Journal articles on the topic 'Chadian Art'

Resumen: A raíz del caso de la ONG francesa “El Arca de Zoé” y su tentativa de traslado ilícito a Francia de 103 menores, supuestamente huérfanos de la guerra del Chad, el legislador español incorporó en el art.4 LAI la denominada “cláusula chadiana”. Se trata de una serie de condiciones que inciden en la tramitación de la adopción y que sólo vinculan a las autoridades españolas. No obstante, cabe preguntarse si tales circunstancias pueden repercutir igualmente en el sector de la eficacia de las adopciones constituidas por las autoridades de un país respecto del cual rige una de las prohibiciones o condicionamientos previstos en este precepto.Palabras clave: “cláusula chadiana”, Ley de Adopción Internacional, adopción internacionalAbstract: Following the case of the French NGO “Zoé´s Ark” and its attempted illicit transfer to France of 103 children, supposedly orphans of the Chadian war, the Spanish legislator incorporated into the art.4 LAI the so-called “chadian clause”. This is a series of conditions that affect the processing of adoption and are linked to the Spanish authorities. However, it is questionable whether the circumstances can also affect the sector of the effectiveness of adoptions constituted by the authorities of a country to which one of the prohibitions or conditions provided in this precept.Keywords: “chadian clause”, The Intercountry Adoption Act, Intercountry Adoption

AbstractIn the literature on pastoralist groups and the state, nomads are usually seen as increasingly marginalised today, whereas in the past nomads have often been described as ‘state builders’. But one interesting, if atypical, case has been overlooked: how a contemporary group of nomads, though they did not create a state, nonetheless came to conquer and dominate an existing one. The article starts by describing how the Tubu of Chad established dominance over the central government in the late 1970s and early 1980s. An evaluation is then made of the consequences this take-over of the Chadian state had for Tubu society. Admittedly the date for this evaluation are rather cursory and tentative, but it is possible to identify certain tendencies.

FQ columnist Bilal Qureshi compares two seemingly similar summer movies: Gurinder Chadha's Blinded by the Light and Danny Boyle's Yesterday, both of which feature music-obsessed South Asian male leads. However, while Boyle's film adopts a race-blind perspective, promoting a vision (or fantasy) of a multiracial Britain of friendships and intimacy, in Blinded by the Light, Chadha pushes her long-standing interest in race and multiculturalism beyond the feel-good sensibilities of her earlier hit, Bend it Like Beckham. Instead, Qureshi argues, Chadha has made a subversively political film, bristling with an urgent plea for empathy, inspired by the blinding xenophobia of Brexit.

What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.

The important manuscript of the history of Indian painting introduces cultural civilization and historical series. Ever since man hit the first scratch on the wall of the cave, he realized his art stability. In ancient times, man used to create different types of line drawings and figures from chadis or georimitti to express his feelings. Gradually the development of the script led to the work of writing on Bhikti paintings, inscriptions, copper plates, banquets. The manuscripts are also unique works of writing and illustration. भारतीय चित्रकला के इतिहास का महत्वपूर्ण पृष्ठ पाण्डुलिपि सांस्कृतिक सभ्यता और ऐतिहासिक श्रृखंला का परिचय देती है। जब से मनुष्य ने गुफा की दीवार पर पहली खरोंच मारी उसे अपनी कला स्थिरता का ज्ञान हुआ। प्राचीन काल में मनुष्य अपने मनोभावों की अभिव्यक्ति के लिए खड़िया अथवा गेरूमिट्टी से विभिन्न प्रकार के रेखा चित्रों एवं आकृतियों की रचना किया करता था। धीरे-धीरे लिपि का विकास होने पर भिक्ति चित्रों षिलालेखों, ताम्रपत्रों, भोजपत्रांे पर लेखन का कार्य किया गया। पाण्डुलिपियां भी लेखन व चित्रण की अनुपम कृति है।

With the rise of Islamic states as the dominant powers of India and Indian Sub- Continent (India, Pakistan and Bangladesh) and South Asia Sultanate and Mughal period (1200-1800 A.D.), by Turkish heroic figure (horsemen), Indian art was subjected to Islamic influence, resulting in a hybrid aesthetics as well as Indo- Islamic art which flourished to varying extends across south and southeast Asia. Bangladesh is world third largest Muslim majority country and situated in South Asia. So the main and primary identity of the notion is mosque architecture and then languages via culture in Bangladesh (past Bengal). Moreover, Traditional history called Mughal and ottoman was the center of all traders and referred as the “Middle Man” due to access to water routes between Asia and Europe. The Ottoman and Mughal Empires were all founded with art and architecture by members of the same ethnically Turkic tribe and originated from Oghuz tribe. Firstly, in the early 14th century, Osman Bey established a small principality in the northeast corner of Anatolia. Despite these many similarities, there are some key difference within the approach to Islamic Art and Architecture from Miniatures Illustrations in Indian Sub-Continent to Mosque architecture in Turkey and the Levant the Mughal and Ottoman empires left their indications.Turkish Military Ikhtiyar Uddin bin Muhammad Bhaktiyer Khilji and his Turkish followers captured Bengal in 1204 A.D. and after then ruled by Turkic. Besides these many Sufis saint-like Khan Jahan Ulugh Khan, Burhan Khan, Gharib Shah, came here and spread Islam and Turkish culture with languages too. The Ilyas Shahi dynasty was the first independent Turkic Muslim ruling dynasty in late medieval Bengal, which ruled from the 14th century to the 15th century. It was founded in 1342 by Shamsuddin Iliyas Shah. As follows still presence many Turkish words which used in the Bengali language as Barood, Nishan, Chaku, Bahadur, Begum, Chadar, Surma, bavarchi, kiyma, Korma, and so on. And then showed their power through art and architecture as Mosques and Tombs follows Adina Masjid at Pandua in 1368 A.D.; Eklakhi mausoleum, Pandua; Tomb of Shah Rukn-e Alam in Multan, Sixty Domed Mosque at Bagherhat of Bangladesh, etc. Based on all evidence present, it can be found that the Turks contributed significantly to Bengali languages and culture as well as art and architecture (Mosques and Tombs). Besides many Jewish people came in here through missionary and business purposes. And also we see that there have been found many designs in mosque architecture especially six-point stars which is mentioned as a David symbol. So my focus is the Connectivity between Turkish and Bangladesh through Islamic architecture and Jewish with six point star/hexagon/seal of Solomon. It is a historical study with a journalistic approach.

