tag:blogger.com,1999:blog-378235262024-03-18T09:00:31.038+05:30Looking at Cartoons, Getting AlongLaunched on Nov 29 2006, now 2,100+ posts...This bilingual blog - 'आन्याची फाटकी पासोडी' in Marathi- is largely a celebration of visual and/or comic ...तुकाराम: "ढेकणासी बाज गड,उतरचढ केवढी"...George Santayana: " Everything in nature is lyrical in its ideal essence, tragic in its fate, and comic in its existence"...William Hazlitt: "Pictures are scattered like stray gifts through the world; and while they remain, earth has yet a little gilding."Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.comBlogger2374125tag:blogger.com,1999:blog-37823526.post-6424392623478396972024-03-18T09:00:00.057+05:302024-03-18T09:00:00.261+05:30The Thief of Bagdad@100...Brilliance of Douglas Fairbanks<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAZOC9ABhCx6EFzbCCOa9JvjZLC0sExYAJ6b1ykCJfyz9onCzwwifYttiAAOi9aoxp4Jn7YyrOiLBFWcpz_GwFvUuJAWCCnwZmkyBgvj-ul1fl8B8BAp6M6y68Ey0IgA2tLyD0g-P2Ff38Fr2t5rXwHuAjKALZZ6aBU9EKZHaDTzNmHKfR1MjT/s1024/The%20Thief%20of%20Bagdad%20is%20a%201924%20American%20swashbuckler%20film.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="1024" height="451" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAZOC9ABhCx6EFzbCCOa9JvjZLC0sExYAJ6b1ykCJfyz9onCzwwifYttiAAOi9aoxp4Jn7YyrOiLBFWcpz_GwFvUuJAWCCnwZmkyBgvj-ul1fl8B8BAp6M6y68Ey0IgA2tLyD0g-P2Ff38Fr2t5rXwHuAjKALZZ6aBU9EKZHaDTzNmHKfR1MjT/w581-h451/The%20Thief%20of%20Bagdad%20is%20a%201924%20American%20swashbuckler%20film.jpg" width="581" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-IDEL1Ua_hfXcsLT5rLuPjmnOQ6zpRY-favnF3KGvA7C_8biUvKf4EvHd1fFSkXYEdQ_a3MMSdbE_VkNZjyhrJA8xsmcjPk9SNAjsxiuIPmOgnYjEWm4eQqKdQJnarb7WumDiYBDgtlrPmfeU5raLIjZ934QanBsG6v5I15brpdcchEqAaGL9/s1200/douglas%20fairbanks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="811" data-original-width="1200" height="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-IDEL1Ua_hfXcsLT5rLuPjmnOQ6zpRY-favnF3KGvA7C_8biUvKf4EvHd1fFSkXYEdQ_a3MMSdbE_VkNZjyhrJA8xsmcjPk9SNAjsxiuIPmOgnYjEWm4eQqKdQJnarb7WumDiYBDgtlrPmfeU5raLIjZ934QanBsG6v5I15brpdcchEqAaGL9/w579-h391/douglas%20fairbanks.jpg" width="579" /></a></div><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: arial; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0%; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;"> </span></span><p></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: arial; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0%; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;">Floats like a butterfly . . . Fairbanks did the vast majority of his stunts himself.</span></span></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: arial; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0%; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;">Fairbanks was such a smart guy, read what he thought about creating sets for the movie:</span></span></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: arial; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0%; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;">"</span></span>A special problem that faced us for The Thief of Bagdad was
my desire that a dream city should not look too well anchored on its
foundations. It is easy enough to make a thing fantastic and unreal, but I
wanted it to seem light in addition. By using a somewhat weird design, by
painting trees and branches black even when we had real ones, by the use of
light backgrounds instead of the customary dark ones which are thought to bring
out the figures more clearly, by confining our colors to gray, gold, silver, black
and white for everything except the actual costumes, we obtained an unusual
effect; but sets built on the ground will look as if they were.</p>
<p class="MsoNormal">To get away from this solidity, we painted our buildings
darker at the top than at bottom. This seemed to make them less solid and heavy
at the bottom. We also built upon a highly polished black floor that had
reflections. The vertical line of a house meets the horizontal line of the
ground and ends there. Our polished floor reflects the building lines and lifts
our city. And this black floor caused considerable extra work. There was
endless brushing and polishing week after week."</p>
<p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: arial; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0%; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: small;">मी हा १९२४ सालचा जबरदस्त सिनेमा अजून बघितला नाहीये पण मला हे नाव माहित व्हायचे कारण आम्ही मिरजेत देवल टॉकीज ला बघितलेला १९६९ सालचा दारा सिंग यांचा त्याच नावाचा सिनेमा जो मला अजून थोडा थोडा आठवतो..... </span></span></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: arial; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0%; text-transform: none; white-space: normal; word-spacing: 0px;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijBMVgomJzO6eW-OimKjFjfcKfTjvlLk2ITNRHy1tMtPBrqyehPOOYK-_v9S__gX03m9-xppwMjmVmwspaq5K3JT_hTVVlGUjZ4BNLydIfkIIKFZOeDjPvPOmhtW6-YQeTocYVeFP33OXQuz5kBfuyahW36hEi9fRLrhFf3ZC-EtNekbme2KCd/s711/The%20Thief%20of%20Baghdad%20(1969).png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="711" data-original-width="477" height="818" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijBMVgomJzO6eW-OimKjFjfcKfTjvlLk2ITNRHy1tMtPBrqyehPOOYK-_v9S__gX03m9-xppwMjmVmwspaq5K3JT_hTVVlGUjZ4BNLydIfkIIKFZOeDjPvPOmhtW6-YQeTocYVeFP33OXQuz5kBfuyahW36hEi9fRLrhFf3ZC-EtNekbme2KCd/w550-h818/The%20Thief%20of%20Baghdad%20(1969).png" width="550" /></a></div><br /><span style="font-size: small;"><br /></span><p></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-26454333132155265892024-03-13T09:00:00.001+05:302024-03-13T09:00:00.138+05:30G. A. Kulkarni, Henry van Dyke...जी. ए. कुलकर्णी आणि हेन्री व्हॅन डाईक<p> <span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"></span></p><div class="xdj266r x11i5rnm xat24cr x1mh8g0r x1vvkbs x126k92a"><div dir="auto" style="text-align: start;">हे पूर्वी इथे दिले असेल.. पण काहीजणांना कदाचित नव्याने... </div></div><p></p><div class="" dir="auto"><div class="x1iorvi4 x1pi30zi x1l90r2v x1swvt13" data-ad-comet-preview="message" data-ad-preview="message" id=":rvt:"><div class="x78zum5 xdt5ytf xz62fqu x16ldp7u"><div class="xu06os2 x1ok221b"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">जीएंनी 'पिंगळावेळ' मधील यात्रिक ही जबरदस्त अशी रूपक कथा लिहण्या आधी, त्याच नावाची अनुवादीत कथा वाङ्मयशोभाच्या ऑक्टोबर १९६०च्या अंकात प्रसिद्ध केली होती... </div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">मूळ लघुकादंबरी हेन्री व्हॅन डाईक (१८५२-१९३३) यांची आहे, तिचे मूळचे नाव आहे 'The Story of the Other Wise Man', 1895. </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">जीएंच्या कथेसोबत हेन्री व्हॅन डाईक यांचे नाव प्रसिद्ध करण्यात आले नव्हते आणि त्यांच्या प्रति कृतज्ञता सुद्धा व्यक्त <span></span>करण्यात आली नव्हती. </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">पुरषोत्तम धाक्रस 'आकाशफुले : जी. ए. कुलकर्णी', तिसरी आवृत्ती ', २०१० ह्या पुस्तकाच्या "'सिंहा' वलोकन" मध्ये लिहतात: </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">"...'यात्रिक'.... हे केवळ अनुवाद आहेत एवढेच कळते. मूळ कथा कोणाच्या वगैरे काहीच आढळत नाही..."</div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">त्या कथेच्या पहिल्या पानाचा फोटो सोबत. कृतज्ञता: वाङ्मयशोभा आणि जी ए कुलकर्णी यांच्या वाङ्मयाचे कॉपीराईट होल्डर्स</div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia2UDwSvIjwQMsUTwQWYenWhnupQeNznYSK-cH_KqFtuQzlTigVCJhKKnfJBksWEGNrPoulY-cmPziE3_kxChNG97xCjPat42rwst_Za0qa82UTU7ePsCjyszBRunUoQZgaUvTczI1uCWAg9CuduM6vZ4RZ1p6__NC5S5HkszcxklbsLQwfS9-/s1252/g%20a%20kulkarni%20first%20yatrik%20oct%201960%20vangmay%20shobha.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1252" data-original-width="999" height="707" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia2UDwSvIjwQMsUTwQWYenWhnupQeNznYSK-cH_KqFtuQzlTigVCJhKKnfJBksWEGNrPoulY-cmPziE3_kxChNG97xCjPat42rwst_Za0qa82UTU7ePsCjyszBRunUoQZgaUvTczI1uCWAg9CuduM6vZ4RZ1p6__NC5S5HkszcxklbsLQwfS9-/w563-h707/g%20a%20kulkarni%20first%20yatrik%20oct%201960%20vangmay%20shobha.jpg" width="563" /></a></div><br /> </div></div></span></div></div></div></div>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-27808100983538300042024-03-10T09:00:00.141+05:302024-03-10T09:00:00.135+05:30Used to get it at Poona! VENCAT thats the flavah!...a Dalit Family Once Ruled the Global Condiment Industry<p> On Feb 29 2024, I saw a tweet of William Dalrymple on the subject of curry. </p><p>It had following picture, an ad c1955.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaViYnwRPbJYEOmY5fo8WKayfWYV1D13-74O7MqrVQvW4bX30rGdwpfDupb7-NqYH30pjtafLIxR5uo_86OqgNDnXfYUwA33FDFhsNoceiieize1M_VNOnmbv1Vkkwi-ehdIDlMQ_8-70W4c5zfIL2NC66dnpHK3pUeDdu1mQ-U4UBxGXqJkz4/s430/vencat%20curry%20powder%201955.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="430" data-original-width="265" height="898" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaViYnwRPbJYEOmY5fo8WKayfWYV1D13-74O7MqrVQvW4bX30rGdwpfDupb7-NqYH30pjtafLIxR5uo_86OqgNDnXfYUwA33FDFhsNoceiieize1M_VNOnmbv1Vkkwi-ehdIDlMQ_8-70W4c5zfIL2NC66dnpHK3pUeDdu1mQ-U4UBxGXqJkz4/w553-h898/vencat%20curry%20powder%201955.jpg" width="553" /></a></div><br /><p>I started wondering what Vencat was. After some googling, I found<a href="https://www.thehindu.com/news/cities/chennai/the-long-story-of-how-a-dalit-family-once-ruled-the-global-condiment-industry/article67193814.ece" rel="nofollow" target="_blank"> this article</a> dated August 2023 in The Hindu written byA.B. RAJASEKARAN. . </p><p>Vencat is "<!--[if gte mso 9]><xml>
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Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
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<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
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<![endif]--><span style="color: black; font-family: Merriweather; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-IN; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">the preferred brand of spice at Buckingham Palace over a century ago."</span></p><p><span style="color: black; font-family: Merriweather; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-IN; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">"</span>Long before Indian companies ventured out to foreign shores,
