
Charu Uppal
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Papers by Charu Uppal
May 9, 2021
Svaraj leads to Sarvodaya, the augmenting of all. Svaraj, is a non-dual way of seeking & finding self-rule resulting from self-illumination.
-Makarand Paranjape
Power is a narcotic gradually controlling those who seek it,
till they become habitual abusers. p. 49.
Tradition is the repository of truth, but it does not restrict truth’s domain, p. 38.
India’s unauthorized modernity subverts mainstream western narratives. p. 14.
For those of us who made a shift from sciences and semi-sciences to cultural studies in our academic trajectory, the concept of post-modernity remained near unfathomable. Were there no rules? Were we to disregard all tradition? But didn’t the world work under certain rules and nature with its own hierarchy that the fiercest of egalitarians among us could not overlook? In that context, what did the categories provided by (old) traditions imply? What was to happen to modern-traditionalists?
‘Debating the Post Condition in India’ is distilled wisdom of a lifetime of effort to understand east-west ideologies, which even though not always in harmony with each other should not be examined in isolation, but instead, studied in juxtaposition and context.
The book applies an Indic ‘drishtikone’ (lens) to the concept of post-modernism and explores how India should view itself as a post-colonial state. While Paranjape inspects a range of theories and concepts, he does so not just in the context of India but also, as a corollary, the world.
At the outset, it might seem as if Paranjape is rejecting post-modernism and several theories that originated in the West, but a closer look shows that he is asking academics, both in India and abroad, and Indians living abroad (Non-resident Indians, NRI) to re-examine the Indian case, even as he acknowledges the need for (a) theory to test any ideas-
The controversy surrounding hydroelectric projects, faced currently by many nations, was chosen as the environmental issue to be examined.
Departing from a two-step flow of communication model and combined with theoretical approaches of trust in crisis communication, this paper aims to analyze the channels of communication during crisis situations in Ghana and how the processes of generating trust in traditional communities is negotiated by crisis managers. To address this call, this study examines the role of citizens’ trust in different structures of Ghanaian society and the strategies used to address lack of compliance in the rural/urban dichotomy.
This study is largely informed by a series of interviews with nine top crisis managers and officials ascribed to the National Disaster Management Organisation (NADMO) in Ghana. The results of this study show that while government officials convey information to the public through all means possible, a large amount of the population decides to overlook/ignore the recommendations, and points to the importance of reaching communities through their chiefs, rather than approaching them directly. Since there is reluctance to follow a distant governmental agency, the trust in and the relationship with the community chief is of utmost importance, as chiefs become the sole channel of communication, especially in rural areas in developing countries. Thus, in order to reach rural communities, NADMO officials need to approach the elders who will communicate the message to their people. Trust and more importantly tradition emerge as the main determining factor for successful dissemination of the message.
The results can be applied to other parts of Ghana and other similar societies especially in countries that though are modernizing still follow a two-step model when it comes to flow of communication and information.
While Singapore is a multi-ethnic country, with negligible ethnic tension, with an economy almost at par with the first world, Fiji still remains a developing country beset by coups, large income gaps, and racial tensions. While Singapore is one of the most technically advanced Asian nations of the world, Fiji remains largely rural. This study was undertaken by considering these stark differences.
The findings indicate that while there are similarities in the two diasporas, there are some differences as well which provide a better understanding of how global hegemonic forces and their potential manifestation vary in countries at different levels of economic growth, and therefore result in a different relationship to the homeland (Indian) media.
The study demonstrates that there indeed is a difference in the way environmental news, as it relates to the hydroelectric projects is covered in the United States and in India. Some of the key findings of the study are: 1) Indian newspapers provided much more detailed and frequent coverage of the struggle against hydroelectric projects than their U.S. counterparts, 2) Mobilizing information was provided often and at varied levels, which could potentially cater to audiences with diverse political orientations. The study revealed varying kinds of mobilizing information not discussed in earlier research on mobilizing information. Two previously unidentified types of MI were labeled invitational and empowering. Invitational mobilizing information seemed more useful for motivating the audience to get involved. Empowering MI was mainly useful for those who were already involved either in the same or similar issues.
