses question and question. 291 00:37:08,650 --> 00:37:14,750 And I think it's being repeated in a middle banker's question. And Muhanna both because mountable is a very. 292 00:37:14,750 --> 00:37:20,270 And what are called Bunder. Some today against what to he as a class. 293 00:37:20,270 --> 00:37:26,640 That is a is the idea that I have followed and how it has changed. 294 00:37:26,640 --> 00:37:33,400 OK. That is my buddy. It was asking, can you elaborate on your characterisation of Porlock as new Orientalist, 295 00:37:33,400 --> 00:37:45,100 Sanscrit centric view of maybe literary cultures on the subcontinent can be considered as new Orientalists for lack of a better word? 296 00:37:45,100 --> 00:37:51,910 Again, I think the problem with Pelops, some model is excessive reliance on Canada. 297 00:37:51,910 --> 00:38:05,230 And I find that even Meraki and goods that would be sort differing the way trans regionality is that negotiated with regional, 298 00:38:05,230 --> 00:38:09,620 is it, Jane, just with probably to literary culture. 299 00:38:09,620 --> 00:38:22,120 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, 300 00:38:22,120 --> 00:38:28,870 which was never, ever the case, for example, mineable proves there is nothing like it in Sanskrit. 301 00:38:28,870 --> 00:38:34,830 How can you consider literature as a Garibay to John Ragdoll? 302 00:38:34,830 --> 00:38:42,260 So it's very sensitive. Same thing to you from. 303 00:38:42,260 --> 00:38:53,480 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. 304 00:38:53,480 --> 00:38:59,870 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, 305 00:38:59,870 --> 00:39:08,110 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. 306 00:39:08,110 --> 00:39:13,880 Evelyn took that on works. So I think that would be a very interesting way of looking at it. 307 00:39:13,880 --> 00:39:21,890 Again, following Porlock, you can use the Tome's insight out of view of war literature. 308 00:39:21,890 --> 00:39:28,430 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. 309 00:39:28,430 --> 00:39:36,860 But thanks for that suggestion. And then this interesting, interesting questions from Christian Suchin. 310 00:39:36,860 --> 00:39:38,000 If we were in person, 311 00:39:38,000 --> 00:39:47,240 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. 312 00:39:47,240 --> 00:39:50,480 Of course, most unfortunately, we're not in person. 313 00:39:50,480 --> 00:39:58,250 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. 314 00:39:58,250 --> 00:40:04,610 Yes, I remember Professor Fellows sending me some lines from earlier, actually, through which he thought was all good. 315 00:40:04,610 --> 00:40:11,000 Ratti because the sweet chocolate that it was from the region now quiet was right. 316 00:40:11,000 --> 00:40:16,340 And whenever the king probably used to come, I think it's not there. 317 00:40:16,340 --> 00:40:21,410 I'm not sure who uses glitterati to hide certain things. 318 00:40:21,410 --> 00:40:30,730 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. 319 00:40:30,730 --> 00:40:37,740 And I think we can look at it as world literature, where I've looked at Hindustani compositions attributed to Nahm. 320 00:40:37,740 --> 00:40:44,990 There were an all important anthropoids right up to around us and Tukaram. 321 00:40:44,990 --> 00:40:49,520 So that itself is a kind of sign of multilingual. 322 00:40:49,520 --> 00:40:55,190 It is within as well. Angelie was saying so probably. 323 00:40:55,190 --> 00:41:03,310 I don't know how. Yes, he. Yes. That's what Salian they are saying. 324 00:41:03,310 --> 00:41:07,370 So I'm put but I'm publishing some more are coming in such an. 325 00:41:07,370 --> 00:41:11,350 I don't know if you want to comment on these some more. 326 00:41:11,350 --> 00:41:21,280 That's from. Yeah, yeah. Yeah. She's referring to the, the, the bay incident in the lead up to that I just mentioned. 327 00:41:21,280 --> 00:41:28,590 Mm hmm. Mm hmm. No it's from Christian. 328 00:41:28,590 --> 00:41:38,640 Yeah. So you want to have a look at that. All right. 329 00:41:38,640 --> 00:41:46,680 Yes. I think we. I was looking at two please book where he has not paid sufficient emphasis on 330 00:41:46,680 --> 00:41:52,190 multiplicity of registers or even dialects if he can use that term in midair. 