one Indian brand was already truly a global brand. It ruled the global curry
powder and pickles industry for close to 100 years. The brand, Vencatachellum
Madras Curry Powder, is owned by a company founded by an Adi Dravidar, a
scheduled caste, from Madras.</p>
<p class="MsoNormal">The brand name was synonymous with Madras Curry Powder the
world over and continues to be fondly remembered in many countries including
the UK and Australia long after its heyday."</p><p class="MsoNormal">"P. Vencatachellum Condiments registered their name,
‘Vencatachellum Madras Curry Powder’ along with distinctive label with peacock
as a trademark in the UK and Australia in 1894. P. Venkatachellum’s products
were made from the finest ingredients sourced from India and abroad using
proprietary recipes. Curry powder was made of red chilies from Odisha, turmeric
from Chittagong, coriander from Kerala, and couple of secret ingredients."</p><p class="MsoNormal">"It is an incredible feat that such a large global company
was built by a Dalit family in the 19th Century. This is an example of the
entrepreneurial spirit of Dalits. The fact that the trademark Vencatachellum is
still recalled around the world speaks volumes about the goodwill the company
created."<br /></p>
<p><span style="color: black; font-family: Merriweather; font-size: 11.0pt; line-height: 107%; mso-ansi-language: EN-IN; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> </span></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-47922961657560541842024-03-07T09:00:00.015+05:302024-03-07T09:00:00.129+05:30श्रावण शुक्रवारची कहाणी...The Folktale That Thrives<p> <span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"></span></p><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">माझ्या लहानपणी मी "संपूर्ण चातुर्मास" ह्या मराठीतील एका सर्वाधिक खपाच्या पुस्तकातील कहाण्या वारंवार वाचत असे, <span><a tabindex="-1"></a></span>कारण मला सतत वाचायला काहीतरी लागत असे. </div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">त्या काळात त्या सर्व मला पाठ होत्या. आजही सर्व लक्षात आहे. मराठीचा तो एक मोठा सांस्कृतिक ठेवा आहे. त्या किती प्राचीन आहेत याची मला , भोंडल्याच्या गाण्यांसारखीच कल्पना नाही. </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">त्यातील माझी सर्वात आवडती कहाणी होती/ आहे "शुक्रवारची कहाणी". ती कहाणी मला इतकी आवडत असे की मी तिचा उस्फुर्तपणे वाक्प्रचार म्हणून किंवा दाखला द्यायला वापरत करत असे. </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">मला माहित नव्हते की जसा भारतात काळ जाईल, तसे ती कहाणी भारताच्या मध्यमवर्गीयांचे रूपक म्हणून सर्वात जास्त लागू ठरेल. सध्या माझ्या सर्वत्र "श्रावण शुक्रवारची कहाणी" सुरु असते. पैसा आणि रूप हे बहुतेक मराठी मध्यमवर्गीय समाजाचे दोनच यशाचे आणि सुखाचे मानदंड होऊन बसले आहेत. </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">त्या कहाणीचा छोटा भाग वाचा: </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">"... इतक्यांत जेवायचीं पानं वाढलीं. ताईचं पान आपल्या शेजारीं मांडलं. भाऊ जेवायला बसला. ताईनं आपली शालजोडी काढून बसल्यापाटीं ठेवली. भाऊ पाहूं लागला. मनांत कल्पना केली, शालजोडीनं उकडत असेल म्हणून काढीत असेल. नंतर ताई आपले दागिने काढू लागली. बसल्यापाटीं ठेवूं लागली. भावानं विचार केला, जड झाले, म्हणून काढीत असेल, नंतर ताईनं भात कालवला, मोठासा घांस केला, तो उचलून सरीवर ठेवला, भाजी उचलून ठुशीवर ठेवली. लाडू उचलून चिंचपेटीवर ठेवला. जिलबी उचलून मोत्यांच्या पेंद्यावर ठेवली.</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">भावानं विचारलं, “ताई ताई, हें काय करतेस?” ती म्हणाली, “दादा, मी करतें हेंच बरोबर आहे. जिला तूं जेवायला बोलावलंस तिला भरवतें आहे.” भाऊ कांहीं हें समजेना. त्यानं तिला पुन्हां सांगितलं, “अग ताई, तूं आतां जेवू तरी.” तिनं सांगितलं, “बाबा, हें माझे जेवण नाहीं, हें या लक्ष्मीचं जेवण आहे...."</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">रावबहादुर माधव विश्वनाथ धुरंधर ( १८ मार्च १८६७ - १ जून १९४४ ) यांनी ती कहाणी चित्रबद्ध (सोबतचे चित्र) केली होती, C. A. Kincaid यांच्या 'Deccan Nursery Tales; or, Fairy Tales from the South' १९१४ साली प्रसिद्ध झालेल्या पुस्तकासाठी.</div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirzL8BJEia6frGdk6065vd5Dq6QWp7_1KU2ELhoj2d5mf1R6AbpO7uemIH_Fwgmtrj0ees5tsAffXMhH4pctpeOi1gORBjbiWGjn14q64OM6LlTkAjzVePFyN9_EdRcZ_2UeRVKU4MhQvWbSXeMt-VN6WwhZqezqdOQGPky4lJwSN1xgbOmsNf/s720/M%20V%20Dhurandhar%20shukravarchi%20kahani.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="501" height="804" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirzL8BJEia6frGdk6065vd5Dq6QWp7_1KU2ELhoj2d5mf1R6AbpO7uemIH_Fwgmtrj0ees5tsAffXMhH4pctpeOi1gORBjbiWGjn14q64OM6LlTkAjzVePFyN9_EdRcZ_2UeRVKU4MhQvWbSXeMt-VN6WwhZqezqdOQGPky4lJwSN1xgbOmsNf/w560-h804/M%20V%20Dhurandhar%20shukravarchi%20kahani.png" width="560" /></a></div><br /> </div></div><p></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-57627443066913805312024-03-04T09:00:00.105+05:302024-03-04T09:00:00.415+05:30बन बांबूंचें पिवळ्या गातें, आकाशांतिल बिनाकागीतमाला;...Unparalleled Success Called Binaca Geetmala <p>माझ्या लहानपणी लांब कोळीष्टकासारखी दिसणारी एरियल रेडिओ साठी घरात लावली जात असे, तत्पूर्वी काही वर्षे रेडिओ साठी घराच्या बाहेर पिवळ्या, बांबू पासून बनवलेल्या एरियल लावल्या जात असत... म्हणून मर्ढेकर म्हणतात बन बांबूंचें पिवळ्या गातें... <br /></p><p>बा सी मर्ढेकर: </p><p>"बन बांबूंचें पिवळ्या गातें </p><p>आकाशांतिल अधोरेखितें;</p><p>..." (२, पृष्ठ ७४, मर्ढेकरांची कविता, १९५९-१९७७)</p><p>मी:</p><p>"बन बांबूंचें पिवळ्या गातें </p><p>आकाशांतिल गीतमाला;</p><p>..."</p><div dir="auto"><div class="x1iorvi4 x1pi30zi x1l90r2v x1swvt13" data-ad-comet-preview="message" data-ad-preview="message"><div class="x78zum5 xdt5ytf xz62fqu x16ldp7u"><div class="xu06os2 x1ok221b"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><div class="xdj266r x11i5rnm xat24cr x1mh8g0r x1vvkbs x126k92a"><div dir="auto" style="text-align: start;">फेब्रुवारी २० २०२४ रोजी अमीन सयानी वारले आणि माझ्या मिरज येथील लहानपणाच्या अनेक गोष्टी समोर आल्या.... </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">बिनाका गीतमाला (१९५२-१९८८) काय गगनचुंबी प्रकार होता हे आज बऱ्याच लोकांना समजणार नाही...आम्ही मिरजेला रहात असताना, जवळजवळ १९८५ साल पर्यंत, तो दर बुधवारी रात्री 8 ते 9 मध्ये होणारा रेडिओ सिलोन वरील कार्यक्रम, आयुष्याचा अविभाज्य भाग होता...</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">बहुतेक प्रत्येक घरात-दारात तो कार्यक्रम चालू असल्यामुळे, त्याचा एक प्रतिध्वनी तयार होऊन सबंध अंतराळात त्याचा आवाज घुमत असे (म्हणून <span><a tabindex="-1"></a></span>गगनचुंबी)....दूरदर्शन वरती नंतर अनेक लोकप्रिय कार्यक्रम झाले पण बिनकाची लोकप्रियता (भारतातील किती टक्के लोक तो ऐकत असत ह्या आधारावर) त्यांनी कदाचित गाठली नसावी... </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">बिनाका हे हिरव्या रंगाच्या, किंचित महाग टूथपेस्ट चे नाव होते...गाण्याच्या मधून येणाऱ्या बिनाका च्या जाहिराती (जिंगल्स) मला खूप आवडतं असत....एक होती "हे-हे- बिनाका ग्रीन, बिनाका ग्रीन... हे-हे- बिनाका ग्रीन, बिनाका ग्रीन"...त्याच्या आठवणीने सुद्धा बरे वाटते...बिनाका महाग असल्यामुळे आम्ही ती क्वचितच विकत आणली, आम्ही कोलगेट टूथपेस्ट आणि टूथ पावडर वापरत असू.. </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">माझी तत्कालीन हिंदी गाण्यांची आवड १९७७ नंतर कमी होऊ लागली पण धाकटा भाऊ आणि बहीण मात्र जेवणाचे ताट घेऊन आमच्या माडीवर जाऊन तिथे ठेवलेल्या आमच्या रेडिओ पाय (ब्रँडचे नाव) वर तो कार्यक्रम लक्ष देवून ऐकत असत....</div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">अमीन सयानी अतिशय उत्तम समालोचक होते पण कधी कधी जरा ते जास्तच भाऊक होऊन नाटकी बोलत असतं...त्यांच्या काळात काही वादग्रस्त गोष्टी सुद्धा झालेल्या आहेत... त्यांच्यावर आरोप झाले होते की काही संगीतकारांना आणि त्यांच्या गाण्यांना प्रमोट करत असत... इसाक मुजावर या माझ्या आवडत्या लेखकाचा लेख आठवतो... ( I wrote on Feb 27 2015 on FB after Mr. Mujawar had died: <span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto">I remember his longish article in one Diwali number of 'Rasrang': 'Victims of Hammer music' (हॅमर म्यूज़िकचे बळी) <span></span>where
he rued how the 'old' music directors like Anil Vishwas, Roshan, Madan
Mahan etc fell prey to Binaca style publicity verging on
propaganda....for him, it was big time fixing....). </span> </div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">सयानी एक पूर्णतः व्यावसायिक होते आणि राहिले, त्यांच्या मुळे हिंदी सिनेसंगीताचे भले झाले, त्याचा दर्जा वाढला असे मी म्हणणार नाही... <br /></div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">बिनाका गीतमाला हे पर्व सगळ्या पर्वांसारखे आता सर्वार्थाने संपले..</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">दीनानाथ दलालांची सोबतच्या चित्रातील नायिका सुद्धा बिनाका ऐकत आहे असे वाटते पण ते चित्र जानेवारी १९४७ चे आहे!</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">कृतज्ञता: श्री दलाल यांच्या कलाकार्याचे कॉपीराईट होल्डर्स</div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjarpgOLD0iTgMq9ocBcZvVH5gLqUFUtTP8XcQ_10o1HXZTK3TGwK337hKsZXdhEfhzObRA3v3uZtXyfd373a9cx_S0GkVPl2Mn5YZn4yJKvzfumXP7sJ6aFwsOqyWpedJf85lIexgpc4cdl0ftFPYlsYiTr0umkrCBkBzoo_M7dOfGjBKSfTQa/s1920/dinanath%20dalal%20Jan%201947%20radio.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1920" data-original-width="1458" height="750" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjarpgOLD0iTgMq9ocBcZvVH5gLqUFUtTP8XcQ_10o1HXZTK3TGwK337hKsZXdhEfhzObRA3v3uZtXyfd373a9cx_S0GkVPl2Mn5YZn4yJKvzfumXP7sJ6aFwsOqyWpedJf85lIexgpc4cdl0ftFPYlsYiTr0umkrCBkBzoo_M7dOfGjBKSfTQa/w570-h750/dinanath%20dalal%20Jan%201947%20radio.jpg" width="570" /></a></div></div></div></span></div></div></div></div>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-7468119601568944112024-03-01T09:00:00.037+05:302024-03-01T09:00:00.130+05:30Opium, British Occupation of India, Indian Farmers and World’s First Drug Cartel<p> </p><div class="" dir="auto"><div class="x1iorvi4 x1pi30zi x1l90r2v x1swvt13" data-ad-comet-preview="message" data-ad-preview="message" id=":r6b:"><div class="x78zum5 xdt5ytf xz62fqu x16ldp7u"><div class="xu06os2 x1ok221b"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><div class="xdj266r x11i5rnm xat24cr x1mh8g0r x1vvkbs x126k92a"><div dir="auto" style="text-align: start;">प्लासी च्या लढाई नंतर काय काय झाले ते पहा... </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">Amitav Ghosh, 'Smoke and Ashes: A Writer's Journey Through Opium's Hidden Histories', 2023:</div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">"... Equipped with English weaponry, the army of the Bengal Presidency marched steadily westward, at the expense of the increasingly enfeebled remnants of the Mughal Empire. In 1757 and 1764 the East India Company defeated the tottering indigenous powers in two decisive battles. The territories that came with those victories were quickly <span><a tabindex="-1"></a></span>incorporated into the Company’s Bengal Presidency, which from then on extended deep into the Gangetic plain, well past the city of Patna. This meant that much of the hinterland of the military labour market, as well as most of the opium-producing region of Bihar, was now in English hands; both would prove strategically crucial to the fortunes of the East India Company.