Journal articles on the topic 'Literature, Comparative Literature, Comparative Hindi literature Sanskrit literature'

This paper provides a textual comparison of selected primary sources on medieval mathematics written in Sanskrit and medieval Latin for the first time. By emphasising literary features instead of purely mathematical ones, it attempts to shed light on a neglected area in the study of scientific treatises which concerns lexicon and argument strategies. The methodological perspective takes into account the intellectual context of knowledge production of the sources presented; the medieval Indian and Latin traditions are historically connected, in fact, by one of the most fascinating episodes in the history of knowledge transfer across cultures: the transmission of the decimal place value system. This cross-linguistic analysis compares and contrasts the versatile textuality and richness of forms defining the interplay between language and number in medieval Sanskrit and Latin works; it employs interdisciplinary methods (Philology, History of Science, and Literary Studies) and challenges disciplinary boundaries by putting side by side languages and textual cultures which are commonly treated separately. The purpose in writing this research is to expand upon recent scholarship on the Global Middle Ages by embracing an Eastern literary culture and, in doing so, to promote comparative studies which include non-European traditions. This research is intended as a further contribution to the field of Comparative Medieval Literature and Culture; it also aims to stimulate discussion on cross-linguistic and cross-cultural projects in Medieval Studies.

AbstractIn responding to Muhsin al-Musawi’s two-part essay on the Arabic Republic of Letters, this essay proposes a rethinking of the world systems model in global literary studies in terms of a polysystems framework. Rather than trying to fit literary worlds—ancient, premodern, modern—within a single Euro-chronological frame culminating in a world capitalist systems model—where the non-European worlds appear as invariably inferior—it is worthwhile to see them as several polysystems with variable valences within a heterotemporal planetary literary space. This approach offers a comparative reading of the emergence of three language worlds—Sanskrit, Persian, and Arabic—and urges us to rethink the totality of the world literary space as a diachronic field that generates overlapping, multiscalar, comparative histories of literary polysystems.

Abstract This essay studies the history, current, and future status of the discipline of comparative literature in Iran. It compares the theoretical norms of contemporary comparative literature to the Pre-modern Perso-Islamic notion of “comparison,” which has been theorized in Iran and the Arab World as the Arabic, Islamic, and Iranian schools of comparative literature. The article highlights profound institutional and canonical Perso-Shi’a centrism in Iranian academia, and shows how the discipline of comparative literature has been used as a vehicle for transnationalism of this Perso-Shi’a centrism that has manifested in “Persianate World” in the context of European and North American academia. Marshall Hodgson’s 1960s neologism “Persianate World” has been placed with the paradigm shifts ushered in by the linguistic and cultural turns of the 1970s, the postcolonial scholarship that grew from Edward Said’s Orientalism in the late 1990s, and Sheldon Pollock’s formulation of a ‘Sanskrit cosmopolis’ in the 21st century. The article explains how the Persianate comparatists, under the banner of postcolonial studies, not only erased the experience of the subaltern and internally colonialized non-Persians of Iran in favor of the Middle Eastern states in a binary matrix (Western Imperialism versus a “colonialized” Islamic world), but also represents an unrealistic and exaggerated picture of the discipline to Western readers. The article further maps the conversations within the postcolonial Middle East about “internal colonialism,” as an analytic tool for thinking about operations and interlocking systems of power in the Middle East and abroad, here applied to the discipline of comparative literature for the first time.

Abstract What does it mean to inventory all the components of the human body, and what do those inventories tell us about medical ideas and practice? I compare the lists of body parts in the śārīra-sthānas (sections relating to the body) of the Caraka-saṃhitā (ca. first century CE) and the Suśruta-saṃhitā (ca. second century CE). Rather than provide a detailed list of differences, I contemplate what these differences “mean” in terms of counting as a practice and of how we might think about these two texts as articulations of the concerns of the “theorist-physicians” of the Caraka-saṃhitā and the “anatomist-surgeons” of the Suśruta-saṃhitā. How might a close comparative reading of these passages—an “emic” reading, if you will—shed light on medical practice in early India and its relationship with metaphysical concerns, issues of selfhood, sexual “difference,” and the problem of understanding what cannot be seen with the naked eye?

World literature has recently been critiqued for its normative, world-making force and, not unrelatedly, for its genealogical ties to orientalism. This article shifts the focus in world literature from the ‘world’ to the ‘literature’ by suggesting that within a nexus of politics, religion and knowledge production, the stylistic requirements of literature were fundamental to the reification of numerous performative modes that were not predicated exclusively on language's semantic dimensions. Literature, as a ‘vanishing mediator’, thus enabled not only translations but also comparative valuations – philological, mythological and racial – of entire cultures in an unethical epistemological encounter. Through the examination of the circuitous route of the Sāvitrī myth, which was translated from Sanskrit into Italian, English, French and German as ‘dramatic literature’, and finally to Gujarati as a play for theatrical production, this article uncovers performance's potential to problematize the figuring of text as world-encompassing entity.

The Prometheus myth in Greek literature deals primarily with the theft of fire. The mythological story unwinds such events as the sacrificial thigh bone, God’s corporal punishment, and the eating of flesh by an eagle. A link with the Oceanus race and with the continent of Asia is also seen. Interestingly resemblances with this myth can be seen in some ancient literary sources from Tamil and Sanskrit languages. The Tamil myth of ‘Sembian’ and the Sanskrit myth of ‘Sibi’ also have resemblances with the Greek myth of Prometheus. The parallels seen between these myths are examined here. Keywords: comparative study, Indian, myth, Prometheus, Sanskrit, Sembian, Sibi, Tamil

The wide ranging topics attempted by Dr C. N. Ramachandran in this collection are a proof of his in depth learning of Sanskrit, English and Kannada literary and critical traditions. Divided into two sections, the first section of this collection of essays written during a long span of time shows remarkable application of contemporary discourses and Western theories on some of the seminal texts like Bhagwatgita, Ramayanas, and Abhijnana Sakuntalam at one hand and a comparative study of Kannad novels and their film versions. The second section draws some new critical parameters to reevaluate Tagore, Gokak, Bendre, Narsimhaswami and other Kannada writers. Wading easily through two different currents of Eastern and Western traditions, he leaves some big lacunae while writing on some of the most fundamental texts and concepts of Indian literature and philosophy, which required deeper studies. The present article, which initially intended to be just a review of the book mentioned above, seeks to incorporate more accurate information on such issues, which the author, relying more on the false data supplied by secondary sources, dealt half-heartedly. As a corrective step to the missing 'interior signature' (as C. D. Narsimhaiya would say) of the author, the article should be read as a supplement to the book.

