India's recent economic performance has attracted world attention but the country is re-awakening not just as an economy but as a civilization. After a thousand years of the decline, it now has a genuine opportunity to re-establish itself as a major global power.In ?The Indian Renaissance?, the author, Sanjeev Sanyal, looks at the processes that led to ten centuries of fossilization and then at the powerful economic and social forces that are now working together to transform India beyond recognition. These range from demographic shifts to rising literacy levels, but the most important revolution has been the opening of mind and the changed attitude towards innovation and risk.This book is about how India found itself at this historic juncture, the obstacles that it still needs to negotiate and the future that it may enjoy. The author tells the story from the perspective of the new generation of Indians who have emerged from this great period of change.Published and distributed worldwide by World Scientific Publishing Co. except India, UK and North America

A valuable look at how Native language programs contribute to broader community-building efforts--Provided by publisher.

Indian Renaissance: British Romantic Art and the Prospect of India is the first comprehensive examination of British artists whose first-hand impressions and prospects of the Indian subcontinent became a stimulus for the Romantic Movement in England; it is also a survey of the transformation of the images brought home by these artists into the cultural imperatives of imperial, Victorian Britain. The book proposes a second - Indian - Renaissance for British (and European) art and culture and an undeniable connection between English Romanticism and British Imperialism. Artists treated in-depth include James Forbes, James Wales, Tilly Kettle, William Hodges, Johann Zoffany, Francesco Renaldi, Thomas and William Daniell, Robert Home, Thomas Hickey, Arthur William Devis, R. H. Colebrooke, Alexander Allan, Henry Salt, James Baillie Fraser, Charles Gold, James Moffat, Charles D'Oyly, William Blake, J. M. W. Turner and George Chinnery.

Lincoln presents the writing of today's most gifted Native American authors, against an ethnographic background which should enable a growing number of readers to share his enthusiasm. Lincoln has lived with American Indians, knows them, and is respected by them; all this enhances his book.

This book publishes, for the first time in decades, and in many cases, for the first time in a readily accessible edition, English language philosophical literature written in India during the period of British rule. Bhushan's and Garfield's own essays on the work of this period contextualize the philosophical essays collected and connect them to broader intellectual, artistic and political movements in India. This volume yields a new understanding of cosmopolitan consciousness in a colonial context, of the intellectual agency of colonial academic communities, and of the roots of cross-cultural philosophy as it is practiced today. It transforms the canon of global philosophy, presenting for the first time a usable collection and a systematic study of Anglophone Indian philosophy. Many historians of Indian philosophy see a radical disjuncture between traditional Indian philosophy and contemporary Indian academic philosophy that has abandoned its roots amid globalization. This volume provides a corrective to this common view. The literature collected and studied in this volume is at the same time Indian and global, demonstrating that the colonial Indian philosophical communities were important participants in global dialogues, and revealing the roots of contemporary Indian philosophical thought. The scholars whose work is published here will be unfamiliar to many contemporary philosophers. But the reader will discover that their work is creative, exciting, and original, and introduces distinctive voices into global conversations. These were the teachers who trained the best Indian scholars of the post-Independence period. They engaged creatively both with the classical Indian tradition and with the philosophy of the West, forging a new Indian philosophical idiom to which contemporary Indian and global philosophy are indebted.

India in the Italian Renaissance provides a systematic, chronological survey of early Italian representations of India and Indians from the late medieval period to the end of the 16th century, and their resonance within the cultural context of Renaissance Italy. The study focuses in particular on Italian attitudes towards the inhabitants of the Indian subcontinent and questions how Renaissance Italians, schooled in the admiration of classical antiquity, responded to the challenge of this contemporary pagan world. Meera Juncu draws from a wide-ranging selection of contemporary travel literature to trace the development of Italian ideas about Indians both before and after Vasco Da Gama’s landing in Calicut. After an introduction to the key concepts and a survey of inherited notions about India, the works of a diverse range of writers and editors, including Marco Polo, Petrarch and Giovanni Battista Ramusio, are analysed in detail. Through its discussion of these texts, this book examines whether ‘India’ came in any way to represent a pagan civilization comparable to the classical antiquity celebrated in Italy during the Renaissance. India in the Italian Renaissance offers a new and exciting perspective on this fascinating period for students and scholars of the Italian Renaissance and the history of India.

The outpouring of Native American literature that followed the publication of N. Scott Momaday’s Pulitzer Prize–winning House Made of Dawn in 1968 continues unabated. Fiction and poetry, autobiography and discursive writing from such writers as James Welch, Gerald Vizenor, and Leslie Marmon Silko constitute what critic Kenneth Lincoln in 1983 termed the Native American Renaissance. This collection of essays takes the measure of that efflorescence. The contributors scrutinize writers from Momaday to Sherman Alexie, analyzing works by Native women, First Nations Canadian writers, postmodernists, and such theorists as Robert Warrior, Jace Weaver, and Craig Womack. Weaver’s own examination of the development of Native literary criticism since 1968 focuses on Native American literary nationalism. Alan R. Velie turns to the achievement of Momaday to examine the ways Native novelists have influenced one another. Post-renaissance and postmodern writers are discussed in company with newer writers such as Gordon Henry, Jr., and D. L. Birchfield. Critical essays discuss the poetry of Simon Ortiz, Kimberly Blaeser, Diane Glancy, Luci Tapahonso, and Ray A. Young Bear, as well as the life writings of Janet Campbell Hale, Carter Revard, and Jim Barnes. An essay on Native drama examines the work of Hanay Geiogamah, the Native American Theater Ensemble, and Spider Woman Theatre. In the volume’s concluding essay, Kenneth Lincoln reflects on the history of the Native American Renaissance up to and beyond his seminal work, and discusses Native literature’s legacy and future. The essays collected here underscore the vitality of Native American literature and the need for debate on theory and ideology.