</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">The English, like the Dutch and the French, had long maintained a ‘factory’ or trading station in Patna, so its officials were intimately familiar with the workings of the opium business. For a few years after the British conquest, the Europeans competed against each other in procuring opium, with the result that the acreage under poppy cultivation in the region soared from 283,000 hectares to 303,500 hectares in just one year. ‘This large-scale conversion of paddy fields into poppy cultivation,’ writes the historian Emdad-ul Haq, ‘contributed to a famine in Bengal in 1770. This famine caused the death of 10 million people in an area that had been traditionally known as the “Golden Bengal” due to its natural resources...."</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">इंग्रज आणि इतर युरोपियन सत्तांमुळे भाताऐवजी अफू चे पीक घेणे वाढले आणि त्याचे पर्यवसान १७७० च्या बंगालच्या दुष्काळात होऊन १ कोटी लोक मृत्यमुखी पडले ( त्या दुष्काळाची इतर कारणे पण दिली जातात)... आणि तरी १९व्या शतकातील काही भारतीय इंग्रजांचे कौतुक करत होते! <br /></div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">घोष यांचे पुस्तक वाचताना लक्षात येते की १८व्या शतकापासून आपण अफू हा भारतीय इतिहासातील फार मोठा घटक मानला पाहिजे... भारतात गांजाचा प्रसार सर्वदूर असला तरी बहुतेक भारतीय लोक युरोपियन लोक येई पर्यंत अफू पासून दूर होते (त्यांना जवळजवळ अफू माहितीच नव्हती)... पण ते झपाट्याने बदलले...</div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"><div class="" dir="auto"><div class="x1iorvi4 x1pi30zi x1l90r2v x1swvt13" data-ad-comet-preview="message" data-ad-preview="message" id=":r5a:"><div class="x78zum5 xdt5ytf xz62fqu x16ldp7u"><div class="xu06os2 x1ok221b"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><div class="xdj266r x11i5rnm xat24cr x1mh8g0r x1vvkbs x126k92a"><div dir="auto" style="text-align: start;">अलीकडे अनेक कारणांमुळे आपण भारतातील शेतकऱ्यांचे महत्व जाणतो किंवा जाणायला लागलो आहोत. अलीकडे त्यांच्या जीवनातील अनेक गोष्टी आपल्या समोर येतात- भाजीमालाचे भाव, पिकाची निवड, निसर्गात झालेल्या उलथापालथीचा त्यांना बसलेला फटका ... वगैरे. </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">शिवाजी महाराजांनी लिहलेली, शेतकऱ्यांच्या संबंधातील त्यांची अपार संवेदना दाखवणारी, पत्रे आपण वाचली असतात... बाकीच्या राज्यकर्त्यांचे काय? </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">मागच्या पोस्ट मध्ये बंगालमधील १७७०च्या दुष्काळाबद्दल लिहले, आता वाचा दुष्काळ नसताना इंग्रजांचा बिहार मधील <span><a tabindex="-1"></a></span>शेतकऱ्यांच्या संबंधातील कारभार... इंग्रजांनी त्यांच्यावर अफूचे पीक लावायची आणि आलेली अफू त्यांना इंग्रजांना उत्पादन शुल्काच्या कमी किमतीत विकायची सक्ती केली होती... </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">"... So, far from making any money by growing this hugely valuable commodity, the poppy farmers of eastern India actually made significant losses on their harvest. Why, then, did they grow this crop? The reason was succinctly explained in a petition signed by hundreds of farmers: ‘We cultivate the poppy under pressure from Government, otherwise we would not do it, and our prayer is that we may be released from this trouble.’</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">The system was, therefore, coercive to its core: not only did farmers have to deal with the ever-looming threat of violence, but they also had no choice other than to plant poppies because the Opium Department stipulated that nothing else could be grown on land that had been earmarked for that purpose. Farmers could be evicted if they planted any other crop, and since most poppy growers were ‘tenants at will’, they were in constant danger of losing their land. So strict and punitive were the laws of the Opium Department that farmers were essentially trapped within a net of legal obligations and debt bondage. Even in times of famine, they had no recourse but to grow poppies in order to slake the British Empire’s inexhaustible appetite for opium."</div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">दुष्काळात सुद्धा त्यांना अफू लावणे सक्तीचे होते!</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">"Through the first half of the eighteenth century exports of opium to China had seldom exceeded 200 chests, but by 1767 the number had increased to 1,000.49 With the setting up of the Opium Department, the figure grew to 4,570 chests in 1800, and was stable at around 4,800 for a while. But after 1830 exports grew rapidly, and opium soon became the keystone of the colonial economy: ‘like the yeast in bread dough’ it was the substance ‘upon which the entire structure depended’. Or, as an article in a journal published by the US National Defense University notes: ‘English merchants, led by the British East India Company, from 1772 to 1850, established extensive opium supply chains … creating the world’s first drug cartel.’..."</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">१७७२-१८५० काळात इंग्रज सरकार जगातील पहिले ड्रग कार्टेल होते, जे भारतीय शेतकऱ्यांचे रक्त पित होते.... </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">"... This system was, therefore, on its own terms, one of the most successful commercial ventures in human history, producing immense profits for the British Empire for well over a hundred years. The opium trade was thus an essential element of an emerging capitalist system that was then spreading rapidly across the globe. Yet, far from being a free market, this system was firmly founded on colonialism and race; in that sense it was an instance of what Cedric J. Robinson called ‘racial capitalism’..."</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">जवळजवळ १०० वर्षे, इंग्रजांचा मुख्य धंदा आणि उद्दिष्ट होते भारतात अफू बनवून चीनला विकणे आणि त्या बदल्यात तिथे चहा विकत घेऊन तो ब्रिटन ला पाठवणे.... </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">(Amitav Ghosh, 'Smoke and Ashes: A Writer's Journey Through Opium's Hidden Histories', 2023 वर आधारित)</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">सोबत - अफूचे शेत</div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAt9Aj_R40r03hRKRCDrgjlvU0X2T438AkvEltaPTc3qEHPJK4tK3YHYri1OppNHU2tssqbpd9bgNVmpkNz8J2WIYuHS5PF6YQdrR6UZNNFgTte6rcrWFI8bWdQY4VhiyafPN-LCZ4ipN1phNBgw0ioK3PlyJRmnSt27OG4H2KCXB4NJmstRD2/s640/fileld%20of%20poppies.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="426" height="845" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAt9Aj_R40r03hRKRCDrgjlvU0X2T438AkvEltaPTc3qEHPJK4tK3YHYri1OppNHU2tssqbpd9bgNVmpkNz8J2WIYuHS5PF6YQdrR6UZNNFgTte6rcrWFI8bWdQY4VhiyafPN-LCZ4ipN1phNBgw0ioK3PlyJRmnSt27OG4H2KCXB4NJmstRD2/w562-h845/fileld%20of%20poppies.jpg" width="562" /></a></div><br /> </div></div></span></div></div></div></div> </div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"> </div></div></span></div></div></div></div>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-15041170044431309162024-02-27T09:00:00.046+05:302024-02-27T09:00:00.140+05:30आपले साहित्यिक भाषणं झोडत का असतात?...V S Khandekar Answers Jaywant Dalvi<span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"></span><div class="xdj266r x11i5rnm xat24cr x1mh8g0r x1vvkbs x126k92a"><div dir="auto" style="text-align: start;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAH9yXONVCuTiHpASsqw2W80ZP-MNN5brDYc83P2C0bkDxC_Tx2FVfWQ4QgW6myhpqjmq4h_243YLKMTxhprLg9pVmHNkJXU7Rjk_Y9n6jkuDZZuhC1HS5_Yx3xt7HRPQC1Qh6O49qMIKmxikd81XthTLnOJrE5naTkJhDCjcCExue0Sm6uV7-/s640/saul%20steinberg%20speech.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="508" height="718" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAH9yXONVCuTiHpASsqw2W80ZP-MNN5brDYc83P2C0bkDxC_Tx2FVfWQ4QgW6myhpqjmq4h_243YLKMTxhprLg9pVmHNkJXU7Rjk_Y9n6jkuDZZuhC1HS5_Yx3xt7HRPQC1Qh6O49qMIKmxikd81XthTLnOJrE5naTkJhDCjcCExue0Sm6uV7-/w570-h718/saul%20steinberg%20speech.jpg" width="570" /></a></div><br /> </div><div dir="auto" style="text-align: start;">Artist: <b>Saul Steinberg </b></div><div dir="auto" style="text-align: start;"><br /></div><div dir="auto" style="text-align: start;">मराठीतील प्रथम ज्ञानपीठ पुरस्कार विजेते, पदमभूषण, आणीबाणीचा निषेध न करणाऱ्या वि. स. खांडेकरांवर दुर्गाबाई आणि अनेकांनी तुफान टीका केली असली आणि मला ही त्यांची 'ययाती' सकट अनेक पुस्तके आवडली नसली तरी, त्यांच्या आणि ना सी फडके यांच्या समीक्षेबद्दल मला आदर वाटत आला आहे. </div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">समीक्षा फक्त कलेचीच नाहीच तर कधी समाजाची सुद्धा. </div></div><p></p><div dir="auto"><div class="x1iorvi4 x1pi30zi x1l90r2v x1swvt13" data-ad-comet-preview="message" data-ad-preview="message" id=":r1nj:"><div class="x78zum5 xdt5ytf xz62fqu x16ldp7u"><div class="xu06os2 x1ok221b"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">जयवंत दळवींनी (१९२५-१९९४) घेतलेल्या खांडेकरांच्या १९७० सालच्या दोन मुलाखती वाचून तर मला याची खात्री पटली. त्यातील बरेच भाग मला उद्धृत करावेसे वाटतात. </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">मी मिरजेला रहात असताना <span></span>(१९६१-१९८१), मिरज विद्यार्थी संघाचे आणि तेथील वसंत व्याख्यान मालेचे सर्वेसर्वा आणि आमचे सर वसंतराव आगाशे व आमचे कौटुंबिक स्नेही पंडितराव खाडिलकर जमेल त्यावेळी कोल्हापूरला जाऊन खांडेकरांचे मार्गदर्शन घेत असत. ते किती मौल्यवान असेल याची मला आज ४०-५० वर्षांनंतर खात्री पटते आहे. </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">जी ए कुलकर्णी खांडेकरांचे फॅन आहेत असे कधीच वाचनात येत नाही पण ते त्यांचे प्रत्येक पुस्तक खांडेकरांना पाठवत. खांडेकर जीएंना लिहलेल्या एका पत्रात लिहतात - "आज मास्टर विनायक असते तर त्यांनी तुमच्या कथेवर उत्तम चित्रपट काढला असता"... (हे अगदी माझेच शब्द मला वाटतात).... ह्या वाक्यावरून खांडेकरांचे साहित्य आणि सिनेमा ह्या दोन्ही कलांचे ज्ञान आपल्याला कळते. </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">दळवींच्या मुलाखतीत खांडेकरांनी सखाराम बाइंडरची केलेली समीक्षा आणि १९-२०व्या शतकातील मराठी साहित्याचा जागतिक साहित्यासमोरचा थोटकेपणा याचे खांडेकरांनी केलेले कारणासहित विश्लेषण वाचण्यासारखे आहे आणि मला ते पटले. </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">दळवींनी त्यांना साहित्यिक सध्या (आणि ते २०२३ साली जास्त लागू आहे) इतकी सगळ्या विषयांवर भाषणे का ठोकत असतात, हे विचारले... पुढचे सोबतच्या फोटोत वाचा...