However, much has happened since it went up, including the Blogger outage.
Commentary One can hardly deny that Aatish Taseer writes beautifully, but it is a beauty that has now become so commonplace that it fails to make an impression.
It invites you to put your trust in the gorgeous weave of words and be persuaded by their charm, only it is not what you want to do anymore. We have done that with V. Naipaul, and Arundhati Roy, and a host of other writers, and enough is now enough.
Among the Brahmins of Benares is an essay recently published by Aatish Taseer. It is an interpretation of an experience encompassing the diverse layers of the Indian reality — each character in this essay, including the author, constitutes a stratum — and what makes it cohere together is the profound sadness engendered by the incommensurability of those layers.
Such an interpretation cannot elicit a critique — it can only invite you to apply yourself, if you can, as another inter-twining of tradition and modernity, in this vast fabric that we call India. The current essay constitutes such a response.
The pathos of The Interpreters manifest itself in the characters and the landscapes of modern India, sketched alternately in the essay. I will not bother with the latter where, suffice it to say, we are left with the palpable impression that everything is ugly and ruined.
It would be unfair to think of this as an attempt to put down India.
Yes, the poetry of a dilapidated India, broken and hopeless, full of rage and woe, has now become Essay on tradition vs modernity in india. But this essay is an outpouring of grief and the lamentation extends and pervades the whole of the countryside. So we turn to the characters who are the human faces of this tragedy.
Each one is a curious mix of tradition and modernity, struggling to negotiate between these two kinds of persecution. The purpose of modernity was to free humans from the bondage of tradition. But then modernity also established its own rules which not only mandated that freedom, but also laid down the precise forms in which it had to be given expression, thus imposing a system of bondage of its own.
Considering that tradition is a feature of the Indian past and modernity borrowed from the West, neither of which can be properly understood by the Indian who is separated from the former in time and from the latter in space, juggling between the two is a torture that has become the routine of every Indian.
At the two extremes of the spectrum are the author himself, who is an international success in modernity, but utterly bereft of tradition, and a Shivam Tripathi, a Brahmin in Varanasi, who is wholly immersed in tradition but a nobody in modernity.
But the essay begins with Sweetie, an air-hostess of Indigo airlines, which carries the cheekily titled Hello 6E in-flight magazine.
This also agrees with her smart and stylish uniform, but what more can be said?
In other words, it is a parody of Indian modernity. But what about Sweetie herself, who has been clothed in that uniform? Or perhaps she has accepted modernity and is struggling against the traditional values of her parents, and which may yet also maintain a hold on her?
It is not just Sweetie, but the whole of India that is thus dressed in modernity — a modernity that barely understands itself and neither reveals the depth of its penetration nor the battles it wages against the traditions of the person underneath.
Here in this air-hostess, two Indias, one secret and one self-confused, have come together. But sometimes they occur separately as in a posh restaurant in a Delhi mall where a fashionable woman is not so much unhappy with the pasta, which she has been served, not being al dente but with the fact that the waiter, who has served it, has no clue about the meaning of al dente.
Then, as master to a servant, modern India makes it her duty to show traditional India her place, to point out her inability to uplift herself to a level at which she could be eligible to serve Italian cuisine.
But upliftment involves an act of self-abandonment, for modernity in India does not arise organically from its own past but has been borrowed from outside, in arbitrary forms like the al dente pasta, and it looms over tradition like the shadow of death.
But modernity is just as fragile and vulnerable to the terror of tradition. Subsequent to the exit of the British, this class retained its power and continued in their role as interpreters of modernity for the traditional world from which they became alienated. But why has he gone there?
For me, here lies the poignancy of this narrative.Tradition vs. Modernity, Amy Kramer Words | 7 Pages individuals caught between tradition and modernity, or between India and the . JSTOR is a digital library of academic journals, books, and primary sources.
The term 'tradition' and 'modernity' are expressions of values which helps us in observing the process of social and cultural transformation in societies as they pass from the 'primitive' to 'pre-industrial' to 'industrial' and 'post-industrial' phases of .
Essay about Tradition vs Modernity in the Serpent's Tooth Tradition versus Modernity ” In The Serpent’s Tooth (Catherine Lim) Tradition is defined as the elements of a particular culture that are passed down from one generation to another either by word of mouth or demonstration, such as their beliefs, practices, and modes of thought.
The conflict between tradition and modernity, on the other hand, is between two forms of vyavahāra, one which prevailed in pre-modern India and one which modern India has borrowed from the West, or between two different systems of pravṛtti-dharmas on which nivṛtti-dharma has nothing to say.
This seems sort of cyclical. I was living in Oakland and Berkeley when the Bay Area meetups got started, and for a while — until late in or thereabouts, I think — there was a pretty good chance that you’d run into some of the community’s leading lights if you went to the Berkeley meetup.