Author: E. Dawson Varughese File Type: pdf This book investigates the intersection of Indian society, the encoding of post-millennial modernity and ways of seeing through the medium of Indian graphic narratives. If seeing in Indian cultures is a mode of knowing then what might we decode and know from the Indian graphic narratives examined here? The book posits that the seeing of post-millennial Indian graphic narratives revolves around a visuality of the inauspicious, complemented by narratives of the same. Examining both form and content across nine Indian, post-millennial graphic narratives, this book will appeal to those working in South Asian visual studies, cultural studies and comics-graphic novel studies more broadly.**From the Back CoverE. Dawson Varugheses in-depth readings of the form and content of lesser known narratives that powerfully enrich the range and scope of alternative comics foreground the importance of a corpus that tackles all basic issues of post-millennial modernity in India.Jan Baetens, co-author with Hugo Frey of The Graphic NovelThe old and the new are brought together in interesting ways in her understanding of post-millennial Indian identities through the graphic novel and other visual cultural forms. Varughese offers us a compelling read and invaluable insights. Rajinder Dudrah, Birmingham City University, UKThis book investigates the intersection of Indian society, the encoding of post-millennial modernity and ways of seeing through the medium of Indian graphic narratives. If seeing in Indian cultures is a mode of knowing then what might we decode and know from the Indian graphic narratives examined here? The book posits that the seeing of post-millennial Indian graphic narratives revolves around a visuality of the inauspicious, complemented by narratives of the same. Examining both form and content across nine Indian, post-millennial graphic narratives, this book will appeal to those working in South Asian visual studies, cultural studies and comics-graphic novel studies more broadly.E. Dawson Varughese is an independent, global cultural studies scholar, specialising in post-millennial Indian visual and literary cultures. She publishes on genre fiction, book cover design and public wall art. Her latest book is Genre Fiction of New India (Routledge, 2016). She was a Visiting Fellow at the University of Delhi in 2017. www.beyondthepostcolonial.comAbout the Author E. Dawson Varughese is an independent, global cultural studies scholar, specialising in post-millennial Indian visual and literary cultures. She publishes on genre fiction, book cover design and public wall art. Her latest book is Genre Fiction of New India (Routledge, 2016). She was a Visiting Fellow at the University of Delhi in 2017. www.beyondthepostcolonial.com

Author: Ronald Strickland File Type: pdf This collection takes its inspiration from Paul Goodmans Growing Up Absurd, a landmark critique of American culture at the end of the 1950s. Goodman called for a revival of social investment in urban planning, public welfare, workplace democracy, free speech, racial harmony, sexual freedom, popular culture, and education to produce a society that could inspire young people, and an adult society worth joining. In postmodernity, Goodmans enlightenment-era vision of social progress has been judged obsolete. For many postmodern critics, subjectivity is formed and expressed not through social investment, but through consumption the freedom to consume has replaced political empowerment. But the power to consume is distributed very unevenly, and even for the affluent it never fulfills the desire produced by the advertising industry. The contributors to this volume focus on adverse social conditions that confront young people in postmodernity, such as the relentless pressure to consume, social dis-investment in education, harsh responses to youth crime, and the continuing climate of intolerance that falls heavily on the young. In essays on education, youth crime, counseling, protest movements, fiction, identity-formation and popular culture, the contributors look for moments of resistance to the subsumption of youth culture under the logic of global capitalism.