The algorithm of Shahida Khadijah. Notes of a Death Girl by Marina AkhmedovaThe author of the article aims to identify facts in the biography of the main character of the book Khadijah. Notes of a Death Girl by Marina Akhmedova, which influenced her decision to commit a terrorist act. Khadijah seems to be a typical contemporary Caucasian girl. The author presents various cultural and customs aspects specific to the Caucasus, which could influence her future. There are considered elements such as the patriarchal arrangement of the Dagestan community, the influence of Islam on education, shaping the girl’s identity, etc. The author also draws attention to social problems such as corruption. A separate, very important issue is the love story in the novel. The article attempts to reconstruct the psychological process of Khadijah on the basis of her notes. Algorytm szahidyMusiałam umrzeć Mariny AchmedowejСelem artykułu jest określenie faktów w biografii głównej bohaterki powieści Mariny Achmedowej Musiałam umrzeć, które wpłynęły na jej decyzję o dokonaniu aktu terrorystycznego. Chadiża, główna bohaterka powieści, zdaje się typową współczesną kaukaską dziewczyną. Autorka artykułu przedstawia różne kulturowe i obyczajowe aspekty charakterystyczne dla Kaukazu, które mogły wpłynąć na jej dalsze losy. Rozpatrzono między innymi takie elementy, jak układ patriarchalny społeczności dagestańskiej, wpływ islamu na wychowanie czy kształtowanie tożsamości bohaterki. Zwrócono także uwagę na problemy społeczne, takie jak korupcja. Osobną kwestię stanowi w powieści wątek miłosny. W artykule dokonano próby rekonstrukcji procesu psychologicznego bohaterki na podstawie jej notatek.

É com satisfação renovada que apresentamos ao público a edição v. 20 n. 2 jul./dez. 2021 da Revista Prisma Jurídico, composta de dez artigos. Prisma Jurídico é um canal de produção científico-acadêmica, que busca o seu aperfeiçoamento para atingir um estrato de excelência.Nesta trilha e com características de pluralidade e receptividade, Prisma Jurídico recebe contribuições de autores nacionais e estrangeiros, a fim de garantir uma publicação de qualidade.Para tanto, Prisma Jurídico adota o método double blind peer review, pelo qual cada artigo é avaliado, ao menos por dois pareceristas especialistas na área com elevada titulação acadêmica, bem como são os artigos submetidos a um programa de verificação de similaridade de textos, a fim de se evitar fraudes e todas as modalidades de plágio.A publicação também se preocupa com a endogenia e garante a exogenia, com a efetiva possibilidade de trocas de informações entre as Instituições de Ensino Superior, requisito fundamental para a inserção nas bases indexadoras que emitem fatores de impacto mais elevados, com consequente classificação superior dos periódicos.Desta maneira o presente volume é aberto com o artigo intitulado “A virada jurisprudencial na exigência de lei complementar para a instituição de tributos: uma abordagem a partir do pensamento de Ronald Dworkin”, de Jean Carlos Dias e Carlos Gustavo Chada Chaves, que examinam o pensamento de Ronald Dworkin em face do agravo regimental em recurso extraordinário nº 917.950/SP, que defendeu a concepção de Direito como integridade, nos moldes ditados pelo jurista americano.Depois, o artigo “A questão da ideologia de gênero nas escolas brasileiras: o (des)compasso entre os fundamentos elencados na ADPF 457/GO e no Projeto de Lei 246/2019”, Mônia Clarissa Hennig Leal e Eliziane Fardin de Vargas examinam a importância da abordagem sobre gênero e diversidade sexual no ambiente escolar para a proteção das minorias sexuais e de gênero, sob a respectiva do dever de proteção estatal (Schutzpflicht) decorrente da dimensão objetiva dos direitos fundamentais, bem como os fundamentos utilizados pelo Supremo Tribunal Federal na ADPF 457/GO.Em seguida, no artigo “A leitura da dinâmica social moderna em um contexto de globalização: sistemas abstratos e o desencaixe entre tempo e espaço como produção de mal-estar e sofrimento”, José Francisco Dias da Costa Lyra e Lara Narjana Johann analisam o fenômeno da globalização na modernidade e seus reflexos no meio social e nas relações interpessoais, a partir das noções de desencaixe entre tempo e espaço, de Anthony Giddens e seu projeto reflexivo pela busca da formação do eu e do diálogo com o entendimento de Christian Dunker sobre as novas formas de sofrimento instauradas.No quarto artigo, José Alfredo de Oliveira Baracho Júnior e Ana Luiza Novais Cabral apresentam o artigo “A súmula vinculante como um instituto voluntarista”, que se dedica a estudar a súmula vinculante e seus aspectos dúplices quanto a sua utilidade: contribuição para a celeridade processual e a segurança jurídica, além da interpretação impositiva proferida pelo Supremo Tribunal Federal, que pode culminar em uma erosão democrática.Logo depois, o artigo, intitulado “A súmula vinculante 13 e a nomeação de diretores de agências reguladoras e embaixadores” de Giovani da Silva Corralo e Fernanda Zanella, trata da aplicação da súmula vinculante 13 do STF para a nomeação de diretores de agências reguladoras e embaixadores, cargos que requerem a aprovação do Senado Federal, a partir da análise dos princípios administrativos que regem a matéria.Na sequência, Stela Gomes Ferreira e Beatriz Souza Costa apresentam o artigo “A proteção do patrimônio cultural mineiro pela regulamentação da produção e comercialização dos queijos artesanais”, que estuda a importância do patrimônio cultural como forma de preservação da identidade de uma coletividade, tendo como recorte a produção artesanal de queijo no estado de Minas Gerais.No artigo subsequente, intitulado “O princípio da eficiência e a (i)legitimidade do controle jurisdicional das políticas públicas” Ilton Garcia da Costa e Ana Flávia Coelho dos Santos tratam da figura da eficiência que foi acrescentada no art. 37, caput, da Constituição Federal passando, pois, a integrar o rol dos princípios gerais administrativos no final da década de noventa com a Reforma Administrativa, discorrendo sobre a legitimidade do controle jurisdicional das políticas públicas quando da inobservância do princípio da eficiência pela Administração Pública.No oitavo artigo, Philippe Dall' Agnol e Paulo Afonso Cavichioli Carmona estudam “A regulamentação da responsabilidade social empresarial: entre a ortodoxia e heteronomia normativa”, destacando as iniciativas de normatização da RSE e a correlação da vinculação entre os compromissos de responsabilidade social adotados pelas empresas e a sua exigibilidade pelos stakeholders.O nono artigo intitulado “Investigação defensiva: a evolução do tema e os problemas de sua aplicabilidade”, de Marcelo Navarro Ribeiro Dantas e João Carlos Faria da Costa analisa as atividades de investigação defensiva, abordando a partir dos precursores do tema até a materialidade de disposições normativas a respeito, trazendo seus contornos doutrinários e práticos, buscando uma persecução penal que seja a mais justa possível.Por fim, no último artigo, “Atuações no mercado de capitais combinadas em redes sociais: apontamentos para a atribuição de responsabilidade administrativa e penal por manipulação de mercado”, Marcelo Costenaro Cavali e Natália Naomi Ikeda examinam os elementos que devem ser considerados pelas autoridades públicas, para efeito da imputação de responsabilidade, administrativa e penal, em casos de atuações coordenadas de investidores, combinadas em redes sociais, com o objetivo de provocar a elevação dos preços de valores mobiliários, bem como o crime de manipulação de mercado e a responsabilização administrativa e penal dos líderes dessa conduta.Por derradeiro registro agradecimentos especiais à Heloísa Correa Meneses, Editora Assistente, pelo empenho em garantir a periodicidade de Prisma Jurídico e à nossa Editora Técnica (bibliotecária), Cristiane dos Santos Monteiro, responsável pela gestão logística e pelo processo de editoração, por sua eficiência e dedicação.Assim, com essa gama de artigos que apresentam contribuições valiosas, o presente volume se revela como verdadeiro repositório de reflexões sobre Direito, o que implica em desejar a todos uma excelente e prazerosa leitura.Prof. Dr. José Fernando Vidal de SouzaEditor da Revista Prisma Jurídico

“Some people go to priests. Others to poetry.I to my friends”. This quotation by Virginia Woolfe would be the perfect way to start this study. “A faithful friend is the medicine of life.” Again a quotation but this time by Apocrypha is apt to define the purpose of this study. Everyone has friends – sometimes only one, while at other times, many. But what is the importance of friendship or friends to a person? How does having a friend help us in our time of need, problems and sorrow? Is it possible that friendship relaxes us or reduces our tensions? Does friendship have effect on our well-being and especially psychological well-being? The aim of the current study was to find out what role does Friendship play in Psychological Well-Being. The study was carried on the sample of 200 individuals all aged from 17 to 35. Dimensions of Friendship Scale (SunandaChandna and N.K. Chadha, 1986) and Psychological Well-Being Scale (Bhogle and Jai Prakesh, 1995) were used for the purpose of measurement. Results indicated that there is a significant positive correlation (r = .723) at 0.01 level of significance between friendship and psychological well-being.

