Jean-Paul Sartre is regarded as a leading figure in the 20th-century philosophy due to his great contributions to the theories on existentialism and freedom. One of Sartre’s notable works—“Why Write?” sheds light on his philosophical contemplations on freedom and free will. On Sartre’s upcoming 117 birthday, we make an in-depth analysis into “Why Write?” in an attempt to critically and better learn about Sartre’s Freedom Philosophy. Sartre embraces absolute freedom, a consequence of which, according to Sartre, is full responsibility. However, his notion of freedom is still interspersed with contradictions if we take what he has said about absolute freedom and full responsibility into careful consideration.
{"title":"A Critical Analysis of Sartre’s Freedom Philosophy --A Study of “Why Write?”","authors":"Huang Min","doi":"10.5539/ach.v14n2p189","DOIUrl":"https://doi.org/10.5539/ach.v14n2p189","url":null,"abstract":"Jean-Paul Sartre is regarded as a leading figure in the 20th-century philosophy due to his great contributions to the theories on existentialism and freedom. One of Sartre’s notable works—“Why Write?” sheds light on his philosophical contemplations on freedom and free will. On Sartre’s upcoming 117 birthday, we make an in-depth analysis into “Why Write?” in an attempt to critically and better learn about Sartre’s Freedom Philosophy. Sartre embraces absolute freedom, a consequence of which, according to Sartre, is full responsibility. However, his notion of freedom is still interspersed with contradictions if we take what he has said about absolute freedom and full responsibility into careful consideration.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"41 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86497041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
China’s one-child policy, the family planning policy enforced in 1980, continued for almost 36 years and created a lasting impact on both China’s declining total fertility rate (TFR) and its sex ratio imbalance. This paper discusses the marriage dilemma caused by the one-child policy and its separate outcomes in urban and rural areas. In urban areas, the expense for childbearing, the equated monthly installment (EMI) payments, and the self-consuming nature of marriage contributed to the declining marriage rate as well as the TFR. In rural settings, the surplus of single men due to the entrenched “son preference” created a demand for the bride-trafficking market, an industry of purchasing a bride as a form of property. In this paper, I conclude that the marriage crisis and its side effects are the legacies of the one-child policy, and the Chinese government needs to craft effective approaches in addressing these problems.
{"title":"Legacy of the One-Child Policy: Marriage Dilemmas in Urban and Rural China","authors":"Yujia Gu","doi":"10.5539/ach.v14n2p173","DOIUrl":"https://doi.org/10.5539/ach.v14n2p173","url":null,"abstract":"China’s one-child policy, the family planning policy enforced in 1980, continued for almost 36 years and created a lasting impact on both China’s declining total fertility rate (TFR) and its sex ratio imbalance. This paper discusses the marriage dilemma caused by the one-child policy and its separate outcomes in urban and rural areas. In urban areas, the expense for childbearing, the equated monthly installment (EMI) payments, and the self-consuming nature of marriage contributed to the declining marriage rate as well as the TFR. In rural settings, the surplus of single men due to the entrenched “son preference” created a demand for the bride-trafficking market, an industry of purchasing a bride as a form of property. In this paper, I conclude that the marriage crisis and its side effects are the legacies of the one-child policy, and the Chinese government needs to craft effective approaches in addressing these problems.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"36 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82504888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article emphasizes the disciplinary problems of anthropology after the representation crisis, and the connected phenomenon of the intersection of the disciplines of art and anthropology, considering the art practice of the Chinese American photographer Lau Pok Chi, mainly his Cuban Chinese project, as an instance for showcasing the authenticity of photographic art as ethnographic practice and its value for the development of anthropology. After assessing the important motivation of the artist’s practice, which is rooted in his construction of self-identity, and the methods and principles of his “quasi-ethnographic” research, this paper recommends that the authenticity of such type of ethnographic photography also obtains from its exposure of reflexivity and the transcendence of the separation of “things” and “words”, which may further motivate the multiple explorations of the two-way intervention between these two disciplines.