Summary In the emergence of comparative grammar at the beginning of the 19th century, Sanskrit played a crucial role. The manner in which Friedrich Schlegel (1772–1829) characterized the grammatical structure of this language in his Ueber die Sprache und Weisheit der Indier of 1808 was of great importance for the early phases of development of Indo-European linguistics. As is shown in this paper, the characteristics attributed to Sanskrit derived not only from F. Schlegel’s romantic views on language and literature, but were also influenced by his general philosophical and natural-science views which largely reflected the intellectual climate of the late 18th and early 19th century in Germany. During this period biology, physiology, and comparative anatomy experienced rapid progress, and the ‘organic’ concept of nature they espoused provided cognitive models for other disciplines, notably philosophy (cf. Kant’s Kritik der Urteilskraft of 1790), aesthetics, poetics, and linguistics. These natural-science concepts proved particularly fruitful within the romantic movement; they convinced F. Schlegel to see in Sanskrit a language whose organization resembled most perfectly the ideal Ursprache of Indo-European.

This essay offers a comparative critique of all major Indian theatre histories written during the modern era. It reveals three distinct representations of Indian theatre and argues that each was a manifestation of a discrete historiographic approach, shaped by its particular historical and cultural moment. Theatre histories of the Orientalist period offer a narrow and elitist construction of Indian theatre as synonymous with a single defunct genre, the ancient Sanskrit theatre. Histories of the high nationalist phase make a token acknowledgement of the Sanskrit and traditional genres but define Indian theatre as comprising primarily of the modern genre. Postcolonial histories construct a democratic and comprehensive Indian theatre – embracing the Sanskrit, traditional, and modern genre – but with an unpersuasively high significance assigned to the modern genre's post-Independence phase. Such different representations of Indian theatre show how theatre historiography in the modern period, like theatre historiography in any era, regularly refashioned itself under the pressure of changing historical, political, and cultural conditions.

This article seeks to historicize the affinity between narrative fiction and the cognitive function known as theory of mind. The author believes this affinity holds true mostly in modern commercial societies structured by stranger sociality, cosmopolitanism, and social mobility. Elsewhere, both temporally and culturally, theory of mind is certainly present and useful but not always prized in social life and does not animate expressive culture to the same extent. Such societies are structured by kinship sociality that presumes relatively stable identity and valorizes guileless “characters” who effortlessly embody socially shared values. The hierarchical structures of these societies also place a greater premium on theory of mind for subordinates than for the powerful, hence attaching a tinge of opprobrium to its exercise. In literature this translates into the moral ambivalence concerning “crafty” figures. The author presents her arguments with reference primarily to premodern Chinese literary classics. For comparative purposes she also brings into discussion the Sanskrit play Shakuntala and a King Solomon legend. In the coda, she asks if the importance of theory of mind is overstated when in social life we resort to a much wider range of folk psychological heuristics.

<p class="abstract"><strong>Background:</strong> Low Back Pain is one of the common conditions encountered in clinical practice. An estimated 65% to 80% of population will experience it during lifetime. As far as the various documented side effects of analgesics and NSAIDs have been concerned, complementary and alternative treatment options have, therefore, gained popularity. In Unani classical literature, <em>Habb-e-Hindi</em> is being indicated for joint’s pain in general and can be evaluated as safe, effective and alternative treatment of LBP.</p><p class="abstract"><strong>Methods:</strong> This historical control clinical trial testing the superiority of <em>Habb-e-Hindi</em> with Unani formulation used in previous study carried out at NIUM Hospital, Bengaluru. The comparison of the efficacy was made between the test group and historical control group. Primary outcome measures were improvement in LBP (VAS in NRS) and the secondary outcome measures included improvement in QOL (ODI scores and QBPDS scores). Data were analyzed by using Fisher’s Exact/Chi-Square/Repeated measures and One-way ANOVA with Tukey post hoc multiple comparison test for both intergroup and intragroup comparisons.</p><p class="abstract"><strong>Results:</strong> The test and the control group both equally had significant results. Test drug showed better results (in VAS). LBP associated disability (in ODI) got reduced significantly in control group as compared to the test group. The Significant Disability Change (in QBPDS) was recorded in all 20 patients of the control group as compared to that of the test group where only 4 patients showed significant reduction.</p><p class="abstract"><strong>Conclusions: </strong>The results of this study suggest that the Unani formulations are effective in the treatment of Low back pain.</p>

Abstract This paper deals with the complex sentences in Spanish formed by the correlation tanto(s)~tanta(s)... que (i.e. Comí tanto que me sentó mal ‘I ate so much that I felt bad’). In opposition to the majority of the previous analyses, which treat que as an adjacent of the quantified phrase with tanto, we will argue that tanto... que is not a functional group nor a maximal projection lexically generated, but a long-distance correlation that is semantically and pragmatically conditioned. In particular, we will defend that tanto is an evaluative scalar quantifier that behaves like correlatives do: it maximizes the meaning of its clause and is pragmatically significant (it marks contrastive focus by means of intensive accent and intonation and may give rise to an informative structure of topic-comment). In addition, the clause with que behaves like the typical correlates: it is always postposed to the correlative and it rejects recursive operations (like coordination). As occurs in the comparative correlatives from some Germanic languages and the relative correlatives in languages like Hindi, the clause with que is an adjunct of the first clause. Lastly, and following Dayal’s work on relative correlatives in Hindi (1995), we will suggest that tanto is a two-place quantifier linking a propositional variable, instantiated by the clause with que.

A work of classical Indian theory and practice, Bharata's Nāṭyashāstra offers a comprehensive account of emotion and of the production, communication, and reception of representations of it in dance, music, poetry, and theater. This essay examines remarkable points of convergence and divergence between the third-century Sanskrit text and three influential modern Euro-American accounts: Charles Darwin's mapping of involuntary expressions of emotion in human beings and animals, William James's aggregation of emotions in the stream of consciousness, and Sylvan Tomkins's atlas of primary affects that links neurobiology and cybernetics. My comparative analysis highlights the Nāṭyashāstra's contributions to our understanding of the connections of emotion to cognition, consciousness, and causality; of the combinatorial constitution of emotions; and of treatments of emotion in contemporary affect theory and performance theory. The essay concludes with an exploration of Bharata's and Aristotle's models of mimesis and of their mutual differences regarding the representation of emotion in the verbal and performing arts.

Internet of Things (IoT) is regarded as a next-generation wave of Information Technology (IT) after the widespread emergence of the Internet and mobile communication technologies. IoT supports information exchange and networked interaction of appliances, vehicles and other objects, making sensing and actuation possible in a low-cost and smart manner.
 
 On the other hand, cyber-physical systems (CPS) are described as the engineered systems which are built upon the tight integration of the cyber entities (e.g., computation, communication, and control) and the physical things (natural and man-made systems governed by the laws of physics).
 
 The IoT and CPS are not isolated technologies. Rather it can be said that IoT is the base or enabling technology for CPS and CPS is considered as the grownup development of IoT, completing the IoT notion and vision. Both are merged into closed-loop, providing mechanisms for conceptualizing, and realizing all aspects of the networked composed systems that are monitored and controlled by computing algorithms and are tightly coupled among users and the Internet. That is, the hardware and the software entities are intertwined, and they typically function on different time and location-based scales. In fact, the linking between the cyber and the physical world is enabled by IoT (through sensors and actuators). CPS that includes traditional embedded and control systems are supposed to be transformed by the evolving and innovative methodologies and engineering of IoT.
 