Much attention has been recently focused on exploring how a language shapes its speakers’ identity in multiethnic contexts of interaction (Carter, 2004), where linguistic identities are constantly open to renegotiation, reconstruction and reinterpretation. From this perspective, multicultural audiovisual products prove to be one of the most apt media to represent the richness and complexity of real-life multilingual realities (Bleichenbacher, 2008) within which code-switching plays a crucial role. Starting from these assumptions, this paper sets out to investigate the conversational functions code-switching fulfils in two British and two American intercultural films: Bend it Like Beckham (Chadha, 2002), Ae Fond Kiss (Loach, 2004), Spanglish (Brooks, 2004) and Gran Torino (Eastwood, 2008), where it is functional both to plot development and to the bilingual immigrants’ characterisation (Wahl 2008). In establishing a specific socio-linguistic and pragmatic framing within which code-switching seems to operate in audiovisual products, the film scripts will be analysed: looking contrastively, in both the original and the Italian dubbed version, at the translation strategies of the different types of code-switching; focusing on the scenes where code-switching emphasizes the competing visions of the world held by the two generations (Myers-Scotton, 1993); pointing out which functions of code-switching are encoded in the Italian version and which ones are lost in translation; showing what can be achieved by both dubbing and subtitling in terms of transcultural transmission in conveying the “translaguaging space” (Wei, 2011, p. 1222) the immigrant characters live in.

Much attention has been recently focused on exploring how a language shapes its speakers’ identity in multiethnic contexts of interaction (Carter, 2004), where linguistic identities are constantly open to renegotiation, reconstruction and reinterpretation. From this perspective, multicultural audiovisual products prove to be one of the most apt media to represent the richness and complexity of real-life multilingual realities (Bleichenbacher, 2008) within which code-switching plays a crucial role. Starting from these assumptions, this paper sets out to investigate the conversational functions code-switching fulfils in two British and two American intercultural films: Bend it Like Beckham (Chadha, 2002), Ae Fond Kiss (Loach, 2004), Spanglish (Brooks, 2004) and Gran Torino (Eastwood, 2008), where it is functional both to plot development and to the bilingual immigrants’ characterisation (Wahl 2008). In establishing a specific socio-linguistic and pragmatic framing within which code-switching seems to operate in audiovisual products, the film scripts will be analysed: looking contrastively, in both the original and the Italian dubbed version, at the translation strategies of the different types of code-switching; focusing on the scenes where code-switching emphasizes the competing visions of the world held by the two generations (Myers-Scotton, 1993); pointing out which functions of code-switching are encoded in the Italian version and which ones are lost in translation; showing what can be achieved by both dubbing and subtitling in terms of transcultural transmission in conveying the “translaguaging space” (Wei, 2011, p. 1222) the immigrant characters live in.

The release in 2004 of Gurinder Chadha’s Bride and Prejudice marked yet another contribution to celluloid’s Austen mania that began in the 1990s and is still going strong. Released almost simultaneously on three different continents (in the UK, US, and India), and in two different languages (English and Hindi), Bride and Prejudice, however, is definitely not another Anglo-American period costume drama. Described by one reviewer as “East meets West”, Chadha’s film “marries a characteristically English saga [Austen’s Pride and Prejudice] with classic Bollywood format “transforming corsets to saris, … the Bennetts to the Bakshis and … pianos to bhangra beats” (Adarsh). Bride and Prejudice, thus, clearly belongs to the upcoming genre of South Asian cross-over cinema in its diasporic incarnation. Such cross-over cinema self-consciously acts as a bridge between at least two distinct cinematic traditions—Hollywood and Bollywood (Indian Hindi cinema). By taking Austen’s Pride and Prejudice as her source text, Chadha has added another dimension to the intertextuality of such cross-over cinema, creating a complex hybrid that does not fit neatly into binary hyphenated categories such as “Asian-American cinema” that film critics such as Mandal invoke to characterise diaspora productions. An embodiment of contemporary globalised (post?)coloniality in its narrative scope, embracing not just Amritsar and LA, but also Goa and London, Bride and Prejudice refuses to fit into a neat East versus West cross-cultural model. How, then, are we to classify this film? Is this problem of identity indicative of postmodern indeterminacy of meaning or can the film be seen to occupy a “third” space, to act as a postcolonial hybrid that successfully undermines (neo)colonial hegemony (Sangari, 1-2)? To answer this question, I will examine Bride and Prejudice as a mimic text, focusing specifically on its complex relationship with Bollywood conventions. According to Gurinder Chadha, Bride and Prejudice is a “complete Hindi movie” in which she has paid “homage to Hindi cinema” through “deliberate references to the cinema of Manoj Kumar, Raj Kapoor, Yash Chopra and Karan Johar” (Jha). This list of film makers is associated with a specific Bollywood sub-genre: the patriotic family romance. Combining aspects of two popular Bollywood genres, the “social” (Prasad, 83) and the “romance” (Virdi, 178), this sub-genre enacts the story of young lovers caught within complex familial politics against the backdrop of a nationalist celebration of Indian identity. Using a cinematic language that is characterised by the spectacular in both its aural and visual aspects, the patriotic family romance follows a typical “masala” narrative pattern that brings together “a little action and some romance with a touch of comedy, drama, tragedy, music, and dance” (Jaikumar). Bride and Prejudice’s successful mimicry of this language and narrative pattern is evident in film reviews consistently pointing to its being very “Bollywoodish”: “the songs and some sequences look straight out of a Hindi film” says one reviewer (Adarsh), while another wonders “why this talented director has reduced Jane Austen’s creation to a Bollywood masala film” (Bhaskaran). Setting aside, for the moment, these reviewers’ condemnation of such Bollywood associations, it is worthwhile to explore the implications of yoking together a canonical British text with Indian popular culture. According to Chadha, this combination is made possible since “the themes of Jane Austen’s novels are a ‘perfect fit’ for a Bollywood style film” (Wray). Ostensibly, such a comment may be seen to reinforce the authority of the colonial canonical text by affirming its transnational/transhistorical relevance. From this perspective, the Bollywood adaptation not only becomes a “native” tribute to the colonial “master” text, but also, implicitly, marks the necessary belatedness of Bollywood as a “native” cultural formation that can only mimic the “English book”. Again, Chadha herself seems to subscribe to this view: “I chose Pride and Prejudice because I feel 200 years ago, England was no different than Amritsar today” (Jha). The ease with which the basic plot premise of Pride and Prejudice—a mother with grown-up daughters obsessed with their marriage—transfers to a contemporary Indian setting does seem to substantiate this idea of belatedness. The spatio-temporal contours of the narrative require changes to accommodate the transference from eighteenth-century English countryside to twenty-first-century India, but in terms of themes, character types, and even plot elements, Bride and Prejudice is able to “mimic” its master text faithfully. While the Bennets, Bingleys and Darcy negotiate the relationship