<br /></div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEn5P6fu9azC2qXKA20TlNgCLYMhk5q-aaYnQRVDnP270TM5-RoYP32Huqf7kVPhRJMQi_BnR_pLae9h9vPMrd2UQmRmk83s7kUXav6GCMAVFVvKxVDGDD6sisSTvU20srQRAlsn4he0wAjB8bWNubAu2wAjjIZyS14w4EVm53oRT1W_8So4oC/s1550/v%20s%20khandekar%20on%20writers%20yapping.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1423" data-original-width="1550" height="535" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEn5P6fu9azC2qXKA20TlNgCLYMhk5q-aaYnQRVDnP270TM5-RoYP32Huqf7kVPhRJMQi_BnR_pLae9h9vPMrd2UQmRmk83s7kUXav6GCMAVFVvKxVDGDD6sisSTvU20srQRAlsn4he0wAjB8bWNubAu2wAjjIZyS14w4EVm53oRT1W_8So4oC/w582-h535/v%20s%20khandekar%20on%20writers%20yapping.jpg" width="582" /></a></div> </div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">कृतज्ञता: श्री गिरीश जयवंत दळवी (पृष्ठ ३०-३१, 'साहित्यिक गप्पा: दहा साहित्यिकांशी', जयवंत दळवी, १९८६-२०१३)</div></div></span></div></div></div></div>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-50484629355799802492024-02-24T09:00:00.119+05:302024-02-24T09:00:00.137+05:30Dr. Anantaraman of IIT, Madras always Noticed Pythagoras!<p>At IIT Madras 1981-1983, we had a great teacher Dr. V. Anantaraman for Organizational Behaviour. He was tall, dark, on fatter side, shirt always tucked in and had booming voice. Commanding presence in a classroom. </p><p>He was an alumnus of Cornell University, US. (some other notable teachers then were - R K Gupta, L V L N Sarma, Dipak Chaudhuri, R Rajagopalan, T T Narendran, Rita Ghatak, Smt. S Kalpakam)<br /></p><p>He made every lecture very interesting by illustrating all the theory with examples from real life , of which there was no shortage because he had huge experience as a consultant and sharp observational skills of life around him. </p><p> For instance he was helping then Madras local bus transport company called PTC and had helped them make many changes to their organizational structure successfully. He also was involved with a few student activities and was very popular among students. Therefore, illustrations for the theory also came from the campus. <br /></p><p>Sprawling and beautiful IIT Madras campus then had every major department named as a block and housed in a separate building. Typically students, faculty and other staff during a day walked or cycled around from one block to another for various reasons. </p><p>The formal paths from one block to another were marked using tiles etc but people almost always took shorter paths, not using formal, marked roads in the process. Anantaraman gave that example to us while teaching OB. </p><p>This cartoon reminded me of my Professor...Anantaraman would be smilingly tell us - I-told-you...he always anticipated Pythagoras<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJF8uQqxLw-bGTJzEl6zH4pP6djsrclYwJXXF9V7zXvEy1atFkX5eWZrEdbsF-4Rui2fBsUII1kcD_dOTlDaF50Nv_8TFigGpiUzqJWWlPLRH18NscMWhDOhT61qw7abJXmAvOKbu3w7S5oFq6swq1TsdUmCVnO4-ZUFrCODsUs9Zn7LDKfeaD/s934/pythagoras.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="934" data-original-width="843" height="626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJF8uQqxLw-bGTJzEl6zH4pP6djsrclYwJXXF9V7zXvEy1atFkX5eWZrEdbsF-4Rui2fBsUII1kcD_dOTlDaF50Nv_8TFigGpiUzqJWWlPLRH18NscMWhDOhT61qw7abJXmAvOKbu3w7S5oFq6swq1TsdUmCVnO4-ZUFrCODsUs9Zn7LDKfeaD/w565-h626/pythagoras.jpg" width="565" /></a></div>artist: Not known to meAniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-1483086118529156672024-02-21T09:00:00.042+05:302024-02-21T09:00:00.488+05:30Knowing only Life until they are on the Brink of Dying....John Gray and Amy Hwang on Cats<p><b> John Gray</b>, 'Feline Philosophy: Cats and the Meaning of Life', 2020 :</p><p>"...Cats were many things in ancient Egypt: sometimes companions of human beings as they passed on to another life, at other times manifestations of gods, at still others protectors of the gods. That they could be all of these at once testifies to the subtlety of the archaic Egyptian mind. But it also speaks to the presence of cats themselves. Cats symbolized an affirmation of life in a world preoccupied with the dead. Egyptian religion responded to the prospect of death by preparing for life in another world, but it needed cats to preserve a sensation of being alive in the realm beyond the grave. Knowing only life until they are on the brink of dying, cats are not ruled by death. The Egyptians had good reason for wanting cats to join them in the journey through the underworld.</p><p>When it came to death, humans and cats were in the same boat. No one in ancient Egypt believed that humans have souls while cats do not. But if the soul is untouched by death, the feline soul is closer to immortality than the human soul can ever be."</p><p> <Knowing only life until they are on the brink of dying, cats are not ruled by death.>...how true...Cat on the deathbed is thinking only of napping...that is soul untouched by death!<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOWF47ukBopKgAiEk6ukeerBMKJ2HoUYkJQ6eDU93ptzVlGp6m9VG27ajURK_vVKcKntpOaULt4ZJemaOMBNN6fSnStigtdVadjMHWPyzV8a3V0FKZBZluqwpXQLn9Om0tf7sPt_UUG9938X7IclaiNQS9ogokbk8i365nZyJOGaCYl7BSnJI-/s1099/Amy%20Hwang%20deathbed%20not%20napping%20more.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1099" data-original-width="1080" height="596" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOWF47ukBopKgAiEk6ukeerBMKJ2HoUYkJQ6eDU93ptzVlGp6m9VG27ajURK_vVKcKntpOaULt4ZJemaOMBNN6fSnStigtdVadjMHWPyzV8a3V0FKZBZluqwpXQLn9Om0tf7sPt_UUG9938X7IclaiNQS9ogokbk8i365nZyJOGaCYl7BSnJI-/w585-h596/Amy%20Hwang%20deathbed%20not%20napping%20more.jpg" width="585" /></a></div><br /> Artist: <span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><b>Amy Hwang, The New Yorker</b>, August 2023<br /></span><p></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-77132952283682101922024-02-18T09:00:00.144+05:302024-02-18T09:00:00.137+05:30माझे तळे परत येणार नाही हे नक्की...At a Bend in the Ganges<p>ऑगस्ट २०२३ मध्ये आर्थर गेट्झ (Arthur Getz) यांचे ऑगस्ट १९६६ चे न्यू यॉर्कर चे मुखपृष्ठ पहिले आणि मला माझ्या १९६६ च्या सुमाराच्या वर्षांची आठवण झाली. </p><p>त्या आठवणींच्या केंद्रस्थानी आहे मिरजेच्या पूर्वेला असलेले तासगाव वेशीच्या मारुतीचे देऊळ (मिशन हॉस्पिटल ते मिरज मेडिकल कॉलेज ह्या रस्त्यावर) आठवले. ते आमच्या घरापासून लांब होते. ३ किमी तरी असावे. आमची आई आम्हाला तिथे केंव्हातरी घेऊन जायची. आम्ही पायी जायचो. त्यामुळे ते आमच्या लहान मुलांच्या कुटुंबाला पोचायला नक्कीच अवघड होते. </p><p>त्या छोट्या देवळाच्या शेजारी एक उथळ पण स्वछ पाण्याचे तळे होते. तसे मोठे होते. मी तिथे सोबतच्या चित्रातल्या मुलाप्रमाणे दगड टाकून पाण्यावर भिंगऱ्या काढायचो. प्रत्येक फेकीत दोन-तीन तर अगदी सहज निघत असत. </p><p>तो भाग त्याकाळी निर्मनुष्य होता. रस्त्यावर वाहन, आवाज क्वचितच असे. तिथे जीव इतका रमत असे की (भूक लागली नसेल तर) परत यायला नको वाटे. </p><p>आता तो भाग मला ओळखता तर येत नाहीच पण अतिशय विद्रुप झाला आहे, देऊळ आहे पण तळे नाहीसे झाले. या पुढे पृथ्वीचे काय होणार माहित नाही पण मी असे पर्यंत माझे तळे परत येणार नाही हे नक्की. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1aVJsmTQkkIOVqBmm7pCQM5iBlTxBleq_9Xujx9GhAxrqUMvvuC30Dp3Y8kHc31OYFnoD6DH11upV8AjpMDEgF1lE3auA9vCSCmhSGZiVM_oxzQI4jaFOYoGTBrzkbW26Dy3SzVLU0RS42EiBBQED4lXe9zcdUYGtcmLLDknEp-8eEs_wF6VC/s1500/Arthur%20Getz.%20aug%201966%20bhingorya.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1050" height="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1aVJsmTQkkIOVqBmm7pCQM5iBlTxBleq_9Xujx9GhAxrqUMvvuC30Dp3Y8kHc31OYFnoD6DH11upV8AjpMDEgF1lE3auA9vCSCmhSGZiVM_oxzQI4jaFOYoGTBrzkbW26Dy3SzVLU0RS42EiBBQED4lXe9zcdUYGtcmLLDknEp-8eEs_wF6VC/w560-h800/Arthur%20Getz.%20aug%201966%20bhingorya.jpg" width="560" /></a></div><p></p><p><br /></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-20058053467281630282024-02-15T09:00:00.034+05:302024-02-15T09:00:00.138+05:30Hanging in Army Barracks and School Dorm<p> I saw the following picture in August 2023:</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKqKWr6jO9l1Nr6I3L0TWdRKZe03eyWhLdqFt6TcstfVrrq1gLSQwAGJF29Rya50EUMErx8ciJcST5q0CKFA6PQ8CzeKc5DOZa9Jgr2VyYE2fzoSRHXqTfJWsHNR8Yzv2V1noHh4fQu_-VjEmV1vdXUt2SMs5sYGB8rNWYa4KutGwzBDfZBew4/s900/William%20Cotton%20New%20Yorker%201944.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="625" height="802" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKqKWr6jO9l1Nr6I3L0TWdRKZe03eyWhLdqFt6TcstfVrrq1gLSQwAGJF29Rya50EUMErx8ciJcST5q0CKFA6PQ8CzeKc5DOZa9Jgr2VyYE2fzoSRHXqTfJWsHNR8Yzv2V1noHh4fQu_-VjEmV1vdXUt2SMs5sYGB8rNWYa4KutGwzBDfZBew4/w556-h802/William%20Cotton%20New%20Yorker%201944.jpg" width="556" /></a></div><br /><p>artist: <span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">William Cotton (1880-1958) for </span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">The New Yorker cover August 12, 1944</span></p><p><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">They are 'outraged' by the pictures hanging in a barrack. </span></p><p><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">Now see the picture below:</span></p><p><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmB2JusICS7B81S7G8voJ01YboeHpPgAtKTGEm2SXd8T2RYqNc6V6zXLHOkVj61tFMFz8ZRzsDhsBc5imBa9WflZs2upoFq9QoGLupwsib_bTmTqm4bUnShABvIjZA6J0osL53fDq4H4TdLeQOmdA7b5sQ-oc957Or27g02ooFX4IWkh8wOBRy/s1600/ned%20hilton%20mother's%20pinup%20dorm%20room.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1225" height="737" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmB2JusICS7B81S7G8voJ01YboeHpPgAtKTGEm2SXd8T2RYqNc6V6zXLHOkVj61tFMFz8ZRzsDhsBc5imBa9WflZs2upoFq9QoGLupwsib_bTmTqm4bUnShABvIjZA6J0osL53fDq4H4TdLeQOmdA7b5sQ-oc957Or27g02ooFX4IWkh8wOBRy/w565-h737/ned%20hilton%20mother's%20pinup%20dorm%20room.jpg" width="565" /></a></div><br /> artist: Ned Hilton (1904- 1967) for the New Yorker <p></p><p><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">This time it's a school dormitory and a good explanation for why the picture is there...