{"title":"The “Authentic Evocation” in Ethnographic Photography as Art: Taking Lau Pok Chi’s Art Practice as an Example","authors":"Fan Zhang","doi":"10.5539/ach.v14n2p183","DOIUrl":"https://doi.org/10.5539/ach.v14n2p183","url":null,"abstract":"This article emphasizes the disciplinary problems of anthropology after the representation crisis, and the connected phenomenon of the intersection of the disciplines of art and anthropology, considering the art practice of the Chinese American photographer Lau Pok Chi, mainly his Cuban Chinese project, as an instance for showcasing the authenticity of photographic art as ethnographic practice and its value for the development of anthropology. After assessing the important motivation of the artist’s practice, which is rooted in his construction of self-identity, and the methods and principles of his “quasi-ethnographic” research, this paper recommends that the authenticity of such type of ethnographic photography also obtains from its exposure of reflexivity and the transcendence of the separation of “things” and “words”, which may further motivate the multiple explorations of the two-way intervention between these two disciplines.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"60 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77222246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-04DOI: 10.1080/19472498.2022.2132051
Dannah Dennis
ABSTRACT The claim that ‘Buddha was Born in Nepal’ is pervasive in contemporary discourses about Nepali national identity. This article focuses on the ways in which the claim to Buddha’s birthplace is deployed by some Nepalis living beyond Nepal as both a means of maintaining a connection to Nepal as a diasporic homeland and as a means of building their own online celebrity. In particular, I analyse how the claim is communicated online by three Nepali YouTubers (Lex Limbu, James Shrestha, and Sagar Tamang), whose videos embed the claim to Buddha’s birthplace within recognizable genres, memes, and narratives that are part of the Internet’s shared culture. I argue that the makers of these videos are not only reaffirming their own sense of connection to Nepal as their diasporic homeland, but are also building their own personal brands by linking their own reputations as digital microcelebrities with the Buddha’s global name recognition. Through this case study, I aim to theorize how microcelebrity can be a form of practicing citizenship at a distance within the context of a digital diaspora.
{"title":"‘Alexa, was Buddha Born in Nepal?’: microcelebrity, citizenship, and digital diaspora on YouTube","authors":"Dannah Dennis","doi":"10.1080/19472498.2022.2132051","DOIUrl":"https://doi.org/10.1080/19472498.2022.2132051","url":null,"abstract":"ABSTRACT The claim that ‘Buddha was Born in Nepal’ is pervasive in contemporary discourses about Nepali national identity. This article focuses on the ways in which the claim to Buddha’s birthplace is deployed by some Nepalis living beyond Nepal as both a means of maintaining a connection to Nepal as a diasporic homeland and as a means of building their own online celebrity. In particular, I analyse how the claim is communicated online by three Nepali YouTubers (Lex Limbu, James Shrestha, and Sagar Tamang), whose videos embed the claim to Buddha’s birthplace within recognizable genres, memes, and narratives that are part of the Internet’s shared culture. I argue that the makers of these videos are not only reaffirming their own sense of connection to Nepal as their diasporic homeland, but are also building their own personal brands by linking their own reputations as digital microcelebrities with the Buddha’s global name recognition. Through this case study, I aim to theorize how microcelebrity can be a form of practicing citizenship at a distance within the context of a digital diaspora.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"44 - 56"},"PeriodicalIF":0.5,"publicationDate":"2022-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44379954","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-04DOI: 10.1080/19472498.2022.2142899
Anagha Tambe
ABSTRACT Performed as hereditary labour by women artists of lower castes largely for male entertainment, the erotic dance of lavani seems to occupy two different bifurcated worlds. There is a licit world of festivals, television dance shows, and urban revivalist cultural shows where lavani is performed in its vernacularized codified form, and valorized as the folk art of Maharashtra. The nostalgia of the urban cosmopolitan middle class for the indigenous and rural, and the concern of the regional state and elites for cultural identity undergirds this folk world. The other world is of a range of subaltern cultural spaces from local performance houses (kala kendra), to stage shows and orchestras, where the erotic dance of lavani is performed for livelihood, and is castigated as vulgar, ‘just sex, no art’. While the cultural labour of this ‘vulgar’ lavani is performed only by the hereditary women artists, they have only a nominal presence in the folk world of lavani. This paper seeks to unpack the politics of folklorization that rests upon the exclusion of vulgarized but an organically thriving performance of lavani. It further interrogates how the hereditary cultural labour is central to this process of folklorization.