between marriage, money and social status in an England transformed by the rise of industrial capitalism, the Bakshis, Balraj and, yes, Will Darcy, undertake the same tasks in an India transformed by corporate globalisation. Differences in class are here overlaid with those in culture as a middle-class Indian family interacts with wealthy non-resident British Indians and American owners of multinational enterprises, mingling the problems created by pride in social status with prejudices rooted in cultural insularity. However, the underlying conflicts between social and individual identity, between relationships based on material expediency and romantic love, remain the same, clearly indicating India’s belated transition from tradition to modernity. It is not surprising, then, that Chadha can claim that “the transposition [of Austen to India] did not offend the purists in England at all” (Jha). But if the purity of the “master” text is not contaminated by such native mimicry, then how does one explain the Indian anglophile rejection of Bride and Prejudice? The problem, according to the Indian reviewers, lies not in the idea of an Indian adaptation, but in the choice of genre, in the devaluation of the “master” text’s cultural currency by associating it with the populist “masala” formula of Bollywood. The patriotic family romance, characterised by spectacular melodrama with little heed paid to psychological complexity, is certainly a far cry from the restrained Austenian narrative that achieves its dramatic effect exclusively through verbal sparring and epistolary revelations. When Elizabeth and Darcy’s quiet walk through Pemberley becomes Lalita and Darcy singing and dancing through public fountains, and the private economic transaction that rescues Lydia from infamy is translated into fisticuff between Darcy and Wickham in front of an applauding cinema audience, mimicry does smack too much of mockery to be taken as a tribute. It is no wonder then that “the news that [Chadha] was making Bride and Prejudice was welcomed with broad grins by everyone [in Britain] because it’s such a cheeky thing to do” (Jha). This cheekiness is evident throughout the film, which provides a splendid over-the-top cinematic translation of Pride and Prejudice that deliberately undermines the seriousness accorded to the Austen text, not just by the literary establishment, but also by cinematic counterparts that attempt to preserve its cultural value through carefully constructed period pieces. Chadha’s Bride and Prejudice, on the other hand, marries British high culture to Indian popular culture, creating a mimic text that is, in Homi Bhabha’s terms, “almost the same, but not quite” (86), thus undermining the authority, the primacy, of the so-called “master” text. This postcolonial subversion is enacted in Chadha’s film at the level of both style and content. If the adaptation of fiction into film is seen as an activity of translation, of a semiotic shift from one language to another (Boyum, 21), then Bride and Prejudice can be seen to enact this translation at two levels: the obvious translation of the language of novel into the language of film, and the more complex translation of Western high culture idiom into the idiom of Indian popular culture. The very choice of target language in the latter case clearly indicates that “authenticity” is not the intended goal here. Instead of attempting to render the target language transparent, making it a non-intrusive medium that derives all its meaning from the source text, Bride and Prejudice foregrounds the conventions of Bollywood masala films, forcing its audience to grapple with this “new” language on its own terms. The film thus becomes a classic instance of the colony “talking back” to the metropolis, of Caliban speaking to Prospero, not in the language Prospero has taught him, but in his own native tongue. The burden of responsibility is shifted; it is Prospero/audiences in the West that have the responsibility to understand the language of Bollywood without dismissing it as gibberish or attempting to domesticate it, to reduce it to the familiar. The presence in Bride and Prejudice of song and dance sequences, for example, does not make it a Hollywood musical, just as the focus on couples in love does not make it a Hollywood-style romantic comedy. Neither The Sound of Music (Robert Wise, 1965) nor You’ve Got Mail (Nora Ephron, 1998) corresponds to the Bollywood patriotic family romance that combines various elements from distinct Hollywood genres into one coherent narrative pattern. Instead, it is Bollywood hits like Dilwale Dulhaniya Le Jayenge (Aditya Chopra, 1995) and Pardes (Subhash Ghai, 1997) that constitute the cinema tradition to which Bride and Prejudice belongs, and against which backdrop it needs to be seen. This is made clear in the film itself where the climactic fight between Darcy and Wickham is shot against a screening of Manoj Kumar’s Purab Aur Paschim (East and West) (1970), establishing Darcy, unequivocally, as the Bollywood hero, the rescuer of the damsel in distress, who deserves, and gets, the audience’s full support, denoted by enthusiastic applause. Through such intertextuality, Bride and Prejudice enacts a postcolonial reversal whereby the usual hierarchy governing the relationship between the colony and the metropolis is inverted. By privileging through style and explicit reference the Indian Bollywood framework in Bride and Prejudice, Chadha implicitly minimises the importance of Austen’s text, reducing it to just one among several intertextual invocations without any claim to primacy. It is, in fact, perfectly possible to view Bride and Prejudice without any knowledge of Austen; its characters and narrative pattern are fully comprehensible within a well-established Bollywood tradition that is certainly more familiar to a larger number of Indians than is Austen. An Indian audience, thus, enjoys a home court advantage with this film, not the least of which is the presence of Aishwarya Rai, the Bollywood superstar who is undoubtedly the central focus of Chadha’s film. But star power apart, the film consolidates the Indian advantage through careful re-visioning of specific plot elements of Austen’s text in ways that clearly reverse the colonial power dynamics between Britain and India. The re-casting of Bingley as the British Indian Balraj re-presents Britain in terms of its immigrant identity. White British identity, on the other hand, is reduced to a single character—Johnny Wickham—which associates it with a callous duplicity and devious exploitation that provide the only instance in this film of Bollywood-style villainy. This re-visioning of British identity is evident even at the level of the film’s visuals where England is identified first by a panning shot that covers everything from Big Ben to a mosque, and later by a snapshot of Buckingham Palace through a window: a combination of its present multicultural reality juxtaposed against its continued self-representation in terms of an imperial tradition embodied by the monarchy. This reductionist re-visioning of white Britain’s imperial identity is foregrounded in the film by the re-casting of Darcy as an American entrepreneur, which effectively shifts the narratorial focus from Britain to the US. Clearly, with respect to India, it is now the US which is the imperial power, with London being nothing more than a stop-over on the way from Amritsar to LA. This shift, however, does not in itself challenge the more fundamental West-East power hierarchy; it merely indicates a shift of the imperial centre without any perceptible change in the contours of colonial discourse. The continuing operation of the latter is evident in the American Darcy’s stereotypical and dismissive attitude towards Indian culture as he makes snide comments about arranged marriages and describes Bhangra as an “easy dance” that looks like “screwing in a light bulb with one hand and patting a dog with the other.” Within the film, this cultural snobbery of the West is effectively challenged by Lalita, the Indian Elizabeth, whose “liveliness of mind” is exhibited here chiefly through her cutting comebacks to such disparaging remarks, making her the film’s chief spokesperson for India. When Darcy’s mother, for example, dismisses the need to go to India since yoga and Deepak Chopra are now available in the US, Lalita asks her if going to Italy has become redundant because Pizza Hut has opened around the corner? Similarly, she undermines Darcy’s stereotyping of India as the backward Other where arranged marriages are still the norm, by pointing out the eerie similarity between so-called arranged marriages in India and the attempts of Darcy’s own mother to find a wife for him. Lalita’s strategy, thus, is not to invert the hierarchy by proving the superiority of the East over the West; instead, she blurs the distinction between the two, while simultaneously introducing the West (as represented by Darcy and his mother) to the “real India”. The latter is achieved not only through direct conversational confrontations with Darcy, but also indirectly through her own behaviour and deportment. Through her easy camaraderie with local Goan kids, whom she joins in an impromptu game of cricket, and her free-spirited guitar-playing with a group of backpacking tourists, Lalita clearly shows Darcy (and the audience in the West) that so-called “Hicksville, India” is no different from the so-called cosmopolitan sophistication of LA. Lalita is definitely not the stereotypical shy retiring Indian woman; this jean-clad, tractor-riding gal is as comfortable dancing the garbha at an Indian wedding as she is sipping marguerites in an LA restaurant. Interestingly, this East-West union in Aishwarya Rai’s portrayal of Lalita as a modern Indian woman de-stabilises the stereotypes generated not only by colonial discourse but also by Bollywood’s brand of conservative nationalism. As Chadha astutely points out, “Bride and Prejudice is not a Hindi film in the true sense. That rikshawallah in the front row in Patna is going to say, ‘Yeh kya hua? Aishwarya ko kya kiya?’ [What did you do to Aishwarya?]” (Jha). This disgruntlement of the average Indian Hindi-film audience, which resulted in the film being a commercial flop in India, is a result of Chadha’s departures from the conventions of her chosen Bollywood genre at both the cinematic and the thematic levels. The perceived problem with Aishwarya Rai, as articulated by the plaintive question of the imagined Indian viewer, is precisely her presentation as a modern (read Westernised) Indian heroine, which is pretty much an oxymoron within Bollywood conventions. In all her mainstream Hindi films, Aishwarya Rai has conformed to these conventions, playing the demure, sari-clad, conventional Indian heroine who is untouched by any “anti-national” western influence in dress, behaviour or ideas (Gangoli,158). Her transformation in Chadha’s film challenges this conventional notion of a “pure” Indian identity that informs the Bollywood “masala” film. Such re-visioning of Bollywood’s thematic conventions is paralleled, in Bride and Prejudice, with a playfully subversive mimicry of its cinematic conventions. This is most obvious in the song-and-dance sequences in the film. While their inclusion places the film within the Bollywood tradition, their actual picturisation creates an audio-visual pastiche that freely mingles Bollywood conventions with those of Hollywood musicals as well as contemporary music videos from both sides of the globe. A song, for example, that begins conventionally enough (in Bollywood terms) with three friends singing about one of them getting married and moving away, soon transforms into a parody of Hollywood musicals as random individuals from the marketplace join in, not just as chorus, but as developers of the main theme, almost reducing the three friends to a chorus. And while the camera alternates between mid and long shots in conventional Bollywood fashion, the frame violates the conventions of stylised choreography by including a chaotic spill-over that self-consciously creates a postmodern montage very different from the controlled spectacle created by conventional Bollywood song sequences. Bride and Prejudice, thus, has an “almost the same, but not quite” relationship not just with Austen’s text but also with Bollywood. Such dual-edged mimicry, which foregrounds Chadha’s “outsider” status with respect to both traditions, eschews all notions of “authenticity” and thus seems to become a perfect embodiment of postcolonial hybridity. Does this mean that postmodern pastiche can fulfill the political agenda of postcolonial resistance to the forces of globalised (neo)imperialism? As discussed above, Bride and Prejudice does provide a postcolonial critique of (neo)colonial discourse through the character of Lalita, while at the same time escaping the trap of Bollywood’s explicitly articulated brand of nationalism by foregrounding Lalita’s (Westernised) modernity. And yet, ironically, the film unselfconsciously remains faithful to contemporary Bollywood’s implicit ideological framework. As most analyses of Bollywood blockbusters in the post-liberalisation (post-1990) era have pointed out, the contemporary patriotic family romance is distinct from its earlier counterparts in its unquestioning embrace of neo-conservative consumerist ideology (Deshpande, 187; Virdi, 203). This enthusiastic celebration of globalisation in its most recent neo-imperial avatar is, interestingly, not seen to conflict with Bollywood’s explicit nationalist agenda; the two are reconciled through a discourse of cultural nationalism that happily co-exists with a globalisation-sponsored rampant consumerism, while studiously ignoring the latter’s neo-colonial implications. Bride and Prejudice, while self-consciously redefining certain elements of this cultural nationalism and, in the process, providing a token recognition of neo-imperial configurations, does not fundamentally question this implicit neo-conservative consumerism of the Bollywood patriotic family romance. This is most obvious in the film’s gender politics where it blindly mimics Bollywood conventions in embodying the nation as a woman (Lalita) who, however independent she may appear, not only requires male protection (Darcy is needed to physically rescue Lakhi from Wickham) but also remains an object of exchange between competing systems of capitalist patriarchy (Uberoi, 207). At the film’s climax, Lalita walks away from her family towards Darcy. But before Darcy embraces the very willing Lalita, his eyes seek out and receive permission from Mr Bakshi. Patriarchal authority is thus granted due recognition, and Lalita’s seemingly bold “independent” decision remains caught within the politics of patriarchal exchange. This particular configuration of gender politics is very much a part of Bollywood’s neo-conservative consumerist ideology wherein the Indian woman/nation is given enough agency to make choices, to act as a “voluntary” consumer, within a globalised marketplace that is, however, controlled by the interests of capitalist patriarchy. The narrative of Bride and Prejudice perfectly aligns this framework with Lalita’s project of cultural nationalism, which functions purely at the personal/familial level, but which is framed at both ends of the film by a visual conjoining of marriage and the marketplace, both of which are ultimately outside Lalita’s control. Chadha’s attempt to appropriate and transform British “Pride” through subversive postcolonial mimicry, thus, ultimately results only in replacing it with an Indian “Bride,” with a “star” product (Aishwarya Rai / Bride and Prejudice / India as Bollywood) in a splendid package, ready for exchange and consumption within the global marketplace. All glittering surface and little substance, Bride and Prejudice proves, once again, that postmodern pastiche cannot automatically double as politically enabling postcolonial hybridity (Sangari, 23-4). References Adarsh, Taran. “Balle Balle! From Amritsar to L.A.” IndiaFM Movie Review 8 Oct. 2004. 19 Feb. 2007 http://indiafm.com/movies/review/7211/index.html>. Austen, Jane. Pride and Prejudice. 