 Several applications areas of IoT and CPS are smart building, smart transport, automated vehicles, smart cities, smart grid, smart manufacturing, smart agriculture, smart healthcare, smart supply chain and logistics, etc.
 Though CPS and IoT have significant overlaps, they differ in terms of engineering aspects. Engineering IoT systems revolves around the uniquely identifiable and internet-connected devices and embedded systems; whereas engineering CPS requires a strong emphasis on the relationship between computation aspects (complex software) and the physical entities (hardware).
 
 Engineering CPS is challenging because there is no defined and fixed boundary and relationship between the cyber and physical worlds. In CPS, diverse constituent parts are composed and collaborated together to create unified systems with global behaviour. These systems need to be ensured in terms of dependability, safety, security, efficiency, and adherence to real‐time constraints. Hence, designing CPS requires knowledge of multidisciplinary areas such as sensing technologies, distributed systems, pervasive and ubiquitous computing, real-time computing, computer networking, control theory, signal processing, embedded systems, etc.
 
 CPS, along with the continuous evolving IoT, has posed several challenges. For example, the enormous amount of data collected from the physical things makes it difficult for Big Data management and analytics that includes data normalization, data aggregation, data mining, pattern extraction and information visualization. Similarly, the future IoT and CPS need standardized abstraction and architecture that will allow modular designing and engineering of IoT and CPS in global and synergetic applications. Another challenging concern of IoT and CPS is the security and reliability of the components and systems.
 
 Although IoT and CPS have attracted the attention of the research communities and several ideas and solutions are proposed, there are still huge possibilities for innovative propositions to make IoT and CPS vision successful. The major challenges and research scopes include system design and implementation, computing and communication, system architecture and integration, application-based implementations, fault tolerance, designing efficient algorithms and protocols, availability and reliability, security and privacy, energy-efficiency and sustainability, etc.
 
 It is our great privilege to present Volume 21, Issue 3 of Scalable Computing: Practice and Experience. We had received 30 research papers and out of which 14 papers are selected for publication. The objective of this special issue is to explore and report recent advances and disseminate state-of-the-art research related to IoT, CPS and the enabling and associated technologies. The special issue will present new dimensions of research to researchers and industry professionals with regard to IoT and CPS.
 
 Vivek Kumar Prasad and Madhuri D Bhavsar in the paper titled "Monitoring and Prediction of SLA for IoT based Cloud described the mechanisms for monitoring by using the concept of reinforcement learning and prediction of the cloud resources, which forms the critical parts of cloud expertise in support of controlling and evolution of the IT resources and has been implemented using LSTM. The proper utilization of the resources will generate revenues to the provider and also increases the trust factor of the provider of cloud services. For experimental analysis, four parameters have been used i.e. CPU utilization, disk read/write throughput and memory utilization.
 
 Kasture et al. in the paper titled "Comparative Study of Speaker Recognition Techniques in IoT Devices for Text Independent Negative Recognition" compared the performance of features which are used in state of art speaker recognition models and analyse variants of Mel frequency cepstrum coefficients (MFCC) predominantly used in feature extraction which can be further incorporated and used in various smart devices.
 
 Mahesh Kumar Singh and Om Prakash Rishi in the paper titled "Event Driven Recommendation System for E-Commerce using Knowledge based Collaborative Filtering Technique" proposed a novel system that uses a knowledge base generated from knowledge graph to identify the domain knowledge of users, items, and relationships among these, knowledge graph is a labelled multidimensional directed graph that represents the relationship among the users and the items. The proposed approach uses about 100 percent of users' participation in the form of activities during navigation of the web site. Thus, the system expects under the users' interest that is beneficial for both seller and buyer. The proposed system is compared with baseline methods in area of recommendation system using three parameters: precision, recall and NDGA through online and offline evaluation studies with user data and it is observed that proposed system is better as compared to other baseline systems.
 
 Benbrahim et al. in the paper titled "Deep Convolutional Neural Network with TensorFlow and Keras to Classify Skin Cancer" proposed a novel classification model to classify skin tumours in images using Deep Learning methodology and the proposed system was tested on HAM10000 dataset comprising of 10,015 dermatoscopic images and the results observed that the proposed system is accurate in order of 94.06\% in validation set and 93.93\% in the test set.
 
 Devi B et al. in the paper titled "Deadlock Free Resource Management Technique for IoT-Based Post Disaster Recovery Systems" proposed a new class of techniques that do not perform stringent testing before allocating the resources but still ensure that the system is deadlock-free and the overhead is also minimal. The proposed technique suggests reserving a portion of the resources to ensure no deadlock would occur. The correctness of the technique is proved in the form of theorems. The average turnaround time is approximately 18\% lower for the proposed technique over Banker's algorithm and also an optimal overhead of O(m).
 
 Deep et al. in the paper titled "Access Management of User and Cyber-Physical Device in DBAAS According to Indian IT Laws Using Blockchain" proposed a novel blockchain solution to track the activities of employees managing cloud. Employee authentication and authorization are managed through the blockchain server. User authentication related data is stored in blockchain. The proposed work assists cloud companies to have better control over their employee's activities, thus help in preventing insider attack on User and Cyber-Physical Devices.
 
 Sumit Kumar and Jaspreet Singh in paper titled "Internet of Vehicles (IoV) over VANETS: Smart and Secure Communication using IoT" highlighted a detailed description of Internet of Vehicles (IoV) with current applications, architectures, communication technologies, routing protocols and different issues. The researchers also elaborated research challenges and trade-off between security and privacy in area of IoV.
 
 Deore et al. in the paper titled "A New Approach for Navigation and Traffic Signs Indication Using Map Integrated Augmented Reality for Self-Driving Cars" proposed a new approach to supplement the technology used in self-driving cards for perception. The proposed approach uses Augmented Reality to create and augment artificial objects of navigational signs and traffic signals based on vehicles location to reality. This approach help navigate the vehicle even if the road infrastructure does not have very good sign indications and marking. The approach was tested locally by creating a local navigational system and a smartphone based augmented reality app. The approach performed better than the conventional method as the objects were clearer in the frame which made it each for the object detection to detect them.
 
 Bhardwaj et al. in the paper titled "A Framework to Systematically Analyse the Trustworthiness of Nodes for Securing IoV Interactions" performed literature on IoV and Trust and proposed a Hybrid Trust model that seperates the malicious and trusted nodes to secure the interaction of vehicle in IoV. To test the model, simulation was conducted on varied threshold values. And results observed that PDR of trusted node is 0.63 which is higher as compared to PDR of malicious node which is 0.15. And on the basis of PDR, number of available hops and Trust Dynamics the malicious nodes are identified and discarded.
 
 Saniya Zahoor and Roohie Naaz Mir in the paper titled "A Parallelization Based Data Management Framework for Pervasive IoT Applications" highlighted the recent studies and related information in data management for pervasive IoT applications having limited resources. The paper also proposes a parallelization-based data management framework for resource-constrained pervasive applications of IoT. The comparison of the proposed framework is done with the sequential approach through simulations and empirical data analysis. The results show an improvement in energy, processing, and storage requirements for the processing of data on the IoT device in the proposed framework as compared to the sequential approach.
 