{"title":"Folk dance/vulgar dance: erotic lavani and the hereditary performance labour","authors":"Anagha Tambe","doi":"10.1080/19472498.2022.2142899","DOIUrl":"https://doi.org/10.1080/19472498.2022.2142899","url":null,"abstract":"ABSTRACT Performed as hereditary labour by women artists of lower castes largely for male entertainment, the erotic dance of lavani seems to occupy two different bifurcated worlds. There is a licit world of festivals, television dance shows, and urban revivalist cultural shows where lavani is performed in its vernacularized codified form, and valorized as the folk art of Maharashtra. The nostalgia of the urban cosmopolitan middle class for the indigenous and rural, and the concern of the regional state and elites for cultural identity undergirds this folk world. The other world is of a range of subaltern cultural spaces from local performance houses (kala kendra), to stage shows and orchestras, where the erotic dance of lavani is performed for livelihood, and is castigated as vulgar, ‘just sex, no art’. While the cultural labour of this ‘vulgar’ lavani is performed only by the hereditary women artists, they have only a nominal presence in the folk world of lavani. This paper seeks to unpack the politics of folklorization that rests upon the exclusion of vulgarized but an organically thriving performance of lavani. It further interrogates how the hereditary cultural labour is central to this process of folklorization.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"153 - 166"},"PeriodicalIF":0.5,"publicationDate":"2022-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49052358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-02DOI: 10.1080/19472498.2022.2141260
S. Gandotra
ABSTRACT This essay follows the print history of Benjamin Franklin’s life story. It appears first in William and Robert Chambers’ The Moral Class Book (1839) in Edinburgh and later in the Bareilly Tattvabodhini Sabha’s Niti Pradip (1870). As we juxtapose the English Franklin alongside the Hindi Franklin, it becomes possible to see the pliancy and polysemic character of a life story that emerges at the intersections of history and literature. It absorbs different meanings for readers separated by race, nation, language and gender and becomes an unpredictable vehicle for contradictory aspirations among male and female readers. At times illuminating a commitment to entrepreneurial and working class aspirations, particularly those of printer-publishers, it signals an interest in modernity and its institutions. At the same time, the themes of publicness and statesmanship make Franklin’s life an unusual pedagogical device for women readers in late colonial India. As we trace the Franklin life story through shifting linguistic and interpretative frames, it calls attention to the fraught dynamic in cultural and educational debates of the late colonial period in north India.