<br /></span></p><p><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"> </span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-79604847477134135942024-02-12T09:00:00.047+05:302024-02-12T09:00:00.147+05:30Road to Surrender Does Not Mention Dissenting Opinion of Radhabinod Pal<p> I finished reading "Road to Surrender: Three Men and the Countdown to the End of World War II", 2023 by Evan Thomas in August 2023.</p><p>It ended much quicker than I had anticipated.</p><p>"...After about fifty military tribunals all over Asia, nearly a thousand Japanese army officers were executed for specific atrocities, up to and including cannibalism. But the main war crimes trial, the International Military Tribunal for the Far East, held in Tokyo over more than two years stretching into 1948, was on less solid ground. In a massive courtroom carved out of the old War Ministry at Ichigaya Heights (with air conditioning installed), twenty-five senior Japanese officials were tried for “<span id="Y_d1-EndnotePhraseInText456" style="text-indent: 0px;"></span>crimes against peace.” The hope was to put the world on notice that the international community would not tolerate wars of aggression—as opposed to defensive wars...</p><p>...To the Japanese, the proceedings in Tokyo had a strong whiff of “victors’ justice.” The Japanese defendants in the dock could argue, with some merit, that they were being prosecuted because they had lost. The Japanese also argued that they were the victims of white man’s justice, since almost all the judges were white men from colonial powers like Britain and its commonwealth, France, and the Netherlands, as well as the United States..."</p><p>I was disappointed not so much with Japanese attitude towards “victors’ justice.” but that the author forgot to mention three non-white judges on the tribunal. </p><p>One of them being <span><a href="https://en.wikipedia.org/wiki/International_Military_Tribunal_for_the_Far_East" target="_blank">Radhabinod Pal, who had a dissenting opinion</a>. </span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1eJ7mtyj3p0gY4E5_LXyROC5UWIfbnzvfhzkufnkEHDavovUO9tMXDVVlJV5iaiwT5RSBd58At9nZO1tBzjz0Dy9QH7SOl-fUfC8psznJFOSZfZBYLLpqBDCgA_fOddLptE_1QLS3F7YpVEhG3js-fQktHn3pBccAA2XozGEBIoynssMdDH7B/s1273/picture%20of%20the%20Justices%20of%20the%20International%20Military%20Tribunal%20for%20the%20Far%20East%201946.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1273" height="471" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1eJ7mtyj3p0gY4E5_LXyROC5UWIfbnzvfhzkufnkEHDavovUO9tMXDVVlJV5iaiwT5RSBd58At9nZO1tBzjz0Dy9QH7SOl-fUfC8psznJFOSZfZBYLLpqBDCgA_fOddLptE_1QLS3F7YpVEhG3js-fQktHn3pBccAA2XozGEBIoynssMdDH7B/w587-h471/picture%20of%20the%20Justices%20of%20the%20International%20Military%20Tribunal%20for%20the%20Far%20East%201946.jpg" width="587" /></a></div><i><b> </b></i><p></p><p><i><b>The first group picture of the International Justices of the International Military Tribunal for the Far East on July 29 1946.</b></i></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-68689623035197799772024-02-09T09:00:00.033+05:302024-02-09T09:00:00.138+05:30Happiest Observing Fireflies in the Garden...<p>Evan Thomas, "Road to Surrender: Three Men and the Countdown to the End of World War II", 2023:</p><p> "...<span style="-webkit-text-stroke-width: 0px; color: black; display: inline; float: none; font-family: serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 3.9%; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Hirohito is not a commanding presence. His voice is reedy, and he is seen slouching about the palace in slippers, talking to himself. He is happiest observing<span> </span></span><span id="Y_d1-EndnotePhraseInText144" style="-webkit-text-stroke-width: 0px; color: black; font-family: serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span><span style="-webkit-text-stroke-width: 0px; color: black; display: inline; float: none; font-family: serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 3.9%; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">fireflies in the garden and pursuing his passion for sea anemones as a marine biologist. His courtiers try to cheer him up with humorous<span> </span></span><span id="Y_d1-EndnotePhraseInText145" style="-webkit-text-stroke-width: 0px; color: black; font-family: serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span><span style="-webkit-text-stroke-width: 0px; color: black; display: inline; float: none; font-family: serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 3.9%; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Walt Disney cartoons of Mickey Mouse and Donald Duck, seized when the Japanese captured Wake Island. More querulous than confident, Hirohito slumps under the weight of duty...."</span></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline; float: none; font-family: serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 3.9%; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT2Oqo3BBZCpj_3g_JeU63-kCR2mGeaVFuCgH2sLQPswb-8QRXbu4wcRX59g-OqGQ6-m7AmTM8VqWQn_E4lwsQUppAq1shDz_nInsgOdxN3i60cstu6a25xM_p2RpRDDTRAzyuUEpmFvZz5dj5Xycweedibq_0qk7edIxBsPgE5xJHM0H5viUR/s651/Noji%20Mikiko%20(1978%20~%20Japan)%20Fireflies.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="651" data-original-width="500" height="737" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT2Oqo3BBZCpj_3g_JeU63-kCR2mGeaVFuCgH2sLQPswb-8QRXbu4wcRX59g-OqGQ6-m7AmTM8VqWQn_E4lwsQUppAq1shDz_nInsgOdxN3i60cstu6a25xM_p2RpRDDTRAzyuUEpmFvZz5dj5Xycweedibq_0qk7edIxBsPgE5xJHM0H5viUR/w567-h737/Noji%20Mikiko%20(1978%20~%20Japan)%20Fireflies.jpg" width="567" /></a></div><p></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline; float: none; font-family: serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 3.9%; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> </span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">"Fireflies", 1978 by </span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">Noji Mikiko </span></p><p><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span></p><div class="separator" style="clear: both; text-align: center;"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitXFSsVmMNI-7XLl6KCx3lSi73lb0E9CAfryFTPA780SbaX3Jwvyx4AeXz_utBujGRB6EU2vBIX04qiwlea8P6ntjfCWCWqRC2Drx4UXwo3AjKYknsanPWeewQShfUutaEMychygelLbQEAlicLfBKdKgp10OU95bC4BXHu25aL9O06qftvjR9/s2100/Fireflies%20at%20Ochanomizu%20by%20Kobayashi%20Kiyochika,%20ca.%201880.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1352" data-original-width="2100" height="375" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitXFSsVmMNI-7XLl6KCx3lSi73lb0E9CAfryFTPA780SbaX3Jwvyx4AeXz_utBujGRB6EU2vBIX04qiwlea8P6ntjfCWCWqRC2Drx4UXwo3AjKYknsanPWeewQShfUutaEMychygelLbQEAlicLfBKdKgp10OU95bC4BXHu25aL9O06qftvjR9/w583-h375/Fireflies%20at%20Ochanomizu%20by%20Kobayashi%20Kiyochika,%20ca.%201880.jpg" width="583" /></a></span></div><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"><br /> </span><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0">Fireflies at Ochanomizu by Kobayashi Kiyochika, ca. 1880
</span><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto"></span><p></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-37108627700146536282024-02-06T09:00:00.002+05:302024-02-06T09:00:00.138+05:30Christina's World and Harry Bliss's<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbtaSv7lDbVdseawamXnrNw0Y49DbNtZPbNcWNEEUHdu7ll1A7RKKT04YtgUDtjfhECygFpjVuDbJjmRXG5YS4KGqEk6Iq7DiAvzMGL1oGf4AIApRrjQNHEI5VE9MeBZNYQr0kijjVabumI3Oh06jKXDTuD8j41Xvwz6uBNXFnpQN9Ig_X5qZG/s1062/Andrew%20Wyeth.%20Christina's%20World.%201948.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="714" data-original-width="1062" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbtaSv7lDbVdseawamXnrNw0Y49DbNtZPbNcWNEEUHdu7ll1A7RKKT04YtgUDtjfhECygFpjVuDbJjmRXG5YS4KGqEk6Iq7DiAvzMGL1oGf4AIApRrjQNHEI5VE9MeBZNYQr0kijjVabumI3Oh06jKXDTuD8j41Xvwz6uBNXFnpQN9Ig_X5qZG/w590-h397/Andrew%20Wyeth.%20Christina's%20World.%201948.jpg" width="590" /></a></div> <p></p><p> artist: Andrew Wyeth, 1948</p><p></p><p><a href="https://www.moma.org/collection/works/78455" rel="nofollow" target="_blank">MoMA writes</a>:</p><p>"Set in the stark landscape of coastal Maine, <em>Christina’s World</em>
depicts a young woman seen from behind, wearing a pink dress and lying
in a grassy field. Although she appears to be in a position of repose,
her torso, propped on her arms, is strangely alert; her silhouette is
tense, almost frozen, giving the impression that she is fixed to the
ground. She stares at a distant farmhouse and a group of outbuildings,
ancient and grayed in harmony with the dry grass and overcast sky.</p>
<p>Wyeth’s neighbor Anna Christina Olson inspired the composition, which
is one of four paintings by Wyeth in which she appears. As a young
girl, Olson developed a degenerative muscle condition—possibly
polio—that left her unable to walk. She refused to use a wheelchair,
preferring to crawl, as depicted here, using her arms to drag her lower
body along. “The challenge to me,” Wyeth explained, “was to do justice
to her extraordinary conquest of a life which most people would consider
hopeless.”</p>
<p>The high level of detail Wyeth gave to every object in his paintings
encourages intense inspection, but his titles reveal the inner
significance of their outwardly straightforward subjects. The title <em>Christina’s World</em>,
courtesy of Wyeth’s wife, indicates that the painting is more a
psychological landscape than a portrait, a portrayal of a state of mind
rather than a place."</p><p>Now, cartoonist Harry Bliss saw this portrayal of a state of mind but also saw a tick!</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUuIXpCTGI1ZLrnuihnD8tNJHhx4EorVzeMXsQbf0uN5pBALj9g2GuZjIA-a5zTfAyvk8oTZffrYyelbH6sI4jfRRa_f_3k6rue7rQ4sAqFQoWtUoVOV1StIg0UiPRM9rHeQ7OxbI5qV5r3mWawsOr6YDAsf3em7gvxRXRTH15Li_2VhUAEo2/s1024/Christina's%20World%20Harry%20Bliss.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="906" height="644" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUuIXpCTGI1ZLrnuihnD8tNJHhx4EorVzeMXsQbf0uN5pBALj9g2GuZjIA-a5zTfAyvk8oTZffrYyelbH6sI4jfRRa_f_3k6rue7rQ4sAqFQoWtUoVOV1StIg0UiPRM9rHeQ7OxbI5qV5r3mWawsOr6YDAsf3em7gvxRXRTH15Li_2VhUAEo2/w571-h644/Christina's%20World%20Harry%20Bliss.jpg" width="571" /></a></div>artist: Harry Bliss<br /> <p></p><p><br /></p><p><br /></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-25269496988460887042024-02-03T09:00:00.011+05:302024-02-03T09:00:00.135+05:30Belfast, 2021...Raquel Welch is Still a Hell of an Education<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</xml><![endif]--><!--[if gte mso 10]>
