Search for "Spirit 1 800-299-7264 Customer Contact Center Phone Number"

MARBL Presents Atlanta Intersections: Photographer Stephanie Dowda on Topophilia

...Dowda. Atlanta-based photographer Stephanie Dowda is a studio artist with the Atlanta Contemporary Art Center and also maintains a darkroom at the Goat Farm Arts Center. A Georgia State University...

An Unflinching Look: An Interview with Photographer Benjamin Dimmitt

Bransford: Before we talk about An Unflinching Look: Elegy for Wetlands, can you talk about your personal history with the Chassahowitzka National Wildlife Refuge? And then describe the Refuge in...

A Video Excerpt from The Well-Placed Weed: The Bountiful Life of Ryan Gainey

Video and Essay https://player.vimeo.com/video/269927353?byline=0&portrait=0 Ryan Gainey with cut flowers, Decatur, Georgia, ca. 1993. Photograph by David Schilling. Ryan Gainey (1944–2016) grew up in the Sandhills of South Carolina in the...

The Place of Appalachia

...(Princeton, NJ: Princeton University Press, 2001); see the discussion in Doreen Massey, Space, Place, and Gender (Minneapolis: University of Minnesota Press, 1994), 162–172; Mary K. Anglin, "Moving Forward: Gender and...

American Coast, Imperiled Energy: Jason P. Theriot’s American Energy, Imperiled Coast

...Loss in the Northern Gulf of Mexico: Multiple Working Hypotheses," Estuaries 20, no. 1 (1997): 1–13. Wetland loss between 1956 and 2008 near Delacroix, Lousiana. Slides from Southeast Lousiana Flood...

Anniversary

Readings Jake Adam York reads the poem "Anniversary." Poem text. Jake Adam York reads the poem "Consolation." Poem text. Jake Adam York reads the poem "Darkly." Poem text. Jake Adam...

Men at Home: Imagining Liberation in Colonial and Postcolonial India

...identity.”9Kamble, Prisons We Broke, 147, 155, 156. I had not come across anything like Kamble’s conceptualization in Hindi, Urdu, or other Indian languages I know—or, for that matter, in English....

References
1.	Louis Althusser uses the phrase "an answer to a question that is nowhere posed" in Althusser, Reading Capital, 29. For an explication of my usage of "fragment," see chapter 2 in Gyanendra Pandey, Routine Violence: Nations, Fragments, Histories (Stanford University Press, 2005). A slightly different articulation appeared in the original version: Gyanendra Pandey, “In Defense of the Fragment: Writing About Hindu-Muslim Riots in India Today,” Representations, no. 37 (1992): 27–55.
2.	I use India and South Asia interchangeably in these pages, since much of the investigation deals with areas in the northern, central, and western regions of the undivided subcontinent, before and after its partition and the establishment of the independent nations of India and Pakistan in 1947 (and the separation of Bangladesh from Pakistan in 1971).
3.	I refer to important scholarly writings on several of these themes in the section titled "Historiography" in chapter one.
4.	Cf. Ranajit Guha, History at the Limit of World-History, (New York: Columbia University Press, 2003).
5.	One might even call it the “extended nuclear family.” The 1935 photograph that appears on the book's cover, marking the wedding of two protagonists whom I center in chapter 4, Hameeda and Akhtar Husain Raipuri, points nicely to the paradoxical character of this modern South Asian family. The bride and groom are tucked away on the extreme right-hand side of the gathering, the bride sitting in the middle row, the groom standing behind her. The photo of the “Khandan” (or extended Omar family), taken in front of the bride’s parents’ home, built by her police-officer father Zafar Omar, is dominated by the elders. The bride’s mother and father are seated next to her in the middle row, on her right, and the oldest “elders,” Zafar Omar’s mother and father, are placed at the center of the assembly.’
6.	Shivrani Premchand, Premchand: Ghar Mein (Nayee Kitab Prakashan, 2009).
7.	Madan, Premchand, 20.
8.	Baby Kamble, The Prisons We Broke, trans. Maya Pandit (Orient Black Swan, 2018). Original text published in 1986. Dalit is the name that Dalit activists give to the depressed castes and classes formerly known as Untouchables.
9.	Kamble, Prisons We Broke, 147, 155, 156.
10.	One scholar makes the point about the crisscrossing axes that determine gender power in South Asian homes as follows: a woman's place depends on "the status of her husband, her possession of sons, her fertility, looks, health and capacity for domestic labour. The middle-aged mother of grown-up sons could be a powerful matriarch and elderly mothers-in-law could command and oppress young [daughters-in-law]." Tanika Sarkar, Hindu Wife, Hindu Nation: Community, Religion, and Cultural Nationalism (University of Michigan Press, 2001), 21.
11.	It is worth noting that this applied to Baby Kamble's husband: an unemployed young man in a house full of elders, whose enterprising wife (Baby Kamble) comes up with an idea that allows him to contribute to the family's income, he is still someone from whom she has to hide her writing for twenty years.
12.	Another term that may well come from the same root (route?) is nivri in Kutchi, which refers to girls or young women sitting around idling, as a young bride might be allowed to do briefly! I am grateful to Sabrina Datoo for drawing my attention to this term and its meaning.

Search Results for Spirit 1 800-299-7264 Customer Contact Center Phone Number