 Patel et al. in the paper titled "Performance Analysis of Video ON-Demand and Live Video Streaming Using Cloud Based Services" presented a review of video analysis over the LVS \& VoDS video application. The researchers compared different messaging brokers which helps to deliver each frame in a distributed pipeline to analyze the impact on two message brokers for video analysis to achieve LVS & VoS using AWS elemental services. In addition, the researchers also analysed the Kafka configuration parameter for reliability on full-service-mode.
 
 Saniya Zahoor and Roohie Naaz Mir in the paper titled "Design and Modeling of Resource-Constrained IoT Based Body Area Networks" presented the design and modeling of a resource-constrained BAN System and also discussed the various scenarios of BAN in context of resource constraints. The Researchers also proposed an Advanced Edge Clustering (AEC) approach to manage the resources such as energy, storage, and processing of BAN devices while performing real-time data capture of critical health parameters and detection of abnormal patterns. The comparison of the AEC approach is done with the Stable Election Protocol (SEP) through simulations and empirical data analysis. The results show an improvement in energy, processing time and storage requirements for the processing of data on BAN devices in AEC as compared to SEP.
 
 Neelam Saleem Khan and Mohammad Ahsan Chishti in the paper titled "Security Challenges in Fog and IoT, Blockchain Technology and Cell Tree Solutions: A Review" outlined major authentication issues in IoT, map their existing solutions and further tabulate Fog and IoT security loopholes. Furthermore, this paper presents Blockchain, a decentralized distributed technology as one of the solutions for authentication issues in IoT. In addition, the researchers discussed the strength of Blockchain technology, work done in this field, its adoption in COVID-19 fight and tabulate various challenges in Blockchain technology. The researchers also proposed Cell Tree architecture as another solution to address some of the security issues in IoT, outlined its advantages over Blockchain technology and tabulated some future course to stir some attempts in this area.
 
 Bhadwal et al. in the paper titled "A Machine Translation System from Hindi to Sanskrit Language Using Rule Based Approach" proposed a rule-based machine translation system to bridge the language barrier between Hindi and Sanskrit Language by converting any test in Hindi to Sanskrit. The results are produced in the form of two confusion matrices wherein a total of 50 random sentences and 100 tokens (Hindi words or phrases) were taken for system evaluation. The semantic evaluation of 100 tokens produce an accuracy of 94\% while the pragmatic analysis of 50 sentences produce an accuracy of around 86\%. Hence, the proposed system can be used to understand the whole translation process and can further be employed as a tool for learning as well as teaching. Further, this application can be embedded in local communication based assisting Internet of Things (IoT) devices like Alexa or Google Assistant.
 
 
 Anshu Kumar Dwivedi and A.K. Sharma in the paper titled "NEEF: A Novel Energy Efficient Fuzzy Logic Based Clustering Protocol for Wireless Sensor Network" proposed a a deterministic novel energy efficient fuzzy logic-based clustering protocol (NEEF) which considers primary and secondary factors in fuzzy logic system while selecting cluster heads. After selection of cluster heads, non-cluster head nodes use fuzzy logic for prudent selection of their cluster head for cluster formation. NEEF is simulated and compared with two recent state of the art protocols, namely SCHFTL and DFCR under two scenarios. Simulation results unveil better performance by balancing the load and improvement in terms of stability period, packets forwarded to the base station, improved average energy and extended lifetime.

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

In the spring of 1995, I had just begun to work on issues having to do with the global reception of Indian popular film.2 I was particularly interested in the consumption of Bollywood films in South Asian diasporic communities and was doing some preliminary research in Iselin, a small town in central New Jersey, with a large and thriving “Little India” neighborhood. Since I was also interested in the changes taking place in the Indian popular film industry itself, I had been following the case of Mani Ratnam’s film Bombay, which had been released earlier that year, in Tamil and Hindi, to a mix of acclaim and controversy in India. Because the film deals with the communal violence that gave rise to rioting that shook Bombay in 1992 and 1993, some authorities were concerned that screening the film in areas experiencing communal tensions might lead to more violence. Consequently, the film had been temporarily banned in several parts of India, including Hyderabad and Karnataka and, as of April 1995, had not yet been screened in Bombay itself (Niranjana, “Banning Bombayi” 1291–2). But at a party that spring, I found myself discussing the film with a colleague who had come from Bombay to study comparative literature at Rutgers. Bombay was quite an interesting film, she assured me, and I should watch it as part of my research. I must have looked puzzled, for she then added, “We found a copy on video in Iselin last week.”

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Ithaca, New York: Southeast Asia Program, Cornell University, 1999, 98 pp., Siddharth Chandra (eds.) - Joke van Reenen, Audrey Kahin, Rebellion to integration; West Sumatra and the Indonesian polity, 1926-1998. Amsterdam University Press, 1999, 368 pp. - Heather Sutherland, Craig J. Reynolds, Southeast Asian Studies: Reorientations. Ithaca: Southeast Asia Program, Cornell University, 1998, 70 pp. [The Frank H. Golay Memorial Lectures 2 and 3.], Ruth McVey (eds.) - Nicholas Tarling, Patrick Tuck, The French wolf and the Siamese lamb; The French threat to Siamese independence, 1858-1907. Bangkok: White Lotus, 1995, xviii + 434 pp. [Studies in Southeast Asian History 1.] - B.J. Terwiel, Andreas Sturm, Die Handels- und Agrarpolitik Thailands von 1767 bis 1932. Passau: Universität Passau, Lehrstuhl für Südostasienkunde, 1997, vii + 181 pp. [Passauer Beiträge zur Südostasienkunde 2.] - René S. Wassing, Koos van Brakel, A passion for Indonesian art; The Georg Tillmann collection at the Tropenmuseum Amsterdam. Amsterdam. Royal Tropical Institute/Tropenmuseum, 1996, 128 pp., David van Duuren, Itie van Hout (eds.) - Edwin Wieringa, J. de Bruin, Een Leidse vriendschap; De briefwisseling tussen Herman Bavinck en Christiaan Snouck Hurgronje, 1875-1921. Baarn: Ten Have, 1999, 192 pp. [Passage 11.], G. Harinck (eds.)

— The study of emotions is an important part of research in the excavation of literature. It involves removing ideas from articles such as reviews, news, blog posts, etc. and then classifying them as positive, negative or negative. The senses of English were studied but not much work was done for the Indian language. Studies were conducted in Hindi, Bengali, Marathi and Punjabi. Today, most communications are made on social media using the Hinglish language which is a combination of both Hindi and English. Hinglish is a native language that is very popular in India because people are more comfortable speaking their own language. This paper provides a new method for expressing the emotions of Hinglish (Hindi + English). Emotional analysis (SA) uses mixed data from the social media with many programs. Feedback from consumer satisfaction in evaluating social activity in multiple languages society. Progress in this area is hampered by a lack of relevant sequential data. We Introduces a Hi-En code-mixing set for sensitive information and satisfying performance. A comparative study of the feasibility and implementation of SA methods in social media. We also derive and describe Hinglish language. We examine this problem by using sets of lexicon, emotion, and form metadata to construct a classification that can vary between “positive”, “negative” and “neutral” feelings.