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/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0cm 5.4pt 0cm 5.4pt;
mso-para-margin-top:0cm;
mso-para-margin-right:0cm;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0cm;
line-height:107%;
mso-pagination:widow-orphan;
font-size:11.0pt;
font-family:"Calibri",sans-serif;
mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
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mso-bidi-theme-font:minor-bidi;
mso-font-kerning:1.0pt;
mso-ligatures:standardcontextual;
mso-fareast-language:EN-US;}
</style>
<![endif]-->
</p><p class="MsoNormal"><span style="mso-spacerun: yes;">I watched </span><span>Kenneth Branagh's </span><span style="mso-spacerun: yes;">Belfast, 2021 on Netflix in July 2023. Average, forgettable film. But it was funny to hear these dialogues; </span><br /></p><p class="MsoNormal">"...Ma: [sitting with
family in movie theater watching buxom women in skimpy prehistoric garb] No
wonder you brought us to this.</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span>Pa: It's
educational for the boys.</p>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span>Ma: Aye. Raquel
Welch is a hell of an education...."</p><p class="MsoNormal">The family is watching together Welch's <b>'One Million Years B.C.'</b> (1966) at a local cinema. </p><p class="MsoNormal">I wrote a post "<a href="http://searchingforlaugh.blogspot.com/2020/09/raquel-welch80.html" target="_blank">पौगंडावस्थेकाळी धरणीकंप...Raquel Welch@80</a>" on this blog on Sept 5 2020. </p><p class="MsoNormal">"...I saw the movie in early 1970's at <b>Amar</b> talkies in <b>Miraj</b>. I was attracted to it by its poster and Marathi title. <br />
<br />
I liked the film ok. I saw it again a few years ago on TV. <br />
<br />
I don't remember what I liked then: the fight between a <b>Ceratosaurus</b> and a <b>Triceratops</b>- both of them look like caricatures of what we now know they looked like in real- or scantily clad <b>Raquel Welch</b>! <br />
<br />
I guess both. All three of them are in the poster below. I wasn't alone facing that dilemma...."</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJKzqSPFvR4Ry2ZG2sLqDWl3qG4o6PuUG9NaeoWtDtXm1DUHUY2DxPdXzcgWE_XK9RJQCazQPJL5JGw0MNttqi_CQ_zkJM0M7IFqJHRHYaGmPRs18nytI6xdNEQPdS3RXCyZwlaYmSmpoYKfYs9qrbqJ_Wzy3TrvY90jErIOjM8vcbOxbf34aF/s1280/R%20Welch%204.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1280" height="443" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJKzqSPFvR4Ry2ZG2sLqDWl3qG4o6PuUG9NaeoWtDtXm1DUHUY2DxPdXzcgWE_XK9RJQCazQPJL5JGw0MNttqi_CQ_zkJM0M7IFqJHRHYaGmPRs18nytI6xdNEQPdS3RXCyZwlaYmSmpoYKfYs9qrbqJ_Wzy3TrvY90jErIOjM8vcbOxbf34aF/w591-h443/R%20Welch%204.jpg" width="591" /></a></div><p><br /></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-68548524446170271592024-01-31T09:00:00.035+05:302024-01-31T09:00:00.193+05:30गोदावरीचे पाणी पिण्याकरिता जे हत्ती आले...Beauty of Nature in Ramayana<p> चिंतामण विनायक वैद्य:</p><p>"... सहाही ऋतूंचे वर्णन असणे हे एक महाकाव्याचे लक्षण समजले जाते. ऋतूंची वर्णने रामायनाइतकी सुंदर दुसऱ्या कोठेही नाहीत. ... वर्षाऋतूचे वर्णन वाचीत असता आपण पावसात उभे असून पावसाच्या धारा आपल्या अंगावर पडत आहेत की काय असा भास होतो. त्याचप्रमाणे थंडीचे वर्णन करताना "गोदावरीचे पाणी पिण्याकरिता जे हत्ती आले त्यांनी सोंडेने पाण्यास स्पर्श करताच त्या मागे घेतल्या" असे कवीने जे म्हटले आहे, त्यावरून कवीची अवलोकन शक्ती किती सूक्ष्म व दांडगी आहे याची कल्पना येते. दुसऱ्या कोणत्याही काव्यापेक्षा या बाबतीत रामायणाचा नंबर वर लागतो. ..."</p><p>('संस्कृत वाङ्मयाचा इतिहास', 'रामायण', १९२२-१९९४, पृष्ठ ८०)</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk2hUeM2SuM276WdkIKTGsjJn0nQjiOyKhlEYW14yXdL9rdv8r8x9O7nA4nZyNXOun5Trmr7nRJh9sUSUVpxBR16qk83xQB-Ddu9RBtC9zJM5_mabRi8PXULU2qfXayBKqT27TEVXIRCg2pAoLkSrNwg07NAhCq67wbMf6y0CyqBWExB3X4Af1/s600/elephants%20drinking%20river%20water.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="357" data-original-width="600" height="345" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk2hUeM2SuM276WdkIKTGsjJn0nQjiOyKhlEYW14yXdL9rdv8r8x9O7nA4nZyNXOun5Trmr7nRJh9sUSUVpxBR16qk83xQB-Ddu9RBtC9zJM5_mabRi8PXULU2qfXayBKqT27TEVXIRCg2pAoLkSrNwg07NAhCq67wbMf6y0CyqBWExB3X4Af1/w581-h345/elephants%20drinking%20river%20water.jpg" width="581" /></a></div><br /> <p></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-2897852050103535682024-01-28T09:00:00.079+05:302024-01-28T09:00:00.147+05:30Roots of 'Secularism'...a concept that had little meaning outside of a Christian context?<p>John Gray, 'Seven Types of Atheism', 2018:<br /></p><p>"...<span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 16px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">The belief that we live in a secular age is an illusion. If it means only that the power of the Christian churches has declined in many western countries, it is a description of fact. But secular thought is mostly composed of repressed religion. The idea of a secular realm originated in Jesus teaching his disciples to render unto Caesar what is Caesar’s. It is Jewish and Christian monotheism – not the European Enlightenment – that is the chief source of the practice of toleration. But monotheism also inspired many of the anti-liberal movements of modern times. A mix of Christian notions of redemption with a Gnostic belief in the salvific power of knowledge has propelled the project of salvation through politics. With the revival of religion in recent times, we may seem to be living in a post-secular era. But since secular thinking was not much more than repressed religion, there never was a secular era..."</span></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 16px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">John Gray, 'The Silence of Animals: On Progress and Other Modern Myths', 2013: <br /></span></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 16px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">"...</span><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 23.2px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">Humanists today, who claim to take a wholly secular view of things, scoff at mysticism and religion. But the unique status of humans is hard to defend, and even to understand, when it is cut off from any idea of transcendence. In a strictly naturalistic view – one in which the world is taken on its own terms, without reference to a creator or any spiritual realm – there is no hierarchy of value with humans at the top. There are simply multifarious animals, each with their own needs. Human uniqueness is a myth inherited from religion, which humanists have recycled into science..."</span><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 16px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> </span> </p><p>Historian Tom Holland had a lot to say about secularism in his book 'Dominion: The Making of the Western Mind', 2019.</p><p>"...<span style="color: black; font-size: 13.5pt; line-height: 107%;">Naturally,
for it to function as its exponents wished it to function, this could never be
admitted. The West, over the duration of its global hegemony, had become
skilled in the art of repackaging Christian concepts for non-Christian
audiences. A doctrine such as that of human rights was far likelier to be
signed up to if its origins among the canon lawyers of medieval Europe could be
kept concealed. The insistence of United Nations agencies on ‘the antiquity and
broad acceptance of the conception of the rights of man’</span><sup style="-webkit-text-stroke-width: 0px; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"><span style="color: black; font-size: 10.0pt; line-height: 107%;"><a data-9uxdh3kfeuejcdsyzamkh7="{"name": "index.html", "frag": "filepos1504183"}"><span style="font-size: 7.5pt; line-height: 107%;">8</span></a></span></sup><span style="color: black; font-size: 13.5pt; line-height: 107%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"> was a necessary precondition for their claim to a
global, rather than a merely Western, jurisdiction. </span></span></p><p><span style="color: black; font-size: 13.5pt; line-height: 107%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Secularism, in an identical
manner, depended on the care with which it covered its tracks. If it were to be
embraced by Jews, or Muslims, or Hindus as a neutral holder of the ring between
them and people of other faiths, then it could not afford to be seen as what it
was: a concept that had little meaning outside of a Christian context. </span></span></p><p><span style="color: black; font-size: 13.5pt; line-height: 107%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">In
Europe, the secular had for so long been secularised that it was easy to forget
its ultimate origins. To sign up to its premises was unavoidably to become just
that bit more Christian.</span></span></p><p><span style="color: black; font-size: 13.5pt; line-height: 107%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;">Merkel, welcoming Muslims to Germany, was inviting
them to take their place in a continent that was not remotely neutral in its
understanding of religion: a continent in which the division of church and
state was absolutely assumed to apply to Islam..."</span></span></p><p><span style="color: black; font-size: 13.5pt; line-height: 107%;"><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"> "...T</span>he
great claim of what, in 1846, an English newspaper editor first termed
‘secularism’ was to neutrality. Yet this was a conceit. Secularism was not a
neutral concept. The very word came trailing incense clouds of meaning that
were irrevocably and venerably Christian. That there existed twin dimensions,
the secular and the religious, was an assumption that reached back centuries
beyond the Reformation: to Gregory VII, and to Columbanus, and to Augustine.