{"title":"Reading Benjamin Franklin’s life story in Bareilly","authors":"S. Gandotra","doi":"10.1080/19472498.2022.2141260","DOIUrl":"https://doi.org/10.1080/19472498.2022.2141260","url":null,"abstract":"ABSTRACT This essay follows the print history of Benjamin Franklin’s life story. It appears first in William and Robert Chambers’ The Moral Class Book (1839) in Edinburgh and later in the Bareilly Tattvabodhini Sabha’s Niti Pradip (1870). As we juxtapose the English Franklin alongside the Hindi Franklin, it becomes possible to see the pliancy and polysemic character of a life story that emerges at the intersections of history and literature. It absorbs different meanings for readers separated by race, nation, language and gender and becomes an unpredictable vehicle for contradictory aspirations among male and female readers. At times illuminating a commitment to entrepreneurial and working class aspirations, particularly those of printer-publishers, it signals an interest in modernity and its institutions. At the same time, the themes of publicness and statesmanship make Franklin’s life an unusual pedagogical device for women readers in late colonial India. As we trace the Franklin life story through shifting linguistic and interpretative frames, it calls attention to the fraught dynamic in cultural and educational debates of the late colonial period in north India.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"450 - 466"},"PeriodicalIF":0.5,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42510448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Korean music has a distinct history and characteristics that can be traced back centuries. Over the years, while Korea has maintained its cultural identity through years of struggle and oppression, its engagements with neighboring countries and foreign occupying powers have had a lasting and syncretic impact on its musical evolution. This journey has been shaped by a number of social, political, and historical factors, including national pride, extensive foreign presence through most of the twentieth century, governmental concerns over the preservation of Korean authenticity in music, the development of global music markets, and a dynamic domestic youth culture. Throughout, Korean music has been able to preserve its unique characteristics while accepting a high level of foreign musical influence. It has conquered large domestic and global audiences by generating new musical styles through a complex and divergent mix of imitation and localization of foreign influences while continuously reverting to and maintaining Korean authenticity.
{"title":"Foreign Influences and Localization: The Evolution of Korean Music Through History","authors":"K. Krishna","doi":"10.5539/ach.v14n2p168","DOIUrl":"https://doi.org/10.5539/ach.v14n2p168","url":null,"abstract":"Korean music has a distinct history and characteristics that can be traced back centuries. Over the years, while Korea has maintained its cultural identity through years of struggle and oppression, its engagements with neighboring countries and foreign occupying powers have had a lasting and syncretic impact on its musical evolution. This journey has been shaped by a number of social, political, and historical factors, including national pride, extensive foreign presence through most of the twentieth century, governmental concerns over the preservation of Korean authenticity in music, the development of global music markets, and a dynamic domestic youth culture. Throughout, Korean music has been able to preserve its unique characteristics while accepting a high level of foreign musical influence. It has conquered large domestic and global audiences by generating new musical styles through a complex and divergent mix of imitation and localization of foreign influences while continuously reverting to and maintaining Korean authenticity.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"31 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89835832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper is divided into two sections. Section one is a translation of the Dàodéjīng in English. Section two is an in-depth analysis and explanation of the translation of the Dàodéjīng in section one. This paper includes both Chinese versions of the standard Wáng Bì and a reconstructed Mǎwángduī version of the Dàodéjīng with the addition of appropriate commas and full stops. The two key aspects in regard to this paper’s commentary that may be somewhat different to previous works, is that this paper has defined the Dào as that action (or movement) within emptiness that cannot be seen with the naked eye but has brought all life into existence and also maintains it. Therefore, the translation of Lǎozǐ’s cornerstone philosophy could be a play on words, where wúwéi 無為 not only takes wú 無 to mean “no” or “non” but also takes wú to mean “emptiness.” The translation of wúwéi would therefore, also be, “emptiness [in] action,” which refers to the actions that are happening within emptiness which cannot be seen by the naked eye. The second aspect is in relation to dé 德. The English and Confucian meaning of virtue is having high moral standards. Lǎozǐ’s dé appears to have had little to do with morals in the modern sense of the word. From the 5 “virtues” mentioned by Lǎozǐ, we can clearly see that Lǎozǐ’s virtue was based on following the principles of Dào. This paper therefore proposes that the dé can be translated as “quiescence.”