Daud Rahber (1926 - 5 October 2013) was a scholar of comparative religions, Arabic, Persian, Urdu literature and Indian classical music. Rahber is regarded as accomplished essayist, poet, composer, translator, philosopher, contributer to Inter civilization dialogue, musicologist, drummer, singer and guitarist. In 1949, he left Pakistan for Cambridge University where he got his Ph.D. He served as a teacher at reputable Universities in Canada and Turkey. His love for poetry and music can never be subsided. In 1968, he became a member of the faculty of Boston University where he taught comparative religions for 23 years. He retired in 1991 and settled in Florida. In rich tradition of Urdu poetry, Daud Rahber's comprehensive 'kulliyat' and 'Baqiyat' show an amazing breadth of content. His diction includes words from Hindi, Arabic, Persian and Urdu, all assimilated into flawless, rhythmic phrases. He is sensitive to the human conditions and always sees the infinite in the infinitesimal. His poetry is a colourful canvas portraying all around him.

ABSTRACT: 
 Shampoo in simple terms is a hair care product designed to clean the scalp skin along with its hairs. Incidentally, the term shampoo entered the English language through the Hindi word “champoo” was used meaning to press or massage; it was used to denote cleaning through massage of the hair and skin [1]. Today’s shampoo formulations are beyond the stage of pure cleaning of the hair. Additional benefits are expected, e.g., conditioning, smoothing of the hair surface, good health of hair, i.e., hair free of dandruff, dirt, grease and lice and, above all, its safety benefits are expected. In the present scenario, it seems improbable that herbal shampoo, although better in performance and safer than the synthetic ones, will be popular with the consumers. The present study is about the preparation of Gunja shampoo and its comparative Physico-chemical study with the Gunja oil. Ayurvedic literature name Chakradatta Samhita had explained Gunja tail in Kandu rogadhikar, in this study conversion of tail will be done by shampoo as it is easily acquired by society.


 
 