The concept of secularism – for all that it was promoted by the editor who
invented the word as an antidote to religion – testified not to Christianity’s
decline, but to its seemingly infinite capacity for evolution. Manifest in
English, this was manifest in other languages too…"</span></p><p><span style="color: black; font-size: 13.5pt; line-height: 107%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZje1VTY_ECMumlqyVtJPgt-gQ4Lluhh5MtsdqFZVySx_-C3oPEdEtfP5RKFzkJ6alMih4lGrh2p2LyEcCMT-BcySR3ZDR4KXZPSvI6mqHbF-nU9Nci5zPzqOCihizfe8xMzXc-4FbYED9D8fkMgkleu9ZC-Jfdw1xnIu5sUcsbigJ-oxNNwhd/s971/India's%20constitution.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="971" data-original-width="959" height="590" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZje1VTY_ECMumlqyVtJPgt-gQ4Lluhh5MtsdqFZVySx_-C3oPEdEtfP5RKFzkJ6alMih4lGrh2p2LyEcCMT-BcySR3ZDR4KXZPSvI6mqHbF-nU9Nci5zPzqOCihizfe8xMzXc-4FbYED9D8fkMgkleu9ZC-Jfdw1xnIu5sUcsbigJ-oxNNwhd/w583-h590/India's%20constitution.jpg" width="583" /></a></div><br /> <span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u" dir="auto">image courtesy: on X @MeghUpdates</span><span style="-webkit-text-stroke-width: 0px; float: none; font-variant-caps: normal; font-variant-ligatures: normal; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; widows: 2; word-spacing: 0px;"><span style="color: black; font-family: "Calibri",sans-serif; font-size: 13.5pt; line-height: 107%; mso-ansi-language: EN-IN; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></span><p></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-60453007054961147502024-01-25T09:00:00.066+05:302024-01-25T09:00:00.238+05:30गुलामी की मानसिकता को तोड़कर उठ खड़ा हो रहा राष्ट्...If V S Naipaul Were Alive Today<p><i><b><a href="https://www.jagran.com/news/national-ayodhya-ram-mandir-pran-pratishtha-pm-narendra-modi-speech-full-text-in-hindi-23635690.html" target="_blank">भारताचे पंतप्रधान नरेन्द्र मोदी</a>:</b></i></p><p><i><b> "... 22 जनवरी, 2024 का ये सूरज एक अद्भुत आभा लेकर आया है। 22 जनवरी, 2024, ये
कैलेंडर पर लिखी एक तारीख नहीं। ये एक नए कालचक्र का उद्गम है। राम मंदिर
के भूमिपूजन के बाद से प्रतिदिन पूरे देश में उमंग और उत्साह बढ़ता ही जा
रहा था। निर्माण कार्य देख, देशवासियों में हर दिन एक नया विश्वास पैदा हो
रहा था। आज हमें सदियों के उस धैर्य की धरोहर मिली है, आज हमें श्रीराम का
मंदिर मिला है। गुलामी की मानसिकता को तोड़कर उठ खड़ा हो रहा राष्ट्र, अतीत
के हर दंश से हौसला लेता हुआ राष्ट्र, ऐसे ही नव इतिहास का सृजन करता है।
आज से हजार साल बाद भी लोग आज की इस तारीख की, आज के इस पल की चर्चा
करेंगे। और ये कितनी बड़ी रामकृपा है कि हम इस पल को जी रहे हैं, इसे
साक्षात घटित होते देख रहे हैं। आज दिन-दिशाएँ... दिग-दिगंत... सब दिव्यता
से परिपूर्ण हैं। ये समय, सामान्य समय नहीं है। ये काल के चक्र पर
सर्वकालिक स्याही से अंकित हो रहीं अमिट स्मृति रेखाएँ हैं।..."</b></i></p><p></p><p>After Ram Temple consecration, I went to V S Naipaul's 'India: A Wounded Civilization' , 1977 and reread this:</p><p>"...<span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: Charis, "Times New Roman", Verdana, Arial; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 16px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">It was at Vijayanagar this time, in that wide temple avenue, which seemed less awesome than when I had first seen it thirteen years before, no longer speaking as directly as it did then of a fabulous past, that I began to wonder about the intellectual depletion that must have come to India with the invasions and conquests of the last thousand years. What happened in Vijayanagar happened, in varying degrees, in other parts of the country. In the<span> </span></span><a id="page8" style="-webkit-text-stroke-width: 0px; color: black; font-family: Charis, "Times New Roman", Verdana, Arial; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 16px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></a><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: Charis, "Times New Roman", Verdana, Arial; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 16px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">north, ruin lies on ruin: Moslem ruin on Hindu ruin, Moslem on Moslem. In the history books, in the accounts of wars and conquests and plunder, the intellectual depletion passes unnoticed, the lesser intellectual life of a country whose contributions to civilization were made in the remote past. India absorbs and outlasts its conquerors, Indians say. But at Vijayanagar, among the pilgrims, I wondered whether intellectually for a thousand years India hadn’t always retreated before its conquerors and whether, in its periods of apparent revival, India hadn’t only been making itself archaic again, intellectually smaller, always vulnerable...."</span></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: Charis, "Times New Roman", Verdana, Arial; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 16px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">What would Naipaul (1932-2018) say now on Jan 23 2024? </span></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: Charis, "Times New Roman", Verdana, Arial; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 16px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTtCZGlK3gLHivX896FaV78qmbG-Sgk_KIYAvQaxvRzg6gfQ11pOlWwDzPIPXH4jHE1L4EQ3PPkeATMHsGGwtE_UHTEUu9EkO637QJ4KSJUPEoHNRAHOqvYq6aGq2LQfm8E7ut8cu3n4gs8BiABA2f90QTWFddf5eK92uILOK0g2EYWUOf_jmk/s2048/ram%20lalla%202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1744" height="671" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTtCZGlK3gLHivX896FaV78qmbG-Sgk_KIYAvQaxvRzg6gfQ11pOlWwDzPIPXH4jHE1L4EQ3PPkeATMHsGGwtE_UHTEUu9EkO637QJ4KSJUPEoHNRAHOqvYq6aGq2LQfm8E7ut8cu3n4gs8BiABA2f90QTWFddf5eK92uILOK0g2EYWUOf_jmk/w572-h671/ram%20lalla%202.jpg" width="572" /></a></div><br /> sculptor Arun Yogiraj<br /><p></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: Charis, "Times New Roman", Verdana, Arial; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 16px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> </span></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-75470038868909610872024-01-22T09:00:00.019+05:302024-01-22T09:00:00.149+05:30माझ्या आणि रामाच्या नात्या बद्दल...Ram and I<p> <span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"></span></p><div class="xdj266r x11i5rnm xat24cr x1mh8g0r x1vvkbs x126k92a"><div dir="auto" style="text-align: start;">माझ्या आणि रामाच्या नात्या बद्दल खालील उताऱ्यापेक्षा जास्त चांगले लिहता येणार नाही... </div></div><p></p><div class="" dir="auto"><div class="x1iorvi4 x1pi30zi x1l90r2v x1swvt13" data-ad-comet-preview="message" data-ad-preview="message" id=":rdu:"><div class="x78zum5 xdt5ytf xz62fqu x16ldp7u"><div class="xu06os2 x1ok221b"><span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">श्रीनिवास विनायक कुलकर्णी, 'आम्ही वानरांच्या फौजा', "डोह", १९६५:</div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">"... थोरली आई कुणाकुणाच्या नावाचा एक घास तोंडात भरवी. पानातच हळुवारपणे हात धुवी. आपल्याजवळच्या दुलईत गुरगटून घेई. अंगभरच्या गुंगीवर मऊ हात फिरवी. प्रेमाने थोपटी आणि अंधुकसे सांगत राही:</div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">"बरं का, आपली आणि त्या मोठ्ठ्या कुणाची प्रत्येक जन्मी गाठभेट होते आहे...तो गोकुळात कृष्ण म्हणून आला तेव्हा आपण गोपाळांच्या मेळ्यात होतो...तो रामराजा होता त्या वेळी आपण त्याच्या वानरांच्या फौजांत होतो...</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">तुम्ही अवतरले गोकुळी, आम्ही गोपाळांच्या मेळी</div><div dir="auto" style="text-align: start;">तुम्ही होते रामराजा, आम्ही वानरांच्या फौजा..."</div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx0_FGZestKHkHvsMRuVGjSujuGwmG8a9sArLNoq87dEQoponuWOmg1_2pKb25ccXapIGIHsSJRlSNEoVuLhDL-6QXgd7_k0KajtzCAcTai61yyG907lkk2-ZUAcgxEt_jmGnUfRpNjm_wtVsgZRDrZAv5blUFnyQDxwYsX1AjF3WsSLFf9cHP/s446/HH%20Balasaheb%20Pandit%20Pant%20Pratinidhi%20Sampati.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="446" data-original-width="350" height="715" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx0_FGZestKHkHvsMRuVGjSujuGwmG8a9sArLNoq87dEQoponuWOmg1_2pKb25ccXapIGIHsSJRlSNEoVuLhDL-6QXgd7_k0KajtzCAcTai61yyG907lkk2-ZUAcgxEt_jmGnUfRpNjm_wtVsgZRDrZAv5blUFnyQDxwYsX1AjF3WsSLFf9cHP/w561-h715/HH%20Balasaheb%20Pandit%20Pant%20Pratinidhi%20Sampati.jpg" width="561" /></a></div><br /> कलाकार:<span class="Pa9Ggf"><span> औंध संस्थानाचे राजे- भवानराव श्रीनिवासराव पंत प्रतिनिधी (१८६८-१९५१)</span></span></div><div dir="auto" style="text-align: start;"><span class="Pa9Ggf"><span> </span></span></div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">नेहमीच मी त्या वानरांच्या फौजेत असतो...</div></div></span></div></div></div></div>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-21809108909159260362024-01-19T09:00:00.033+05:302024-01-19T09:00:00.162+05:30Marathas, Malik Ambar and Mughal Emperor Jahangir's Fantasies in Early 17th Century<div class="xdj266r x11i5rnm xat24cr x1mh8g0r x1vvkbs x126k92a"><div dir="auto" style="text-align: start;">शहाजी राजे, मलिक अंबर, (संत एकनाथ आणि इतर) यांच्या मध्ययुगीन महाराष्ट्राचा आणि पर्यायाने भारताचा इतिहास हा कसा जागतिक इतिहास आहे, याचे एक अतिशय कलात्मकतेने सादर केलेले उदाहरण म्हणजे हे सोबतचे Abu’l-Hasan यांनी जहांगीर बादशहाचे १६१६ साली काढलेले चित्र आहे... </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">रिचर्ड ईटन त्याबद्दल आपल्या "India in the Persianate Age: 1000-1765", 2019 पुस्तकात लिहतात... </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">"... One of the most arresting portraits commissioned by Jahangir is the deeply allegorical painting of himself standing on a <span><a tabindex="-1"></a></span>globe that rests on the horns of a bull, which in turn stands on a great fish – symbols of kingship drawn from Hindu lore. All around the emperor are seen images representing his highest aspirations. Cherubs in the sky offer him a sword and arrows. To one side is an elaborate crown above a roundel in which is inscribed his own name and those of each of his royal ancestors reaching back to Timur. Above the crown flutters a bird of paradise. To the emperor’s other side is a golden scale of justice hanging from a chain with golden bells. The chain is suspended between the globe and a javelin, against which rests a musket. In the centre of the painting, wearing a white turban, a crimson gown and impeccably white slippers, is Jahangir himself, drawing a reverse-curved bow and aiming his arrow at the severed head of his most hated enemy, Malik Ambar (d. 1626), which rests on the tip of the javelin. Perched on Ambar’s bare head is an owl, a symbol of darkness. All around the head are inscriptions that speak of the emperor’s contempt for Malik Ambar – ‘The head of the night-coloured servant has become the house of the owl’; ‘Ambar the owl, which fled the light, has been driven from the world by your [Jahangir’s] enemy-smiting arrow."</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">हे चित्र जहांगिराची निव्वळ फँटसी आहे , स्वप्न आहे.... हे चित्र १६१६ साली काढण्यात आले हा योगायोग नाही! कारण... त्यावर्षी मराठे आणि अफ्रिकी यांनी मोगलांना जेरीस आणले होते... </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">"The painting was completed c.1616, another bad year in a series of bad years for Mughal military operations in the Deccan. From the start of his reign, Jahangir had sent army after army south to fulfil his father’s dream of annexing the plateau to the empire. Between 1608 and 1612 he launched four major invasions led by his best generals, but all were repulsed by armies loyal to Ahmadnagar, one of the three remaining major sultanates of the plateau. Although the kingdom’s Nizam Shahi house was headed by a series of weak, puppet sultans and the capital of Ahmadnagar was occupied by Mughal forces, the state was kept alive by two powerful groups: Maratha warrior lineages and the so-called Habshis – natives of east Africa recruited as military slaves. Malik Ambar, a disciplined leader and master tactician, was a member of the latter group. His career is important, not just because he and his Deccan forces managed to check India’s mightiest armies for two decades, but also for what it reveals about the place of Africans in Indian history, and about military slavery itself...."</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">आणि म्हणून मग मलिक अंबर चा पराकोटीचा द्वेष (त्याच्या तुटलेल्या मुंडक्यावरचे घुबड पहा)आणि हिंदूंधर्मातील कल्पना वापरत त्याच्या क्रूरपणे केलेल्या हत्येची कल्पनारम्यता... </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">मलिक अंबर वयाच्या ७७व्या वर्षी १६२६ साली शांतपणे, बहुदा आपल्या स्वतःच्या बिछान्यात वारले...