1813. New Delhi: Rupa and Co., 1999. Bhabha, Homi. “Of Mimicry and Man: The Ambivalence of Colonial Discourse.” The Location of Culture. Routledge: New York, 1994. 85-92. Bhaskaran, Gautam. “Classic Made Trivial.” The Hindu 15 Oct. 2004. 19 Feb. 2007 http://www.hinduonnet.com/thehindu/fr/2004/10/15/stories/ 2004101502220100.htm>. Boyum, Joy Gould. Double Exposure: Fiction into Film. Calcutta: Seagull Books, 1989. Bride and Prejudice. Dir. Gurinder Chadha. Perf. Aishwarya Ray and Martin Henderson. Miramax, 2004. Deshpande, Sudhanva. “The Consumable Hero of Globalized India.” Bollyworld: Popular Indian Cinema through a Transnational Lens. Eds. Raminder Kaur and Ajay J. Sinha. New Delhi: Sage, 2005. 186-203. Gangoli, Geetanjali. “Sexuality, Sensuality and Belonging: Representations of the ‘Anglo-Indian’ and the ‘Western’ Woman in Hindi Cinema.” Bollyworld: Popular Indian Cinema through a Transnational Lens. Eds. Raminder Kaur and Ajay J. Sinha. New Delhi: Sage, 2005. 143-162. Jaikumar, Priya. “Bollywood Spectaculars.” World Literature Today 77.3/4 (2003): n. pag. Jha, Subhash K. “Bride and Prejudice is not a K3G.” The Rediff Interview 30 Aug. 2004. 19 Feb. 2007 http://in.rediff.com/movies/2004/aug/30finter.htm>. Mandal, Somdatta. Film and Fiction: Word into Image. New Delhi: Rawat Publications, 2005. Prasad, M. Madhava. Ideology of the Hindi Film: A Historical Construction. New Delhi: Oxford UP, 1998. Sangari, Kumkum. Politics of the Possible: Essays on Gender, History, Narratives, Colonial English. New Delhi: Tulika, 1999. Uberoi, Patricia. Freedom and Destiny: Gender, Family, and Popular Culture in India. New Delhi: Oxford UP, 2006. Virdi, Jyotika. The Cinematic Imagination: Indian Popular Films as Social History. Delhi: Permanent Black, 2003. Wray, James. “Gurinder Chadha Talks Bride and Prejudice.” Movie News 7 Feb. 2005. 19 Feb. http://movies.monstersandcritics.com/news/article_4163.php/ Gurinder_Chadha_Talks_Bride_and_Prejudice>. Citation reference for this article MLA Style Mathur, Suchitra. "From British “Pride” to Indian “Bride”: Mapping the Contours of a Globalised (Post?)Colonialism." M/C Journal 10.2 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0705/06-mathur.php>. APA Style Mathur, S. (May 2007) "From British “Pride” to Indian “Bride”: Mapping the Contours of a Globalised (Post?)Colonialism," M/C Journal, 10(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0705/06-mathur.php>.

Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems. Cuttack: Vishvanatha Kaviraj Institute, 2020, ISBN: 978-81-943450-3-9, Paperback, pp. viii + 152. Like his earlier collection, The Door is Half Open, Susheel Kumar Sharma’s Unwinding Self: A Collection of Poems has three sections consisting of forty-two poems of varied length and style, a detailed Glossary mainly on the proper nouns from Indian culture and tradition and seven Afterwords from the pens of the trained readers from different countries of four continents. The structure of the book is circular. The first poem “Snapshots” indicates fifteen kaleidoscopic patterns of different moods of life in about fifteen words each. It seems to be a rumination on the variegated images of everyday experiences ranging from individual concerns to spiritual values. Art-wise, they can be called mini-micro-poems as is the last poem of the book. While the character limit in a micro poem is generally 140 (the character limit on Twitter) Susheel has used just around 65 in each of these poems. Naturally, imagery, symbolism and cinematic technique play a great role in this case. In “The End of the Road” the poet depicts his individual experiences particularly changing scenario of the world. He seems to be worried about his eyesight getting weak with the passage of time, simultaneously he contrasts the weakness of his eyesight with the hypocrisy permeating the human life. He compares his diminishing eyesight to Milton and shows his fear as if he will get blind. He changes his spectacles six times to clear his vision and see the plurality of a reality in human life. It is an irony on the changing aspects of human life causing miseries to the humanity. At the end of the poem, the poet admits the huge changes based on the sham principles: “The world has lost its original colour” (4). The concluding lines of the poem make a mockery of the people who are not able to recognise reality in the right perspective. The poem “Durga Puja in 2013” deals with the celebration of the festival “Durga Puja” popular in the Hindu religion. The poet’s urge to be with Ma Durga shows his dedication towards the Goddess Durga, whom he addresses with different names like ‘Mai’, ‘Ma’ and ‘Mother’. He worships her power and expresses deep reverence for annihilating the evil-spirits. The festival Durga Puja also reminds people of victory of the goddess on the elusive demons in the battlefield. “Chasing a Dream on the Ganges” is another poem having spiritual overtones. Similarly, the poem “Akshya Tritya” has religious and spiritual connotations. It reflects curiosity of people for celebration of “Akshya Tritya” with enthusiasm. But the political and economic overtones cannot be ignored as the poem ends with the remarkable comments: The GDP may go up on this day; Even, Budia is able to Eat to his fill; Panditji can blow his Conch shell with full might. Outside, somebody is asking for votes; Somebody is urging others to vote. I shall vote for Akshya Tritya. (65-66) “On Reading Langston Hughes’ ‘Theme for English B’” is a long poem in the collection. In this poem, the poet reveals a learner’s craving for learning, perhaps who comes from an extremely poor background to pursue his dreams of higher education. The poet considers the learner’s plights of early childhood, school education and evolutionary spirit. He associates it with Dronacharya and Eklavya to describe the mythical system of education. He does not want to be burdened with the self-guilt by denying the student to be his ‘guru’ therefore, he accepts the challenge to change his life. Finally, he shows his sympathy towards the learner and decides to be the ‘guru’: “It is better to face/A challenge and change/Than to be burden with a life/Of self-guilt. /I put my signatures on his form willy-nilly” (11). The poem “The Destitute” is an ironical presentation of the modern ways of living seeking pleasure in the exotic locations all over the world. It portrays the life of a person who has to leave his motherland for earning his livelihood, and has to face an irreparable loss affecting moral virtues, lifestyle, health and sometimes resulting in deaths. The poem “The Black Experience” deals with the suppression of the Africans by the white people. The poem “Me, A Black Doxy”, perhaps points out the dilemma of a black woman whether she should prostitute herself or not, to earn her livelihood. Perhaps, her deep consciousness about her self-esteem does not allow her to indulge in it but she thinks that she is not alone in objectifying herself for money in the street. Her voice resonates repeatedly with the guilt of her indulgence on the filthy streets: At the dining time Me not alone? In the crowded street Me not alone? They ’ave white, grey, pink hair Me ’ave black hair – me not alone There’s a crowd with black hair. Me ’ave no black money Me not alone? (14) The poem “Thus Spake a Woman” is structured in five sections having expressions of the different aspects of a woman’s love designs. It depicts a woman’s dreams and her attraction towards her lover. The auditory images like “strings of a violin”, “music of the violin” and “clinch in my fist” multiply intensity of her feelings. With development of the poem, her dreams seem to be shattered and sadness know the doors of her dreamland. Finally, she is confronted with sadness and is taken back to the past memories reminding her of the difficult situations she had faced. Replete with poetic irony, “Bubli Poems” presents the journey of a female, who, from the formative years of her life to womanhood, experienced gender stereotypes, biased sociocultural practices, and ephemeral