 From elephants to ABBA fans, silicon to hormone, the following discussion uses a new research method to look at printed text, motion pictures and a teenage rebel icon. If by ‘print’ we mean a mechanically reproduced impression of a cultural symbol in a medium, then printing has been with us since before microdot security prints were painted onto cars, before voice prints, laser prints, network servers, record pressings, motion picture prints, photo prints, colour woodblock prints, before books, textile prints, and footprints. If we accept that higher mammals such as elephants have a learnt culture, then it is possible to extend a definition of printing beyond Homo sapiens. Poole reports that elephants mechanically trumpet reproductions of human car horns into the air surrounding their society. If nothing else, this cross-species, cross-cultural reproduction, this ‘ability to mimic’ is ‘another sign of their intelligence’. Observation of child development suggests that the first significant meaningful ‘impression’ made on the human mind is that of the face of the child’s nurturer – usually its mother. The baby’s mind forms an ‘impression’, a mental print, a reproducible memory data set, of the nurturer’s face, voice, smell, touch, etc. That face is itself a cultural construct: hair style, makeup, piercings, tattoos, ornaments, nutrition-influenced skin and smell, perfume, temperature and voice. A mentally reproducible pattern of a unique face is formed in the mind, and we use that pattern to distinguish ‘familiar and strange’ in our expanding social orbit. The social relations of patterned memory – of imprinting – determine the extent to which we explore our world (armed with research aids such as text print) or whether we turn to violence or self-harm (Bretherton). While our cultural artifacts (such as vellum maps or networked voice message servers) bravely extend our significant patterns into the social world and the traversed environment, it is useful to remember that such artifacts, including print, are themselves understood by our original pattern-reproduction and impression system – the human mind, developed in childhood. The ‘print’ is brought to mind differently in different discourses. For a reader, a ‘print’ is a book, a memo or a broadsheet, whether it is the Indian Buddhist Sanskrit texts ordered to be printed in 593 AD by the Chinese emperor Sui Wen-ti (Silk Road) or the US Defense Department memo authorizing lower ranks to torture the prisoners taken by the Bush administration (Sanchez, cited in ABC). Other fields see prints differently. For a musician, a ‘print’ may be the sheet music which spread classical and popular music around the world; it may be a ‘record’ (as in a ‘recording’ session), where sound is impressed to wax, vinyl, charged silicon particles, or the alloys (Smith, “Elpida”) of an mp3 file. For the fine artist, a ‘print’ may be any mechanically reproduced two-dimensional (or embossed) impression of a significant image in media from paper to metal, textile to ceramics. ‘Print’ embraces the Japanese Ukiyo-e colour prints of Utamaro, the company logos that wink from credit card holographs, the early photographs of Talbot, and the textured patterns printed into neolithic ceramics. Computer hardware engineers print computational circuits. Homicide detectives investigate both sweaty finger prints and the repeated, mechanical gaits of suspects, which are imprinted into the earthy medium of a crime scene. For film makers, the ‘print’ may refer to a photochemical polyester reproduction of a motion picture artifact (the reel of ‘celluloid’), or a DVD laser disc impression of the same film. Textualist discourse has borrowed the word ‘print’ to mean ‘text’, so ‘print’ may also refer to the text elements within the vision track of a motion picture: the film’s opening titles, or texts photographed inside the motion picture story such as the sword-cut ‘Z’ in Zorro (Niblo). Before the invention of writing, the main mechanically reproduced impression of a cultural symbol in a medium was the humble footprint in the sand. The footprints of tribes – and neighbouring animals – cut tracks in the vegetation and the soil. Printed tracks led towards food, water, shelter, enemies and friends. Having learnt to pattern certain faces into their mental world, children grew older and were educated in the footprints of family and clan, enemies and food. The continuous impression of significant foot traffic in the medium of the earth produced the lines between significant nodes of prewriting and pre-wheeled cultures. These tracks were married to audio tracks, such as the song lines of the Australian Aborigines, or the ballads of tramping culture everywhere. A typical tramping song has the line, ‘There’s a track winding back to an old-fashion shack along the road to Gundagai,’ (O’Hagan), although this colonial-style song was actually written for radio and became an international hit on the airwaves, rather than the tramping trails. The printed tracks impressed by these cultural flows are highly contested and diverse, and their foot prints are woven into our very language. The names for printed tracks have entered our shared memory from the intersection of many cultures: ‘Track’ is a Germanic word entering English usage comparatively late (1470) and now used mainly in audio visual cultural reproduction, as in ‘soundtrack’. ‘Trek’ is a Dutch word for ‘track’ now used mainly by ecotourists and science fiction fans. ‘Learn’ is a Proto-Indo-European word: the verb ‘learn’ originally meant ‘to find a track’ back in the days when ‘learn’ had a noun form which meant ‘the sole of the foot’. ‘Tract’ and ‘trace’ are Latin words entering English print usage before 1374 and now used mainly in religious, and electronic surveillance, cultural reproduction. ‘Trench’ in 1386 was a French path cut through a forest. ‘Sagacity’ in English print in 1548 was originally the ability to track or hunt, in Proto-Indo-European cultures. ‘Career’ (in English before 1534) was the print made by chariots in ancient Rome. ‘Sleuth’ (1200) was a Norse noun for a track. ‘Investigation’ (1436) was Latin for studying a footprint (Harper). The arrival of symbolic writing scratched on caves, hearth stones, and trees (the original meaning of ‘book’ is tree), brought extremely limited text education close to home. Then, with baked clay tablets, incised boards, slate, bamboo, tortoise shell, cast metal, bark cloth, textiles, vellum, and – later – paper, a portability came to text that allowed any culture to venture away from known ‘foot’ paths with a reduction in the risk of becoming lost and perishing. So began the world of maps, memos, bills of sale, philosophic treatises and epic mythologies. Some of this was printed, such as the mechanical reproduction of coins, but the fine handwriting required of long, extended, portable texts could not be printed until the invention of paper in China about 2000 years ago. Compared to lithic architecture and genes, portable text is a fragile medium, and little survives from the millennia of its innovators. The printing of large non-text designs onto bark-paper and textiles began in neolithic times, but Sui Wen-ti’s imperial memo of 593 AD gives us the earliest written date for printed books, although we can assume they had been published for many years previously. The printed book was a combination of Indian philosophic thought, wood carving, ink chemistry and Chinese paper. The earliest surviving fragment of paper-print technology is ‘Mantras of the Dharani Sutra’, a Buddhist scripture written in the Sanskrit language of the Indian subcontinent, unearthed at an early Tang Dynasty site in Xian, China – making the fragment a veteran piece of printing, in the sense that Sanskrit books had been in print for at least a century by the early Tang Dynasty (Chinese Graphic Arts Net). At first, paper books were printed with page-size carved wooden boards. Five hundred years later, Pi Sheng (c.1041) baked individual reusable ceramic characters in a fire and invented the durable moveable type of modern printing (Silk Road 2000). Abandoning carved wooden tablets, the ‘digitizing’ of Chinese moveable type sped up the production of printed texts. In turn, Pi Sheng’s flexible, rapid, sustainable printing process expanded the political-cultural impact of the literati in Asian society. Digitized block text on paper produced a bureaucratic, literate elite so powerful in Asia that Louis XVI of France copied China’s print-based Confucian system of political authority for his own empire, and so began the rise of the examined public university systems, and the civil service systems, of most European states (Watson, Visions). By reason of its durability, its rapid mechanical reproduction, its culturally agreed signs, literate readership, revered authorship, shared ideology, and distributed portability, a ‘print’ can be a powerful cultural network which builds and expands empires. But print also attacks and destroys empires. A case in point is the Spanish conquest of Aztec America: The Aztecs had immense libraries of American literature on bark-cloth scrolls, a technology which predated paper. These libraries were wiped out by the invading Spanish, who carried a different book before them (Ewins). In the industrial age, the printing press and the gun were seen as the weapons of rebellions everywhere. In 1776, American rebels staffed their ‘Homeland Security’ units with paper makers, knowing that defeating the English would be based on printed and written documents (Hahn). Mao Zedong was a book librarian; Mao said political power came out of the barrel of a gun, but Mao himself came out of a library. With the spread of wireless networked servers, political ferment comes out of the barrel of the cell phone and the internet chat room these