The paper lays out Bollywood’s role in communicating the emotional side of political relationship between India and Pakistan. Bollywood, the most prolific film industry has played a significant role in creating a sense of nationalism. Bollywood has adapted itself in line with the shifting priorities of India since its independence in 1947 to reflect the mood of the country. As India has continued an on-off relationship of peace-talks with Pakistan, Bollywood too has used Pakistan as a backdrop of a plot since the 1960s. The on-screen relationship between the nations has reflected real political equations between the two nuclear archrivals. Although films showing a healthy-peaceful relationship between India and Pakistan have been made, majority of the films on the topic have shown enmity between two nations. And yet, in spite of its negative image projected by Hindi cinema, Pakistan remains its trustworthy consumer whose following did not decrease even during the four decades of ban on Bollywood. Presently, many Pakistani citizens, like in past, are an active part of contemporary Bollywood. Media industry in both countries can leverage the popularity of Bollywood to bring the citizens of two nations together.
Key Words: Bollywood, Communication, Hindi Cinema, Narration, Nation, Partition, India, Pakistan.
Shortland Street (SS), the oldest soap opera produced in New Zealand, is the most watched and longest running entertainment program on Fiji’s national television. Shortland Street airs five days a week in the 8:30-9:00 pm slot on FijiOne, the only free channel in Fiji. Except some informational and educational programming in the three main languages used in the country (English, Fijian, & Hindi) there is no programming on FijiOne that can classify as totally locally produced entertainment. One of the several reasons SS got the prime time slot was its emphasis on inter-racial issues. This paper examines how the population in Fiji responds to the way racial issues are dealt within a show produced in a developed country. More importantly, it studies the idea of nationhood, if such a concept exits, during the times of Political Crisis .
Now in its 15th year of production, SS inspires study guides, websites, theses, and exhibitions in New Zealand. The show is aired an array of countries that include both developed and developing nations, and countries that may or may not use English as their primary language. Some of the nations that SS reaches are the UK, Sri Lanka, Malta, Canada, South Africa, Seychelles, Indonesia, Ireland, as well as the smaller English speaking island countries of Fiji, Niue, the Cook and Solomon Islands and the Bahamas.
Considering nation as a meeting place where regional, transnational and global overlap, this study analyzes the content of focus groups after a viewing of one SS episode , with an audience of diverse audience (lecturers, students, housewife, teaching assistant, cleaning lady, administrative assistant), that are representative of different religions, races, educational & economic background in Fiji.
The basic predicament behind this study is that in the absence of any entertainment programming which directly reflects Fiji or Pacific culture , foreign programming becomes the main showcase and reflection of identities, which the audiences use to make sense of their lives. Questions asked in this study will be: Why does Shortland Street appeal to you (the participants in the focus group)? How does SS reflect Fiji, for the audience? And how do you see your identity as an Islander reflected in the soap? What messages in Shortland Street can be translated, and incorporated into life in Fiji? How would SS be different if it were produced in Fiji?
This paper will have the potential to reflect not only on understanding a nation/self via foreign programming but also how one nation is viewed in another, as understood via a TV show. Entertainment shows, have the potential, more than any other form of programming on TV, to allow identification with the characters. Of a great relevance here is the introduction of an Indian character in the show. The analysis, mainly grounded in theoretical concepts like uses and gratifications, coding and encoding (Stuart Hall), will also focus on hybrid identity and locating nationality in a show based in another country.
(20or50milesaway). Results showed that subjects in the near condition felt that the material was significantly clearer, more appropriate, and less in need of cosmetic improvement than their counterparts in the far condition. However, there were no differences in memory for content as a function of physical distance. (Author/AEF)
This chapter seeks to define the old diaspora in the context of Indo-Fijians, the place of Hinduism in Indo-Fijian culture, emotional and cultural connection of Indo-Fijians with India and its media.
© Infinity Foundation India