331 00:41:52,190 --> 00:42:06,370 In the old English is something that I think we should be looking at in the old Moratti itself. 332 00:42:06,370 --> 00:42:10,330 So any other any other questions? Now we've got time for one more. 333 00:42:10,330 --> 00:42:37,060 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. 334 00:42:37,060 --> 00:42:45,070 Which is, you know, I'm sort of thinking like a pragmatic historian. 335 00:42:45,070 --> 00:42:49,100 Your models started out as literary models. Yeah. 336 00:42:49,100 --> 00:42:55,000 Then they became more model models, as it were, of sectarian exchange. 337 00:42:55,000 --> 00:42:58,330 And then they went back to being literary models again. 338 00:42:58,330 --> 00:43:06,510 Now, of course, as we all know, what is literary and what is religious is is an impossible question, 339 00:43:06,510 --> 00:43:20,380 a silly question to ask when literary genres also very often the genres in which religious expression is in which we hear religious expression. 340 00:43:20,380 --> 00:43:28,180 But I wonder as as it were primarily a literary person, how do you think about that? 341 00:43:28,180 --> 00:43:29,890 How do you know that crossover? 342 00:43:29,890 --> 00:43:39,130 Because undoubtedly, although although that interface is very kind of permeable, the religious and the literary, it is also, 343 00:43:39,130 --> 00:43:51,430 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. 344 00:43:51,430 --> 00:43:56,160 And I wonder if you said that how you think about that interface. 345 00:43:56,160 --> 00:44:03,970 That that's yeah. That's a very interesting question, because even if we look at it as deadly and it was definitely literary, 346 00:44:03,970 --> 00:44:08,230 Kotva was definitely an idea that was being used. 347 00:44:08,230 --> 00:44:15,610 Right. Good to come in school talks about how we look. And you written as a career being Kobie in does as well. 348 00:44:15,610 --> 00:44:21,130 And committer is a very important idea, even if we are looking at sectarian frames. 349 00:44:21,130 --> 00:44:27,200 Besides, the selection of genres are often influenced by sectarian ideologies as well. 350 00:44:27,200 --> 00:44:37,300 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 351 00:44:37,300 --> 00:44:43,590 extensive use of a bomb that will be as a performance has something to do with that. 352 00:44:43,590 --> 00:44:52,120 Wait, wait. Philosophy of a lot of Currys, which emphasise Chavira as a kind of communion Maharastra. 353 00:44:52,120 --> 00:44:58,460 My rest. That's the term and it's what he uses. 354 00:44:58,460 --> 00:45:09,130 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. 355 00:45:09,130 --> 00:45:18,100 So sectarian ideologies have a very important impact on on the selection of literary xandra as well. 356 00:45:18,100 --> 00:45:29,440 So in using the word Kelm policies themes, how politics is shaped by the institutional ideologies is something that I have Datchet upon. 357 00:45:29,440 --> 00:45:36,880 And when Gengar very interestingly contrasts Rukmani swimwear in the Muhanna board tradition and in the Vatican 358 00:45:36,880 --> 00:45:46,210 tradition to show how their aesthetics and we tick's default because of their metaphysical ideologies. 359 00:45:46,210 --> 00:45:51,550 So I'm using the term ideology also in a very broad sense as some world view. 360 00:45:51,550 --> 00:45:57,660 Metaphysical world view war. Bottom article or the view of some day. 361 00:45:57,660 --> 00:46:02,590 Okay. Yeah. Thank you very much for my address. 362 00:46:02,590 --> 00:46:05,080 Many questions there. There are others in the list now. 363 00:46:05,080 --> 00:46:16,360 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. 364 00:46:16,360 --> 00:46:19,910 Yeah. Professor Sumit Gwisai pointed out would be so much ideas. 365 00:46:19,910 --> 00:46:23,860 16TH century grammar. Yes, I read that. Thanks a lot. 366 00:46:23,860 --> 00:46:27,280 I will definitely look better. I was not aware of that. Thanks. 367 00:46:27,280 --> 00:46:31,270 Brooke is a great look of this. Okay. 368 00:46:31,270 --> 00:46:35,560 Thank you very much indeed. Thanks a lot. Thanks for having me. 369 00:46:35,560 --> 00:46:46,840 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. 370 00:46:46,840 --> 00:46:50,227 Shata, let me hand over to you.