</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">टीपा :</div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">१) In the 3rd century BC, Hellenistic astronomy established the roughly spherical shape of Earth as a physical fact and calculated the Earth's circumference. This knowledge was gradually adopted throughout the Old World during Late Antiquity and the Middle Ages. By about the 5th century AD, the siddhanta astronomy texts of South Asia, particularly of Aryabhata, assume a spherical Earth as they develop mathematical methods for quantitative astronomy for calendar and time keeping.</div></div><div dir="auto" style="text-align: start;"><br />२) चित्र जून २०२३ मध्ये न्यूयॉर्क, अमेरिकेतील प्रसिद्ध मेट संग्रहालयात आहे. पहा <a href="https://www.metmuseum.org/art/collection/search/454788?fbclid=IwAR1AwEYF25lf5vCxvYvAC-gkWwHKvhtJoU2JF6yh1dTGINyS6pLfoSv8rZg" target="_blank">Met Museum</a></div><div dir="auto" style="text-align: start;"><a href="https://www.metmuseum.org/art/collection/search/454788?fbclid=IwAR1AwEYF25lf5vCxvYvAC-gkWwHKvhtJoU2JF6yh1dTGINyS6pLfoSv8rZg"> </a></div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcGYdfFgilYvH5dW_Nx0Kfz1JymlH_L7MX5eL25jxDUYf_2ipvsPxGq2G1VzCZnwwy0Vmo870gHJV0S7VHMT1HGdrkuSiKfh3Zfur_RL7FvzHRxjKw_fd8crk897wXlK9M2nhXxpnvI_IK51lscg7vZAGWTOGUmTVL8mBtaoA7ra0lzx9sgg/s1638/Jahangir%20taking%20aim%20at%20the%20head%20of%20Malik%20Ambar.%20Painted%20by%20Abu%E2%80%99l-Hasan%20(1616).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1638" data-original-width="1087" height="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcGYdfFgilYvH5dW_Nx0Kfz1JymlH_L7MX5eL25jxDUYf_2ipvsPxGq2G1VzCZnwwy0Vmo870gHJV0S7VHMT1HGdrkuSiKfh3Zfur_RL7FvzHRxjKw_fd8crk897wXlK9M2nhXxpnvI_IK51lscg7vZAGWTOGUmTVL8mBtaoA7ra0lzx9sgg/w530-h800/Jahangir%20taking%20aim%20at%20the%20head%20of%20Malik%20Ambar.%20Painted%20by%20Abu%E2%80%99l-Hasan%20(1616).jpg" width="530" /></a></div><br /></div>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-53191045896034389912024-01-16T09:00:00.014+05:302024-01-16T09:00:00.126+05:30Strugggle with Sleep<p> <span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto"></span></p><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">Florian Illies, '1913: The Year Before the Storm', 2012:</div><div dir="auto" style="text-align: start;"> </div></div><div class="x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a"><div dir="auto" style="text-align: start;">"On 13 November, Swann’s Way, the first volume of Marcel Proust’s great novel In Search of Lost Time, is published. After the book was turned down not only by the Fasquelle and Oldenbourg publishing houses and the Nouvelle Revue Française but also by André Gide, the then editor at Gallimard, Proust had the book published by Grasset at his own <span><a tabindex="-1"></a></span>expense. No sooner does he hold the first copy in his hands than his chauffeur and lover Alfred Agostinelli splits up with him. Everyone else falls for the author. Rilke reads the book only a few days after its publication. It begins with the golden words ‘Longtemps, je me suis couché de bonne heure’ – ‘For a long time I went to bed early’ – and in saying this, Proust touched the nerve of an exhausted avant-garde who, from Kafka to Joyce, from Musil to Thomas Mann, boasted in their diaries whenever they managed to go to bed before midnight. Going to bed early – to the ever weary pioneers of the modern age it seemed like the bravest struggle against depression, drinking, senseless distraction and the advance of time."</div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfCS_2O2AWfeJ4IlOXjWyPXNWU17PG3OBdYxIb9qgvKRnkjDE1rF2-j05C77VgYuc6yvpGowwZKdrplJQll3smYg-5GQW_jUYgbi682a39ILz4lqdkzz_p5eP9-OlnaQ5K6yJiIl6jOkzImmwEzdK1M-CInLYpyw9JJ4gSVw0DTBSMVIvLyw/s569/Normal%20Eight%20Hours%20of%20Sleep.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="404" data-original-width="569" height="415" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfCS_2O2AWfeJ4IlOXjWyPXNWU17PG3OBdYxIb9qgvKRnkjDE1rF2-j05C77VgYuc6yvpGowwZKdrplJQll3smYg-5GQW_jUYgbi682a39ILz4lqdkzz_p5eP9-OlnaQ5K6yJiIl6jOkzImmwEzdK1M-CInLYpyw9JJ4gSVw0DTBSMVIvLyw/w585-h415/Normal%20Eight%20Hours%20of%20Sleep.jpg" width="585" /></a></div><br /> artist: P C Vey<br /></div></div><p></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-78320198740065677862024-01-13T09:00:00.024+05:302024-01-13T09:00:00.126+05:30Fire- What Do You Do After You Invent It? And How to Turn it Off?<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvEmKD5zNlcbP75G8u8Zdo5woHMNq8FMm1gcWDKZ-Jqj_5fO9cs3AoUKvYVjwl0VGtOeYf33lzn9pP5Zc87emLo8biXVn_6p0quiiv5r4h_NASb-lQDwHdkDEFgisNI-8i3a6HApGhIpvlG_pi9ziSwT4yLQTtkOgAMBImOqtr8l2QE8oi0w/s1030/fire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="1030" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvEmKD5zNlcbP75G8u8Zdo5woHMNq8FMm1gcWDKZ-Jqj_5fO9cs3AoUKvYVjwl0VGtOeYf33lzn9pP5Zc87emLo8biXVn_6p0quiiv5r4h_NASb-lQDwHdkDEFgisNI-8i3a6HApGhIpvlG_pi9ziSwT4yLQTtkOgAMBImOqtr8l2QE8oi0w/w648-h337/fire.jpg" width="648" /></a></div> <p></p><p>On left: Robert Kraus (1925-2001), The New Yorker, 30 July 1960</p><p>On right: Kaamran Hafeez<br /></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-81567788462239251722024-01-10T09:00:00.033+05:302024-01-10T09:00:00.141+05:30Jasmine, Susila, The English Teacher and William Morris<p> R. K. Narayan, The English Teacher, 1945:</p><p class="calibre_13" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 2em 0px 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">"...I was walking down our lone street late at night, enveloped in the fragrance of the jasmine and rose garland, slung on my arm. ‘For whom am I carrying this jasmine home?’ I asked myself. Susila would treasure a garland for two whole days, cutting up and sticking masses of it in her hair morning and evening. ‘Carrying a garland to a lonely house – a dreadful job,’ I told myself.</p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">I fumbled with the key in the dark, opened the door and switched on the light. I hung up the garland on a nail and kicked up the roll of bedding. The fragrance permeated the whole<span> </span><a></a>house. I sprinkled a little water on the flowers to keep them fresh, put out the light and lay down to sleep.</p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">The garland hung by the nail right over my head. The few drops of water which I sprinkled on the flowers seemed to have quickened in them a new life. Their essences came forth into the dark night as I lay in bed, bringing a new vigour with them. The atmosphere became surcharged with strange spiritual forces. Their delicate aroma filled every particle of the air, and as I let my mind float in the ecstasy, gradually perceptions and senses deepened. Oblivion crept over me like a cloud. The past, present and the future welded into one...</p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> </p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> ...‘Susila! Susila!’ I cried. ‘You here!’ ‘Yes, I’m here, have always been here.’ I sat up leaning on my pillow. ‘Why do you disturb yourself?’ she asked.</p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">‘I am making a place for you,’ I said, edging away a little. I looked her up and down and said: ‘How well you look!’ Her complexion had a golden glow, her eyes sparkled with a new light, her<span> </span><span class="italic" style="font-style: italic;">sari</span> shimmered with blue interwoven with ‘light’ as she had termed it …‘How beautiful!’ I said looking at it. ‘Yes, I always wear this when I come to you. I know you like it very much,’ she said. I gazed on her face. There was an overwhelming fragrance of jasmine surrounding her. ‘Still jasmine-scented!’ I commented.</p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">‘Oh wait,’ I said and got up. I picked up the garland from the nail and returned to bed. I held it to her. ‘For you as ever. I somehow feared you wouldn’t take it …’ She received it with a smile, cut off a piece of it and stuck it in a curve on the back of her head. She turned her head and asked: ‘Is this all right?’</p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">‘Wonderful,’ I said, smelling it.</p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">A cock crew. The first purple of the dawn came through our window, and faintly touched the walls of our room. ‘Dawn!’ she whispered and rose to her feet.</p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">We stood at the window, gazing on a slender, red streak over the eastern rim of the earth. A cool breeze lapped our faces. The boundaries of our personalities suddenly dissolved. It was a moment of rare, immutable joy – a moment for which one feels grateful to Life and Death."</p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> </p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">(please note in case you don't...Susila has been dead for a while)</p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> </p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9uCnH_7pSahSn9Mktb1pc2lq8CrDmc0JCSOwuj3k2b7jNoTT6BhpjDQcBuPsjCSlBcPP73XAH5lvXnltvaB-PhvzzcL797D43F5xDluVD3Hq-dxdBL82SWYp-twqYFY7u1QLmJMtghZwGjnwa3-jICw5PCcQCl6PYV9taHxrkR5mEEPpD6Q/s996/'Jasmin'%20wallpaper%20by%20William%20Morris%20(1834%20~%201896).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="996" data-original-width="550" height="1004" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9uCnH_7pSahSn9Mktb1pc2lq8CrDmc0JCSOwuj3k2b7jNoTT6BhpjDQcBuPsjCSlBcPP73XAH5lvXnltvaB-PhvzzcL797D43F5xDluVD3Hq-dxdBL82SWYp-twqYFY7u1QLmJMtghZwGjnwa3-jICw5PCcQCl6PYV9taHxrkR5mEEPpD6Q/w556-h1004/'Jasmin'%20wallpaper%20by%20William%20Morris%20(1834%20~%201896).jpg" width="556" /></a></div><br /> <span class="x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h" dir="auto">'Jasmin' wallpaper by William Morris (1834 ~ 1896)</span><p></p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> </p><p class="calibre_12" style="-webkit-text-stroke-width: 0px; color: black; display: block; font-family: "Times New Roman"; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; margin: 0px; orphans: 2; text-align: justify; text-decoration-color: initial; text-decoration-style: initial; text-indent: 1em; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"> <br /></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-2243139824803572522024-01-07T09:00:00.016+05:302024-01-07T09:00:00.177+05:30Gregor Samsa's Mother and School<p>Franz Kafka, 'The Metamorphosis', 1915:</p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;">"One morning, as Gregor Samsa was waking up from anxious dreams, he discovered that in bed he had been changed into a monstrous vermin. He lay on his armour-hard back and saw, as he lifted his head up a little, his brown, arched abdomen divided up into rigid bow-like sections. From this height the blanket, just about ready to slide off completely, could hardly stay in place. His numerous legs, pitifully thin in comparison to the rest of his circumference, flickered helplessly before his eyes...."</span></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: serif; font-size: 16px; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhijKELyT-m5jCR7AXV-edvENBMkouihrF3OpPp1k6QCItUg5A9jFuSX3e90-Um7WCnvPhdSAc9autu2ZlIPzh88tHVJuxFUY1llnK78Wl9jU0ddgEyriae03sqMz3BuFIH8UIRc2ZANJAVvFnyUcW5fnTlyE4eTcgB_BEmrNm51ivYQ4R3VQ/s476/kafka's%20mother.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="476" data-original-width="400" height="679" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhijKELyT-m5jCR7AXV-edvENBMkouihrF3OpPp1k6QCItUg5A9jFuSX3e90-Um7WCnvPhdSAc9autu2ZlIPzh88tHVJuxFUY1llnK78Wl9jU0ddgEyriae03sqMz3BuFIH8UIRc2ZANJAVvFnyUcW5fnTlyE4eTcgB_BEmrNm51ivYQ4R3VQ/w571-h679/kafka's%20mother.jpg" width="571" /></a></div><br /> <p></p>Aniruddha G. Kulkarnihttp://www.blogger.com/profile/09246236261997672943noreply@blogger.com0tag:blogger.com,1999:blog-37823526.post-89434309695608719342024-01-04T09:00:00.000+05:302024-01-04T09:00:00.121+05:30James M. Cain's The Postman Always Rings Twice @ 90<div dir="ltr" style="text-align: left;" trbidi="on">
James M. Cain's The Postman Always Rings Twice @ 90<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUp-AolEDbyT4BOZMPyv4iEYnH1aMcQSc5P9o-hURX367JU4I3h_J-QORqpNkpz9gJBLCvSG1ql707LzubeRZ-7XUeaILwypP0eXP-LtX-NcDEUbBIX6oxcVft580rdcNvKVPe/s1600/James+M.+Cain%2527s+The+Postman+Always+Rings+Twice+%2540+90.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="604" data-original-width="402" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUp-AolEDbyT4BOZMPyv4iEYnH1aMcQSc5P9o-hURX367JU4I3h_J-QORqpNkpz9gJBLCvSG1ql707LzubeRZ-7XUeaILwypP0eXP-LtX-NcDEUbBIX6oxcVft580rdcNvKVPe/s640/James+M.+Cain%2527s+The+Postman+Always+Rings+Twice+%2540+90.jpg" width="424" /></a></div>
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