Wednesday 6 July 2016

Theory of Colonialism:An Approach to Cultural Studies

·         Why “Theory of Colonialism”? 
o   Why now? 
o   What is the cognitive puzzle that existing scholarship on Colonialism raise?
o   Why is it inadequate? 

·        There are many “Cultures”
o   But only one culture (western culture) has produced descriptions of all others cultures 
o   Until recently these descriptions were seen as true
o   After the work of Edward Said (Orientalism, 1978), these descriptions are seen as reflecting imperial interests 
o   Examples: 
§  The Sati Debate 
·        Problem of Moral Principle 
§  Debate on Secularism 
·        Problem of Good vs. True doctrine 
§  Sanskritisation and Growth of Indian vernaculars 
·        Problem of social vs. ritual order

·        Strategies of Post-colonial approaches to studying Colonialism 
o   Denying the veracity of Western representations of non-western cultures at the object level 
o   Providing alternative descriptions at the object level

·        Problems with the Postcolonial Strategy 
o   Trivializes the Western Experience 
o   Looks at non-western cultures in the terms defined by western intellectual traditions

·        Alternative Strategy
o   To look at Orientalism not as an “object-level” description of non-western cultures but as the cognitive limit of western culture 
o   That is, Orientalism as a key to western experiences of non-western cultures and therefore of itself 
o   Reducing western descriptions of non-western cultures to a theory about Western culture 
o   Delineating the “limit of intelligibility” of western theories

Translator Training Programme

                                             

This course is a practical, hands-on training in translation. It trains students towards becoming professional translators and reviewers of translation activity. The course focuses on all genres of translations, including, prose, poetry, technical writing, media communication and several other professional contexts where translation is needed. It is an exercise-heavy course and requires students to turn in small pieces of translation every week. The material for the successive sessions of the course will be generated through the student assignments of previous sessions.

  • Unit I: Language Competence
    • Understand grammatical, lexical and idiomatic structures as well as the graphic and typographic conventions of language A and one's other working languages (B, C)
    • Knowing how to use these same structures and conventions in A and B
    • Developing sensitivity to changes in language and developments in languages
  • Unit II: Intercultural Competence
    • SOCIOLINGUISTIC dimension
      • Function and meaning in language variations (social, geographical, historical, stylistic)
      • Appropriate register to a given situation, for a particular document (written) or speech (oral)
    • TEXTUAL dimension
      • Understanding and analysing the macrostructure of a document and its overall coherence
      • Grasping presuppositions, implicit allusions, stereotypes and intertextual nature of texts
      • Describing and evaluating one's problems with comprehension and defining strategies for resolving those problems
      • Extracting and summarising the essential information in a document
      • Recognising and identifying elements, values and references proper to the cultures represented
      • Bringing together and comparing cultural elements and methods of composition.
      • Composing a document in accordance with the conventions of the genre and rhetorical standards
      • Drafting, rephrasing, restructuring, condensing and post-editing rapidly and well (in languages A and B)
  • Unit III: Information Mining
    • Identifying one's information and documentation requirements
    • Developing strategies for documentary and terminological research (including approaching experts)
    • Extracting and processing relevant information for a given task (documentary, terminological, phraseological information)
    • Developing criteria for evaluation for documents accessible on the internet or any other medium, i.e. knowing how to evaluate the reliability of documentary sources
    • Knowing how to use tools and search engines effectively (e.g. terminology software, electronic corpora, electronic dictionaries)
    • Mastering the archiving of one's own documents
  • Unit IV: Technological Competence
    • Effectively using software to assist in correction, translation, terminology, layout, documentary research (text processing, spell and grammar check, the internet, translation memory, terminology database, voice recognition software)
    • Translation of multimedia and audiovisual material
    • Preparing and producing translations in different formats and for different technical media
  • Unit V: Translation Service Provision
    • Clarifing the requirements, objectives and purposes of the client, recipients of the translation and other stakeholders
    • Complying with instructions, deadlines, commitments, interpersonal competences, team organisation
    • Standards applicable to the provision of a translation service
    • Self-evaluation (questioning one's habits; being open to innovations; being concerned with quality; being ready to adapt to new situations/conditions)
    • Complying with professional ethics
  • (Source:http://www.prevajalstvo.net/objective-aims-and-competences-graz)


English for Academic Purposes

                                             

The aim of the course is to enable students to think logically and communicate their ideas clearly in writing. By developing critical reading and critical thinking skills in students, the course intends to refine the writing competence of the students. Focus will be on hands-on experience in academic reading and writing, and students will be expected to do regular writing exercises.