happiness on the faces of other girls around her. The poem showcases the transformation of a village girl into a New Woman, who dreams her existence in all types of luxurious belongings rather than identifying her independent existence and finding out her own ways of living. Her dreams lead her to social mobility through education, friendships, and the freedom that she gains from her parents, family, society and culture. She attempts her luck in the different walks of human life, particularly singing and dancing and imagines her social status and wide popularity similar to those of the famous Indian actresses viz. Katrina and Madhuri Dixit: “One day Bubli was standing before the mirror/Putting on a jeans and jacket and shaking her hips/She was trying to be a local Katrina” (41). She readily bears the freakish behaviour of the rustic/uncultured lads, derogatory comments, and physical assaults in order to fulfil her expectations and achieves her individual freedom. Having enjoyed all the worldly happiness and fashionable life, ultimately, she is confronted with the evils designs around her which make her worried, as if she is ignorant of the world replete with the evils and agonies: “Bubli was ignorant of her agony and the lost calm” (42). The examples of direct poetic irony and ironic expressions of the socio-cultural evils, and the different governing bodies globally, are explicit in this poem: “Bubli is a leader/What though if a cheerleader./The news makes her family happy.”(40), “Others were blaming the Vice-Chancellor/ Some others the system;/ Some the freedom given to girls;”(45), and “Some blame poverty; some the IMF;/ Some the UN; some the environment;/ Some the arms race; some the crony’s lust;/ Some the US’s craving for power;/Some the UK’s greed. (46-47). Finally, Bubli finds that her imaginative world is fragile. She gives up her corporeal dreams which have taken the peace of her mind away. She yearns for shelter in the temples and churches and surrenders herself before deities praying for her liberation: “Jai Kali,/ Jai Mahakali, Jai Ma, Jai Jagaddhatri,/ Save me, save the world.” (47). In the poem “The Unlucky”, the poet jibes at those who are lethargic in reading. He identifies four kinds of readers and places himself in the fourth category by rating himself a ‘poor’ reader. The first three categories remind the readers of William Shakespeare’s statement “Some are born great, some achieve greatness, and some have greatness thrust upon them.” At the end of the poem, the poet questions himself for being a poet and teacher. The question itself reflects on his ironic presentation of himself as a poor reader because a poet’s wisdom is compared with that of the philosopher and everybody worships and bows before a teacher, a “guru”, in the Indian tradition. The poet is considered the embodiment of both. The poet’s unfulfilled wish to have been born in Prayagraj is indexed with compunction when the poem ends with the question “Why was I not born in Prayagraj?” (52). Ending with a question mark, the last line of the poem expresses his desire for perfection. The next poem, “Saying Goodbye”, is elegiac in tone and has an allusion to Thomas Gray’s “The Elegy Written in a Country Churchyard” in the line “When the curfew tolls the knell of the parting day”; it ends with a question mark. The poem seems to be a depiction of the essence and immortality of ‘time’. Reflecting on the poet’s consideration of the power and beauty of ‘time’, Pradeep Kumar Patra rightly points out, “It is such a phenomena that nobody can turn away from it. The moment is both beautiful as well as ferocious. It beautifies and showcases everything and at the same time pulls everything down when necessary” (146). Apparently, the poem “The Kerala Flood 2018”is an expression of emotions at the disaster caused by the flood in 2018. By reminding of Gandhi’s tenets to be followed by people for the sake of morality and humankind, the poet makes an implicit criticism of the pretentions, and violation of pledges made by people to care of other beings, particularly, cow that is worshiped as “mother” and is considered to be a symbol of fertility, peace and holiness in Hinduism as well as the Buddhist culture. The poet also denigrates people who deliberately ignore the sanctity of the human life in Hinduism and slaughter the animal cow to satisfy their appetites. In the poem, the carnivorous are criticized explicitly, but those who pretend to be herbivorous are decried as shams: If a cow is sacrosanct And people eat beef One has to take a side. Some of the friends chose to Side with cow and others With the beef-eaters. Some were more human They chose both. (55) The poet infuses positivity into the minds of the Indian people. Perhaps, he thinks that, for Indians, poverty, ignorance, dirt and mud are not taboos as if they are habitual to forbear evils by their instincts. They readily accept them and live their lives happily with pride considering their deity as the preserver of their lives. The poem “A Family by the Road” is an example of such beliefs, in which the poet lavishes most of his poetic depiction on the significance of the Lord Shiva, the preserver of people in Hinduism: Let me enjoy my freedom. I am proud of my poverty. I am proud of my ignorance. I am proud of my dirt. I have a home because of these. I am proud of my home. My future is writ on the walls Of your houses My family shall stay in the mud. After all, somebody is needed To clean the dirt as well. I am Shiva, Shivoham. (73) In the poem “Kabir’s Chadar”, the poet invokes several virtues to back up his faith in spirituality and simplicity. He draws a line of merit and virtue between Kabir’s Chadar which is ‘white’ and his own which is “thickly woven” and “Patterned with various beautiful designs/ In dark but shining colours” (50). The poet expresses his views on Kabir’s ‘white’ Chadar symbolically to inculcate the sense of purity, fortitude, spirituality, and righteousness among people. The purpose of his direct comparison between them is to refute artificiality, guilt and evil intents of humanity, and propagate spiritual purity, the stark simplicities of our old way of life, and follow the patience of a saint like Kabir. The poem “Distancing” is a statement of poetic irony on the city having two different names known as Bombay and Mumbai. The poet sneers at its existence in Atlas. Although the poet portraits the historical events jeering at the distancing between the two cities as if they are really different, yet the poet’s prophetic anticipation about the spread of the COVID-19 in India cannot be denied prima facie. The poet’s overwhelming opinions on the overcrowded city of Bombay warn humankind to rescue their lives. Even though the poem seems to have individual expressions of the poet, leaves a message of distancing to be understood by the people for their safety against the uneven things. The poem “Crowded Locals” seems to be a sequel to the poem “Distancing”. Although the poet’s purpose, and appeal to the commonplace for distancing cannot be affirmed by the readers yet his remarks on the overcrowded cities like in Mumbai (“Crowded Locals”), foresee some risk to the humankind. In the poem “Crowded Locals”, he details the mobility of people from one place to another, having dreams in their eyes and puzzles in their minds for their livelihood while feeling insecure especially, pickpockets, thieves and strangers. The poet also makes sneering comments on the body odour of people travelling in first class. However, these two poems have become a novel contribution for social distancing to fight against the COVID-19. In the poem “Buy Books, Not Diamonds” the poet makes an ironical interpretation of social anarchy, political upheaval, and threat of violence. In this poem, the poet vies attention of the readers towards the socio-cultural anarchy, especially, anarchy falls on the academic institutions in the western countries where capitalism, aristocracy, dictatorship have armed children not with books which inculcate human values but with rifles which create fear and cause