Kajri Jain
Dados Biográficos
| ID | 641054 |
|---|---|
| NOME | Kajri Jain |
| PRENOMES | Kajri |
| SOBRENOME | Jain |
| ASSINATURA | JAIN K |
| AFILIAÇÕES | University of Toronto |
| ORCID | 0000-0002-0233-8369 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 15 |
| TOTAL DE CITAÇÕES | 33 |
| TOTAL COMO AUTOR | 15 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1998 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2026 |
| ÍNDICE H | 3 |
Seeing Things
How Secular Is Art?
As an invitation to interrogate the secular modality of art, the book unsettles both the categories of 'art' and 'secular' in their theoretical and historical implications. It questions the temporal, spatial and cultural binaries between the 'sacred' and the 'secular' that have shaped art historical scholarship as well as artistic practice. All the essays here are anchored in a conception of a region, whether we call it South Asia or the Indian s…
Bazaar
Tales from the Concrete Cave
Explicitly artificial “nature” (animals, trees, mountains, the colour green) proliferates intensely in contemporary India, notably in peri-urban theme parks. While this could be seen as post-liberalization “Disneyfication” or as a symptom of modernity more broadly, this chapter argues that there are other aesthetico-moral economies at work alongside such universalizing formulations of a hegemonic capitalist modernity and its “nature-culture.” It …
Partition as Partage
This article attempts to think about Partition in terms of what Jacques Rancière calls a distribution or partition (partage) of the sensible, with deep, ongoing ramifications in the present. It examines the logics of images, and the relations between ways of sensing, knowing, and occupying space generated in the lead-up to Partition: in the encounters between ‘traditional’ image practices, the aesthetics of representative democracy, and new image…
Gods in the Time of Automobility
Alongside an explosion in print, televisual, and digital media, India's late twentieth-century economic reforms produced an unexpected new genre: monumental statues, mostly Hindu deities built in cement, now steadily proliferating across India and its diaspora. How do we think about the newness of such a form given, on one hand, the genealogy of its publicness in late colonial religio-cultural nationalism, debates on electoral representation, and…
Post-reform India’s automotive-iconic-cement assemblages
India’s post-liberalisation landscape has unexpectedly been populated by monumental iconic statues. These statues, co-emergent with an automobile and construction boom and an attendant resignification and revaluing of land, are a productive site for rethinking the role of spectacle in neoliberal globalisation from the locus of post-liberalisation India. Against theories that characterise spectacle as primarily virtual and deterritorialised, they …
Which doctor for primary health care? Quality of care and non-physician clinicians in India
Mass reproduction and the art of the bazaar
The visual field in India underwent rapid transformation from the middle of the nineteenth century onward. This was due to an increased circulation of pictorial techniques and images from Europe and elsewhere, and to the introduction of technologies of mass-reproduction such as lithographic printing, photography and eventually cinema. New pictorial forms developed through a relay of three distinct elements: existing iconographic and artistic trad…
Imagined and performed locality
A busy industrial centre in a prosperous agricultural state, the town of Ludhiana in Punjab has been a porous site for both overseas migration and an influx of workers from other parts of the country. In the early 2000s, in the wake of economic reforms in India, the city was celebrating a new sense of cultural identity, not only at the regional (Punjabi) level, but also-unexpectedly-at the level of the city itself. How did this recent self-reflex…
Photos of the gods the printed image and political struggle in india Pinney, Christopher
Gods in the Bazaar
More than Meets the Eye
This article examines the popular, cheaply mass-produced prints known as 'calendar' or 'bazaar' art, going 'beyond appearances' to explore how their value and power is located not just in their visuality as such, but also in their capacity as circulating objects. I describe how these prints can be seen as sites of intersection between the colonially-derived institution of 'fine art' and what historians have called the 'bazaar' economy. The postco…
Muscularity and its ramifications
(2001). Muscularity and its ramifications: Mimetic male bodies in Indian mass culture. South Asia: Journal of South Asian Studies: Vol. 24, Sexual sites, seminal attitudes: Sexualities, masculinites and culture in South Asia, pp. 197-224
Gods in the bazaar
1998). Gods in the bazaar: The subjects of calendar art. South Asia: Journal of South Asian Studies: Vol. 21, No. 1, pp. 91-108
Which doctor for primary health care? Quality of care and non-physician clinicians in India
Gods in the Time of Automobility
Alongside an explosion in print, televisual, and digital media, India's late twentieth-century economic reforms produced an unexpected new genre: monumental statues, mostly Hindu deities built in cement, now steadily proliferating across India and its diaspora. How do we think about the newness of such a form given, on one hand, the genealogy of its publicness in late colonial religio-cultural nationalism, debates on electoral representation, and…
More than Meets the Eye
This article examines the popular, cheaply mass-produced prints known as 'calendar' or 'bazaar' art, going 'beyond appearances' to explore how their value and power is located not just in their visuality as such, but also in their capacity as circulating objects. I describe how these prints can be seen as sites of intersection between the colonially-derived institution of 'fine art' and what historians have called the 'bazaar' economy. The postco…
Muscularity and its ramifications
