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Rosinka Chaudhuri

Window into Tagore

The Oxford India Tagore: Selected Writings on Education and Nationalism edited by Uma Das Gupta

Michael Madhusudan Datta and the Marxist Understanding of the Real Renaissance in Bengal

Michael Madhusudan Datta who began writing in Bengali, when he realised the "impossibility of being European", was not, in fact, ahead of his time, but very much of it. Madhusudan had, till 1940, been feted by middle class Bengalis across the spectrum as a legendary poet. However, the brilliant aura around him began to be muddied by critics whose modernist provenance was an even more powerful impulse than the Marxist. This paper recontextualises strategies of reading and representation, which change historically in response to evolving and shifting cultural paradigms. It shows how readings of a particular writer or a period are orchestrated through a multiplicity of exchanges in politically charged situations. It neither redeems Madhusudan nor resurrects the idea of the Bengal Renaissance.

Tagore's Home and the World

Towards Freedom: Critical Essays on Rabindranath Tagore's Ghare Baire/The Home and the World edited by Saswati Sengupta,

Why Does Literature Matter?

of the machineries of social power

Economic Growth in the Regime of Reforms

This article is a critical assessment of the claim of the end of â??lopsided development" and emergence of the "virtuous cycle of development" during the regime of economic reforms in Kerala. It reviews the growth trends in the macroeconomy after the implementation of reforms in the neoliberal policy perspective and recommends some pragmatic approaches to achieve accelerated growth.

Historicality in Literature: Subalternist Misrepresentations

In History at the Limits of World History, the historian Ranajit Guha makes an extraordinary plea - for the historian to 'recover the living history of the quotidian' and to 'recuperate the historicality of what is humble and habitual' so as to turn the historian into a 'creative writer'. Yet Tagore, whose essay Guha cites in his work, and much later J M Coetzee, had protested at literature being subsumed by history; a history that was taken to be a 'fixed, selfevident reality to which the novel was supposed to bear witness'. While the question whether creative writing is a better way of writing subaltern history is to be debated, the repercussions of such a move on the future course of subaltern historiography remain to be seen.