{"title":"The Dàodéjīng: A 2022 Translation","authors":"Shaun C. R. Ramsden","doi":"10.5539/ach.v14n2p73","DOIUrl":"https://doi.org/10.5539/ach.v14n2p73","url":null,"abstract":"This paper is divided into two sections. Section one is a translation of the Dàodéjīng in English. Section two is an in-depth analysis and explanation of the translation of the Dàodéjīng in section one. This paper includes both Chinese versions of the standard Wáng Bì and a reconstructed Mǎwángduī version of the Dàodéjīng with the addition of appropriate commas and full stops. The two key aspects in regard to this paper’s commentary that may be somewhat different to previous works, is that this paper has defined the Dào as that action (or movement) within emptiness that cannot be seen with the naked eye but has brought all life into existence and also maintains it. Therefore, the translation of Lǎozǐ’s cornerstone philosophy could be a play on words, where wúwéi 無為 not only takes wú 無 to mean “no” or “non” but also takes wú to mean “emptiness.” The translation of wúwéi would therefore, also be, “emptiness [in] action,” which refers to the actions that are happening within emptiness which cannot be seen by the naked eye. The second aspect is in relation to dé 德. The English and Confucian meaning of virtue is having high moral standards. Lǎozǐ’s dé appears to have had little to do with morals in the modern sense of the word. From the 5 “virtues” mentioned by Lǎozǐ, we can clearly see that Lǎozǐ’s virtue was based on following the principles of Dào. This paper therefore proposes that the dé can be translated as “quiescence.”","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"31 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77720274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-18DOI: 10.1080/19472498.2022.2135192
P. Bose, Haroon Rashid
{"title":"Kashmir in the aftermath of partition","authors":"P. Bose, Haroon Rashid","doi":"10.1080/19472498.2022.2135192","DOIUrl":"https://doi.org/10.1080/19472498.2022.2135192","url":null,"abstract":"","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"14 1","pages":"104 - 107"},"PeriodicalIF":0.5,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47460172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Gunki monogatari (war tales) reflected the state of Japan during medieval times. An example of such stories, The Tale of the Heike (Note 1) describes the time surrounding the destruction of the Taira clan, illustrating how those events shifted the history of Japan. Concepts central to the narrative, including “mujōkan 無常観” and “hōganbiiki判官贔屓,” remain rooted in modern Japanese society. However, gender-oriented research on The Tale of the Heike is still limited. By applying semiotic analysis along with socio-historical approach, this study discusses the societal position of The Tale of the Heike in Japan, drawing attention to the female characters represented and analyzing the nature of gender in the story. This research also considers the historical and social backgrounds that produced the foundations for that gender representation. The study reveals that the representation of female characters, especially shirabyōshi (Note 2), had a deep political role. It also recognizes that Cloistered Emperor Go-Shirakawa involved many women in his approach to fighting the Heike clan. Finally, it demonstrates how binary opposition and gender representation in The Tale of the Heike may have been used to promote the Heike clan stereotypes, resembling certain forms of modern-day media.
{"title":"Binary Opposition and Gender Representation in The Tale of the Heike","authors":"Hebatalla Omar","doi":"10.5539/ach.v14n2p57","DOIUrl":"https://doi.org/10.5539/ach.v14n2p57","url":null,"abstract":"Gunki monogatari (war tales) reflected the state of Japan during medieval times. An example of such stories, The Tale of the Heike (Note 1) describes the time surrounding the destruction of the Taira clan, illustrating how those events shifted the history of Japan. Concepts central to the narrative, including “mujōkan 無常観” and “hōganbiiki判官贔屓,” remain rooted in modern Japanese society. However, gender-oriented research on The Tale of the Heike is still limited. \u0000 \u0000By applying semiotic analysis along with socio-historical approach, this study discusses the societal position of The Tale of the Heike in Japan, drawing attention to the female characters represented and analyzing the nature of gender in the story. This research also considers the historical and social backgrounds that produced the foundations for that gender representation. \u0000 \u0000The study reveals that the representation of female characters, especially shirabyōshi (Note 2), had a deep political role. It also recognizes that Cloistered Emperor Go-Shirakawa involved many women in his approach to fighting the Heike clan. Finally, it demonstrates how binary opposition and gender representation in The Tale of the Heike may have been used to promote the Heike clan stereotypes, resembling certain forms of modern-day media.","PeriodicalId":43902,"journal":{"name":"South Asian History and Culture","volume":"106 5","pages":""},"PeriodicalIF":0.5,"publicationDate":"2022-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72589897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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