(2001). Muscularity and its ramifications: Mimetic male bodies in Indian mass culture. South Asia: Journal of South Asian Studies: Vol. 24, Sexual sites, seminal attitudes: Sexualities, masculinites and culture in South Asia, pp. 197-224
Gods in the bazaar
1998). Gods in the bazaar: The subjects of calendar art. South Asia: Journal of South Asian Studies: Vol. 21, No. 1, pp. 91-108
Partition as Partage
This article attempts to think about Partition in terms of what Jacques Rancière calls a distribution or partition (partage) of the sensible, with deep, ongoing ramifications in the present. It examines the logics of images, and the relations between ways of sensing, knowing, and occupying space generated in the lead-up to Partition: in the encounters between ‘traditional’ image practices, the aesthetics of representative democracy, and new image…
Imagined and performed locality
A busy industrial centre in a prosperous agricultural state, the town of Ludhiana in Punjab has been a porous site for both overseas migration and an influx of workers from other parts of the country. In the early 2000s, in the wake of economic reforms in India, the city was celebrating a new sense of cultural identity, not only at the regional (Punjabi) level, but also-unexpectedly-at the level of the city itself. How did this recent self-reflex…
Gods in the bazaar
1998). Gods in the bazaar: The subjects of calendar art. South Asia: Journal of South Asian Studies: Vol. 21, No. 1, pp. 91-108
Muscularity and its ramifications
(2001). Muscularity and its ramifications: Mimetic male bodies in Indian mass culture. South Asia: Journal of South Asian Studies: Vol. 24, Sexual sites, seminal attitudes: Sexualities, masculinites and culture in South Asia, pp. 197-224
More than Meets the Eye
This article examines the popular, cheaply mass-produced prints known as 'calendar' or 'bazaar' art, going 'beyond appearances' to explore how their value and power is located not just in their visuality as such, but also in their capacity as circulating objects. I describe how these prints can be seen as sites of intersection between the colonially-derived institution of 'fine art' and what historians have called the 'bazaar' economy. The postco…
Gods in the Bazaar
Photos of the gods the printed image and political struggle in india Pinney, Christopher
Imagined and performed locality
A busy industrial centre in a prosperous agricultural state, the town of Ludhiana in Punjab has been a porous site for both overseas migration and an influx of workers from other parts of the country. In the early 2000s, in the wake of economic reforms in India, the city was celebrating a new sense of cultural identity, not only at the regional (Punjabi) level, but also-unexpectedly-at the level of the city itself. How did this recent self-reflex…
Mass reproduction and the art of the bazaar
The visual field in India underwent rapid transformation from the middle of the nineteenth century onward. This was due to an increased circulation of pictorial techniques and images from Europe and elsewhere, and to the introduction of technologies of mass-reproduction such as lithographic printing, photography and eventually cinema. New pictorial forms developed through a relay of three distinct elements: existing iconographic and artistic trad…
Which doctor for primary health care? Quality of care and non-physician clinicians in India
Post-reform India’s automotive-iconic-cement assemblages
India’s post-liberalisation landscape has unexpectedly been populated by monumental iconic statues. These statues, co-emergent with an automobile and construction boom and an attendant resignification and revaluing of land, are a productive site for rethinking the role of spectacle in neoliberal globalisation from the locus of post-liberalisation India. Against theories that characterise spectacle as primarily virtual and deterritorialised, they …
Tales from the Concrete Cave
Explicitly artificial “nature” (animals, trees, mountains, the colour green) proliferates intensely in contemporary India, notably in peri-urban theme parks. While this could be seen as post-liberalization “Disneyfication” or as a symptom of modernity more broadly, this chapter argues that there are other aesthetico-moral economies at work alongside such universalizing formulations of a hegemonic capitalist modernity and its “nature-culture.” It …
Partition as Partage
This article attempts to think about Partition in terms of what Jacques Rancière calls a distribution or partition (partage) of the sensible, with deep, ongoing ramifications in the present. It examines the logics of images, and the relations between ways of sensing, knowing, and occupying space generated in the lead-up to Partition: in the encounters between ‘traditional’ image practices, the aesthetics of representative democracy, and new image…
Gods in the Time of Automobility
Alongside an explosion in print, televisual, and digital media, India's late twentieth-century economic reforms produced an unexpected new genre: monumental statues, mostly Hindu deities built in cement, now steadily proliferating across India and its diaspora. How do we think about the newness of such a form given, on one hand, the genealogy of its publicness in late colonial religio-cultural nationalism, debates on electoral representation, and…
Bazaar
How Secular Is Art?
As an invitation to interrogate the secular modality of art, the book unsettles both the categories of 'art' and 'secular' in their theoretical and historical implications. It questions the temporal, spatial and cultural binaries between the 'sacred' and the 'secular' that have shaped art historical scholarship as well as artistic practice. All the essays here are anchored in a conception of a region, whether we call it South Asia or the Indian s…
Seeing Things
Art (9 obras) · Law (9 obras) · Political science (9 obras) · Politics (9 obras) · Aesthetics (8 obras) · Anthropological Studies and Insights (7 obras) · History (7 obras) · Sociology (7 obras) · Archaeology (6 obras) · South Asian Cinema and Culture (6 obras)