days. Witness the cell phone displays of a plane hitting a tower that appear immediately after 9/11 in the Middle East, or witness the show trials of a few US and UK lower ranks who published prints of their torturing activities onto the internet: only lower ranks who published prints were arrested or tried. The control of secure servers and satellites is the new press. These days, we live in a global library of burning books – ‘burning’ in the sense that ‘print’ is now a charged silicon medium (Smith, “Intel”) which is usually made readable by connecting the chip to nuclear reactors and petrochemically-fired power stations. World resources burn as we read our screens. Men, women, children burn too, as we watch our infotainment news in comfort while ‘their’ flickering dead faces are printed in our broadcast hearths. The print we watch is not the living; it is the voodoo of the living in the blackout behind the camera, engaging the blood sacrifice of the tormented and the unfortunate. Internet texts are also ‘on fire’ in the third sense of their fragility and instability as a medium: data bases regularly ‘print’ fail-safe copies in an attempt to postpone the inevitable mechanical, chemical and electrical failure that awaits all electronic media in time. Print defines a moral position for everyone. In reporting conflict, in deciding to go to press or censor, any ‘print’ cannot avoid an ethical context, starting with the fact that there is a difference in power between print maker, armed perpetrators, the weak, the peaceful, the publisher, and the viewer. So many human factors attend a text, video or voice ‘print’: its very existence as an aesthetic object, even before publication and reception, speaks of unbalanced, and therefore dynamic, power relationships. For example, Graham Greene departed unscathed from all the highly dangerous battlefields he entered as a novelist: Riot-torn Germany, London Blitz, Belgian Congo, Voodoo Haiti, Vietnam, Panama, Reagan’s Washington, and mafia Europe. His texts are peopled with the injustices of the less fortunate of the twentieth century, while he himself was a member of the fortunate (if not happy) elite, as is anyone today who has the luxury of time to read Greene’s works for pleasure. Ethically a member of London and Paris’ colonizers, Greene’s best writing still electrifies, perhaps partly because he was in the same line of fire as the victims he shared bread with. In fact, Greene hoped daily that he would escape from the dreadful conflicts he fictionalized via a body bag or an urn of ashes (see Sherry). In reading an author’s biography we have one window on the ethical dimensions of authority and print. If a print’s aesthetics are sometimes enduring, its ethical relationships are always mutable. Take the stylized logo of a running athlete: four limbs bent in a rotation of action. This dynamic icon has symbolized ‘good health’ in Hindu and Buddhist culture, from Madras to Tokyo, for thousands of years. The cross of bent limbs was borrowed for the militarized health programs of 1930s Germany, and, because of what was only a brief, recent, isolated yet monstrously horrific segment of its history in print, the bent-limbed swastika is now a vilified symbol in the West. The sign remains ‘impressed’ differently on traditional Eastern culture, and without the taint of Nazism. Dramatic prints are emotionally charged because, in depicting Homo sapiens in danger, or passionately in love, they elicit a hormonal reaction from the reader, the viewer, or the audience. The type of emotions triggered by a print vary across the whole gamut of human chemistry. A recent study of three genres of motion picture prints shows a marked differences in the hormonal responses of men compared to women when viewing a romance, an actioner, and a documentary (see Schultheiss, Wirth, and Stanton). Society is biochemically diverse in its engagement with printed culture, which raises questions about equality in the arts. Motion picture prints probably comprise around one third of internet traffic, in the form of stolen digitized movie files pirated across the globe via peer-to-peer file transfer networks (p2p), and burnt as DVD laser prints (BBC). There is also a US 40 billion dollar per annum legitimate commerce in DVD laser pressings (Grassl), which would suggest an US 80 billion per annum world total in legitimate laser disc print culture. The actively screen literate, or the ‘sliterati’ as I prefer to call them, research this world of motion picture prints via their peers, their internet information channels, their television programming, and their web forums. Most of this activity occurs outside the ambit of universities and schools. One large site of sliterate (screen literate) practice outside most schooling and official research is the net of online forums at imdb.com (International Movie Data Base). Imdb.com ‘prints’ about 25,000,000 top pages per month to client browsers. Hundreds of sliterati forums are located at imdb, including a forum for the Australian movie, Muriel’s Wedding (Hogan). Ten years after the release of Muriel’s Wedding, young people who are concerned with victimization and bullying still log on to http://us.imdb.com/title/tt0110598/board/> and put their thoughts into print: I still feel so bad for Muriel in the beginning of the movie, when the girls ‘dump’ her, and how much the poor girl cried and cried! Those girls were such biartches…I love how they got their comeuppance! bunniesormaybemidgets’s comment is typical of the current discussion. Muriel’s Wedding was a very popular film in its first cinema edition in Australia and elsewhere. About 30% of the entire over-14 Australian population went to see this photochemical polyester print in the cinemas on its first release. A decade on, the distributors printed a DVD laser disc edition. The story concerns Muriel (played by Toni Collette), the unemployed daughter of a corrupt, ‘police state’ politician. Muriel is bullied by her peers and she withdraws into a fantasy world, deluding herself that a white wedding will rescue her from the torments of her blighted life. Through theft and deceit (the modus operandi of her father) Muriel escapes to the entertainment industry and finds a ‘wicked’ girlfriend mentor. From a rebellious position of stubborn independence, Muriel plays out her fantasy. She gets her white wedding, before seeing both her father and her new married life as hollow shams which have goaded her abandoned mother to suicide. Redefining her life as a ‘game’ and assuming responsibility for her independence, Muriel turns her back on the mainstream, image-conscious, female gang of her oppressed youth. Muriel leaves the story, having rekindled her friendship with her rebel mentor. My methodological approach to viewing the laser disc print was to first make a more accessible, coded record of the entire movie. I was able to code and record the print in real time, using a new metalanguage (Watson, “Eyes”). The advantage of Coding is that ‘thinks’ the same way as film making, it does not sidetrack the analyst into prose. The Code splits the movie print into Vision Action [vision graphic elements, including text] (sound) The Coding splits the vision track into normal action and graphic elements, such as text, so this Coding is an ideal method for extracting all the text elements of a film in real time. After playing the film once, I had four and a half tightly packed pages of the coded story, including all its text elements in square brackets. Being a unique, indexed hard copy, the Coded copy allowed me immediate access to any point of the Muriel’s Wedding saga without having to search the DVD laser print. How are ‘print’ elements used in Muriel’s Wedding? Firstly, a rose-coloured monoprint of Muriel Heslop’s smiling face stares enigmatically from the plastic surface of the DVD picture disc. The print is a still photo captured from her smile as she walked down the aisle of her white wedding. In this print, Toni Collette is the Mona Lisa of Australian culture, except that fans of Muriel’s Wedding know the meaning of that smile is a magical combination of the actor’s art: the smile is both the flush of dreams come true and the frightening self deception that will kill her mother. Inserting and playing the disc, the text-dominant menu appears, and the film commences with the text-dominant opening titles. Text and titles confer a legitimacy on a work, whether it is a trade mark of the laser print owners, or the household names of stars. Text titles confer status relationships on both the presenters of the cultural artifact and the viewer who has entered into a legal license agreement with the owners of the movie. A title makes us comfortable, because the mind always seeks to name the unfamiliar, and a set of text titles does that job for us so that we can navigate the ‘tracks’ and settle into our engagement with the unfamiliar. The apparent ‘truth’ and ‘stability’ of printed text calms our fears and beguiles our uncertainties. Muriel attends the white wedding of a school bully bride, wearing a leopard print dress she has stolen. Muriel’s spotted wild animal print contrasts with the pure white handmade dress of the bride. In Muriel’s leopard textile print, we have the wild, rebellious, impoverished, inappropriate intrusion into the social ritual and fantasy of her high-status tormentor. An off-duty store detective recognizes the printed dress and calls the police. The police are themselves distinguished by their blue-and-white checked prints and other mechanically reproduced impressions of cultural symbols: in steel, brass, embroidery, leather and plastics. Muriel is driven in the police car past the stenciled town sign (‘Welcome To Porpoise Spit’ heads a paragraph of small print). She is delivered to her father, a politician who presides over the policing of his town. In a state where the judiciary, police and executive are hijacked by the same tyrant, Muriel’s father, Bill, pays off the police constables with a carton of legal drugs (beer) and Muriel must face her father’s wrath, which he proceeds to transfer to his detested wife. Like his daughter, the father also wears a spotted brown print costume, but his is a batik print from neighbouring Indonesia (incidentally, in a nation that takes the political status of its batik prints very seriously). Bill demands that Muriel find the receipt for the leopard print dress she claims she has purchased. The legitimate ownership of the object is enmeshed with a printed receipt, the printed evidence of trade. The law (and the paramilitary power behind the law) are legitimized, or contested, by the presence or absence of printed text. Muriel hides in her bedroom, surround by poster prints of the pop group ABBA. Torn-out prints of other people’s weddings adorn her mirror. Her face is embossed with the clown-like primary colours of the marionette as she lifts a bouquet to her chin and stares into the real time ‘print’ of her mirror image. Bill takes the opportunity of a business meeting with Japanese investors to feed his entire family at ‘Charlie Chan’’s restaurant. Muriel’s middle sister sloppily wears her father’s state election tee shirt, printed with the text: ‘Vote 1, Bill Heslop. You can’t stop progress.’ The text sets up two ironic gags that are paid off on the dialogue track: “He lost,’ we are told. ‘Progress’ turns out to be funding the concreting of a beach. Bill berates his daughter Muriel: she has no chance of becoming a printer’s apprentice and she has failed a typing course. Her dysfunction in printed text has been covered up by Bill: he has bribed the typing teacher to issue a printed diploma to his daughter. In the gambling saloon of the club, under the arrays of mechanically repeated cultural symbols lit above the poker machines (‘A’ for ace, ‘Q’ for queen, etc.), Bill’s secret girlfriend Diedre risks giving Muriel a cosmetics job. Another text icon in lights announces the surf nightclub ‘Breakers’. Tania, the newly married queen bitch who has made Muriel’s teenage years a living hell, breaks up with her husband, deciding to cash in his negotiable text documents – his Bali honeymoon tickets – and go on an island holiday with her girlfriends instead. Text documents are the enduring site of agreements between people and also the site of mutations to those agreements. Tania dumps Muriel, who sobs and sobs. Sobs are a mechanical, percussive reproduction impressed on the sound track. Returning home, we discover that Muriel’s older brother has failed a printed test and been rejected for police recruitment. There is a high incidence of print illiteracy in the Heslop family. Mrs Heslop (Jeannie Drynan), for instance, regularly has trouble at the post office. Muriel sees a chance to escape the oppression of her family by tricking her mother into giving her a blank cheque. Here is the confluence of the legitimacy of a bank’s printed negotiable document with the risk and freedom of a blank space for rebel Muriel’s handwriting. Unable to type, her handwriting has the power to steal every cent of her father’s savings. She leaves home and spends the family’s savings at an island resort. On the island, the text print-challenged Muriel dances to a recording (sound print) of ABBA, her hand gestures emphasizing her bewigged face, which is made up in an impression of her pop idol. Her imitation of her goddesses – the ABBA women, her only hope in a real world of people who hate or avoid her – is accompanied by her goddesses’ voices singing: ‘the mystery book on the shelf is always repeating itself.’ Before jpeg and gif image downloads, we had postcard prints and snail mail. Muriel sends a postcard to her family, lying about her ‘success’ in the cosmetics business. The printed missal is clutched by her father Bill (Bill Hunter), who proclaims about his daughter, ‘you can’t type but you really impress me’. Meanwhile, on Hibiscus Island, Muriel lies under a moonlit palm tree with her newly found mentor, ‘bad girl’ Ronda (Rachel Griffiths). In this critical scene, where foolish Muriel opens her heart’s yearnings to a confidante she can finally trust, the director and DP have chosen to shoot a flat, high contrast blue filtered image. The visual result is very much like the semiabstract Japanese Ukiyo-e woodblock prints by Utamaro. This Japanese printing style informed the rise of European modern painting (Monet, Van Gogh, Picasso, etc., were all important collectors and students of Ukiyo-e prints). The above print and text elements in Muriel’s Wedding take us 27 minutes into her story, as recorded on a single page of real-time handwritten Coding. Although not discussed here, the Coding recorded the complete film – a total of 106 minutes of text elements and main graphic elements – as four pages of Code. Referring to this Coding some weeks after it was made, I looked up the final code on page four: taxi [food of the sea] bq. Translation: a shop sign whizzes past in the film’s background, as Muriel and Ronda leave Porpoise Spit in a taxi. Over their heads the text ‘Food Of The Sea’ flashes. We are reminded that Muriel and Ronda are mermaids, fantastic creatures sprung from the brow of author PJ Hogan, and illuminated even today in the pantheon of women’s coming-of-age art works. That the movie is relevant ten years on is evidenced by the current usage of the Muriel’s Wedding online forum, an intersection of wider discussions by sliterate women on imdb.com who, like Muriel, are observers (and in some cases victims) of horrific pressure from ambitious female gangs and bullies. Text is always a minor element in a motion picture (unless it is a subtitled foreign film) and text usually whizzes by subliminally while viewing a film. By Coding the work for [text], all the text nuances made by the film makers come to light. While I have viewed Muriel’s Wedding on many occasions, it has only been in Coding it specifically for text that I have noticed that Muriel is a representative of that vast class of talented youth who are discriminated against by print (as in text) educators who cannot offer her a life-affirming identity in the English classroom. Severely depressed at school, and failing to type or get a printer’s apprenticeship, Muriel finds paid work (and hence, freedom, life, identity, independence) working in her audio visual printed medium of choice: a video store in a new city. Muriel found a sliterate admirer at the video store but she later dumped him for her fantasy man, before leaving him too. One of the points of conjecture on the imdb Muriel’s Wedding site is, did Muriel (in the unwritten future) get back together with admirer Brice Nobes? That we will never know. While a print forms a track that tells us where culture has been, a print cannot be the future, a print is never animate reality. At the end of any trail of prints, one must lift one’s head from the last impression, and negotiate satisfaction in the happening world. References Australian Broadcasting Corporation. “Memo Shows US General Approved Interrogations.” 30 Mar. 2005 http://www.abc.net.au>. British Broadcasting Commission. “Films ‘Fuel Online File-Sharing’.’’ 22 Feb. 2005 http://news.bbc.co.uk/1/hi/technology/3890527.stm>. Bretherton, I. “The Origins of Attachment Theory: John Bowlby and Mary Ainsworth.” 1994. 23 Jan. 2005 http://www.psy.med.br/livros/autores/bowlby/bowlby.pdf>. Bunniesormaybemidgets. Chat Room Comment. “What Did Those Girls Do to Rhonda?” 28 Mar. 2005 http://us.imdb.com/title/tt0110598/board/>. Chinese Graphic Arts Net. Mantras of the Dharani Sutra. 20 Feb. 2005 http://www.cgan.com/english/english/cpg/engcp10.htm>. Ewins, R. Barkcloth and the Origins of Paper. 1991. 20 Feb. 2005 http://www.justpacific.com/pacific/papers/barkcloth~paper.html>. Grassl K.R. The DVD Statistical Report. 14 Mar. 2005 http://www.corbell.com>. Hahn, C. M. The Topic Is Paper. 20 Feb. 2005 http://www.nystamp.org/Topic_is_paper.html>. Harper, D. Online Etymology Dictionary. 14 Mar. 2005 http://www.etymonline.com/>. Mask of Zorro, The. Screenplay by J McCulley. UA, 1920. Muriel’s Wedding. Dir. PJ Hogan. Perf. Toni Collette, Rachel Griffiths, Bill Hunter, and Jeannie Drynan. Village Roadshow, 1994. O’Hagan, Jack. On The Road to Gundagai. 1922. 2 Apr. 2005 http://ingeb.org/songs/roadtogu.html>. Poole, J.H., P.L. Tyack, A.S. Stoeger-Horwath, and S. Watwood. “Animal Behaviour: Elephants Are Capable of Vocal Learning.” Nature 24 Mar. 2005. Sanchez, R. “Interrogation and Counter-Resistance Policy.” 14 Sept. 2003. 30 Mar. 2005 http://www.abc.net.au>. Schultheiss, O.C., M.M. Wirth, and S.J. Stanton. “Effects of Affiliation and Power Motivation Arousal on Salivary Progesterone and Testosterone.” Hormones and Behavior 46 (2005). Sherry, N. The Life of Graham Greene. 3 vols. London: Jonathan Cape 2004, 1994, 1989. Silk Road. Printing. 2000. 20 Feb. 2005 http://www.silk-road.com/artl/printing.shtml>. Smith, T. “Elpida Licenses ‘DVD on a Chip’ Memory Tech.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. —. “Intel Boffins Build First Continuous Beam Silicon Laser.” The Register 20 Feb. 2005 http://www.theregister.co.uk/2005/02>. Watson, R. S. “Eyes And Ears: Dramatic Memory Slicing and Salable Media Content.” Innovation and Speculation, ed. Brad Haseman. Brisbane: QUT. [in press] Watson, R. S. Visions. Melbourne: Curriculum Corporation, 1994. 
 
 
 
 Citation reference for this article
 
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 Watson, R. (Jun. 2005) "E-Press and Oppress: Audio Visual Print Drama, Identity, Text and Motion Picture Rebellion," M/C Journal, 8(2). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0506/08-watson.php>.