violence resulting in deaths. The poet’s perplexed opinions find manifestation in such a way as if books have been replaced with diamonds and guns, therefore, human values are on the verge of collapse: “Nine radiant diamonds are no match/ To the redness of the queen of spades. . . . / … holding/ Rifles is a better option than/ Hawking groundnuts on the streets?” (67).The poet also decries the spread of austere religious practices and jihadist movement like Boko Haram, powerful personalities, regulatory bodies and religious persons: “Boko Haram has come/Obama has also come/The UN has come/Even John has come with/Various kinds of ointments” (67). The poem “Lost Childhood” seems to be a memoir in which the poet compares the early life of an orphan with the child who enjoys early years of their lives under the safety of their parents. Similarly, the theme of the poem “Hands” deals with the poet’s past experiences of the lifestyle and its comparison to the present generation. The poet’s deep reverence for his parents reveals his clear understanding of the ways of living and human values. He seems to be very grateful to his father as if he wants to make his life peaceful by reading the lines of his palms: “I need to read the lines in his palm” (70). In the poem “A Gush of Wind”, the poet deliberates on the role of Nature in our lives. The poem is divided into three sections, perhaps developing in three different forms of the wind viz. air, storm, and breeze respectively. It is structured around the significance of the Nature. In the first section, the poet lays emphasis on the air we breathe and keep ourselves fresh as if it is a panacea. The poet criticizes artificial and material things like AC. In the second section, he depicts the stormy nature of the wind scattering papers, making the bed sheets dusty affecting or breaking the different types of fragile and luxurious objects like Italian carpets and lamp shades with its strong blow entering the oriels and window panes of the houses. Apparently, the poem may be an individual expression, but it seems to be a caricature on the majesty of the rich people who ignore the use of eco-chic objects and disobey the Nature’s behest. In the third and the last section of the poem, the poet’s tone is critical towards Whitman, Pushkin and Ginsberg for their pseudoscientific philosophy of adherence to the Nature. Finally, he opens himself to enjoy the wind fearlessly. The poems like “A Voice” , “The New Year Dawn”, “The New Age”, “The World in Words in 2015”, “A Pond Nearby”, “Wearing the Scarlet Letter ‘A’”, “A Mock Drill”, “Strutting Around”, “Sahibs, Snobs, Sinners”, “Endless Wait”, “The Soul with a New Hat”, “Renewed Hope”, “Like Father, Unlike Son”, “Hands”, “Rechristening the City”, “Coffee”, “The Unborn Poem”, “The Fountain Square”, “Ram Setu”, and “Connaught Place” touch upon the different themes. These poems reveal poet’s creativity and unique features of his poetic arts and crafts. The last poem of the collection “Stories from the Mahabharata” is written in twenty-five stanzas consisting of three lines each. Each stanza either describes a scene or narrates a story from the Mahabharata, the source of the poem. Every stanza has an independent action verb to describe the actions of different characters drawn from the Mahabharata. Thus, each stanza is a complete miniscule poem in itself which seems to be a remarkable characteristic of the poem. It is an exquisite example of ‘Micro-poetry’ on paper, remarkable for its brevity, dexterity and intensity. The poet’s conscious and brilliant reframing of the stories in his poem sets an example of a new type of ‘Found Poetry’ for his readers. Although the poet’s use of various types images—natural, comic, tragic, childhood, horticultural, retains the attention of readers yet the abundant evidences of anaphora reflect redundancy and affect the readers’ concentration and diminishes their mental perception, for examples, pronouns ‘her’ and ‘we’ in a very small poem “Lost Childhood”, articles ‘the’ and ‘all’ in “Crowded Locals”, the phrase ‘I am proud of’ in “A Family by the Road” occur many times. Svitlana Buchatska’s concise but evaluative views in her Afterword to Unwinding Self help the readers to catch hold of the poet’s depiction of his emotions. She writes, “Being a keen observer of life he vividly depicts people’s life, traditions and emotions involving us into their rich spiritual world. His poems are the reflection on the Master’s world of values, love to his family, friends, students and what is more, to his beloved India. Thus, the author reveals all his beliefs, attitudes, myths and allusions which are the patterns used by the Indian poets” (150). W. H. Auden defines poetry as “the clear expression of mixed feelings.” It seems so true of Susheel Sharma’s Unwinding Self. It is a mixture of poems that touch upon the different aspects of human life. It can be averred that the collection consists of the poet’s seamless efforts to delve into the various domains of the human life and spot for the different places as well. It is a poetic revue in verse in which the poet instils energy, confidence, power and enthusiasm into minds of Indian people and touches upon all aspects of their lives. The poverty, ignorance, dirt, mud, daily struggle against liars, thieves, pickpockets, touts, politician and darkness have been depicted not as weaknesses of people in Indian culture but their strengths, because they have courage to overcome darkness and see the advent of a new era. The poems teach people morality, guide them to relive their pains and lead them to their salvation. Patricia Prime’s opinion is remarkable: “Sharma writes about his family, men and women, childhood, identity, roots and rootlessness, memory and loss, dreams and interactions with nature and place. His poised, articulate poems are remarkable for their wit, conversational tone and insight” (138). Through the poems in the collection, the poet dovetails the niceties of the Indian culture, and communicates its beauty and uniqueness meticulously. The language of the poem is lucid, elevated and eloquent. The poet’s use of diction seems to be very simple and colloquial like that of an inspiring teacher. On the whole the book is more than just a collection of poems as it teaches the readers a lot about the world around them through a detailed Glossary appended soon after the poems in the collection. It provides supplementary information about the terms used abundantly in Indian scriptures, myths, and other religious and academic writings. The Glossary, therefore, plays pivotal role in unfolding the layers of meaning and reaching the hearts of the global readers. The “Afterwords” appended at the end, enhances readability of poems and displays worldwide acceptability, intelligibility, and popularity of the poet. The Afterwords are a good example of authentic Formalistic criticism and New Criticism. They indirectly teach a formative reader and critic the importance of forming one’s opinion, direct reading and writing without any crutches of the critics.

Severe acute respiratory syndrome coronavirus 2 (SARS-CoV-2), a novel coronavirus , is causing a serious worldwide COVID-19 pandemic. The emergence of strains with rapid spread and unpredictable changes is the cause of the increase in morbidity and mortality rates. A number of drugs as well as vaccines are currently being used to relieve symptoms, prevent and treat the disease caused by this virus. However, the number of approved drugs is still very limited due to their effectiveness and side effects. In such a situation, medicinal plants and bioactive compounds are considered a highly valuable source in the development of new antiviral drugs against SARS-CoV-2. This review summarizes medicinal plants and bioactive compounds that have been shown to act on molecular targets involved in the infection and replication of SARS-CoV-2. Keywords: Medicinal plants, bioactive compounds, antivirus, SARS-CoV-2, COVID-19 References [1] R. Lu, X. Zhao, J. Li, P. Niu, B. Yang, H. 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