Part: I.   Academic Reading
Unit 1: Introduction
Reading Skills: Basics
Close Reading
Analytical Reading and Rhetorical Reading
Unit 2: Critical Analysis
Evaluating the quality and sufficiency of evidence and other forms of support for an argument
Recognizing the explicit and implicit features in communication
Accurately assessing similarities and differences in points of view
Applying critical reading and thinking skills to evaluate and revise arguments, opinions, and claims (including students’ own) to avoid deception (self-deception) and conformity.
Part II: Academic Writing
Unit 3:  Introduction
Free Writing
Brainstorming
Mind Mapping
Listing
Clustering
Spidergram
Unit 4: Components of Writing Process
Ideas and development
Organization
Voice and tone
Word choice
Sentence fluency
Conventions and presentation
Unit 5: Writing Strategies
Description
Narration
Instructions
Comparison/contrast
Cause and effect
Definition
Exemplification
Analogy
Argumentation
Unit 6: Writing Processes
Focused Free Writing
Generative Writing
Making an Outline
Unit 7: Paragraph Structure
Topic Sentences
Linking Paragraphs and Sentences
Coherence and Cohesiveness in Writing
Unit 8: Editing
Proofreading
Revising
Unit 9: Research Skills
Finding resources
Format and Style

Plagiarism and Academic Ethics

Modernism

                                                  

This course attempts to trace the central philosophical and conceptual issues in the study of Western Modernist thought. Emphasis is on reconstructing the main ideas of the period and examining the literature of that age in relation to these ideas. As the last in a four-part paper, this is an attempt to acquaint students with the cultural and intellectual ideas that have shaped the modern western culture. Alongside the literary appreciation of texts, it is expected that students will also learn to appreciate the political and social contexts which the shape the ideas represented in these texts. Selections include literary and non-literary texts from the period and critical and scholarly works from recent times which attempt to throw new light on the period. A selection of texts for self study has been suggested which will help students gain more in depth knowledge about the issue treated in the in the course.


    • Unit I: Introduction to Key Themes and Issues
      • Perry Anderson, "Modernism and Revolution"
      • André Breton, First and Second Manifesto of Surrealism, including later prefaces
      • Camus, The Myth of Sisyphus Chapter 4
    • Unit II: Key Ideas
      • Sigmund Freud, Civilization and Its Discontents , Part III
      • Friedrich Nietzsche: from preface to Human, All Too Human [modernism anthology, 17-22]
      • Marx and Engels, The Communist Manifesto, including prefaces.
    • Unit III: Texts
      • Manifestos of Futurism: Marinetti et al.
      • Eliot, The Love Song of Alfred J Prufrock
      • Eliot, Tradition and the Individual Talent
      • Joyce, Portrait of the Artist as a Young Man
    • Unit IV: Revisiting Modernism
      • Bell, The Metaphysics of Modernism
      • Todorov, Imperfect Garden: The Legacy of Humanism Chapter 1
    • Texts for Self Study
      • Shaw: Man and Superman
      • Charles Darwin, from The Origin of Species by Means of Natural Selection
      • Leon Trotsky, Diego Rivera, André Breton, "Manifesto: Towards a Free Revolutionary Art"
      • Kundera, Life Is Elsewhere
      • Antonio Gramsci, "Marinetti, the Revolutionary"

Romanticism

                                                                                         

This course attempts to trace the central philosophical and conceptual issues in the study of the Romantic Movement in Europe. Emphasis is on reconstructing the main ideas of the period and examining the literature of that age in relation to these ideas. As the second in a four-part paper, this is an attempt to acquaint students with the cultural and intellectual ideas that have shaped the modern western culture. Alongside the literary appreciation of texts, it is expected that students will also learn to appreciate the political and social contexts which the shape the ideas represented in these texts. Selections include literary and non-literary texts from the period and critical and scholarly works from recent times which attempt to throw new light on the period. A selection of texts for self study has been suggested which will help students gain more in depth knowledge about the issue treated in the in the course.


    • Unit I: Introduction to themes and Issues
      • Sir Isaiah Berlin, The Romantic Revolution
    • Unit II: Key Ideas
      • J G Herder, "Is the Beauty of the Body a Herald of the Beauty of the Soul"
      • Wordsworth, Preface to Lyrical Ballads
      • M H Abrams, The Psychology of Literary Invention: Unconscious Genius and Organic Growth
    • Unit III: Texts
      • Wordsworth, Tintern Abbey
      • Coleridge, The Rime of the Ancient Mariner
      • Blake, Milton
      • Goethe, The Sorrows of Young Werther
      • Rousseau, The Confessions of Jean Jacques Rousseau
    • Unit IV: Revisiting Romanticism
      • Alfred Kazin: An Introduction to William Blake
      • Martin Heidegger: Holderlin and the Essence of Poetry
    • Texts for Self Study
      • Tristram Shandy
      • Collins: Ode to Evening, Ode to Simplicity, Ode on the poetic character
      • Gray: Ode On A Distant Prospect Of Eton College, Ode to Spring
      • Shelley, Defense of Poetry
      • Warton: The Enthusiast
      • Coleridge, Literature and the Fine Arts
      • William Doyle, The French Revolution: A Very Short Introduction
      • M H Abrams The Psychology of Literary Invention: Mechanical and Organic Theories
      • Kermode, The Romantic Image    

Enlightenment and the Birth of Modern Science

                     

This course attempts to trace the central philosophical and conceptual issues in the study of The European Enlightenment and the birth of modern science. Emphasis is on reconstructing the main ideas of the period and examining the literature of that age in relation to these ideas. As the second in a four-part paper, this is an attempt to acquaint students with the cultural and intellectual ideas that have shaped the modern western culture. Alongside the literary appreciation of texts, it is expected that students will also learn to appreciate the political and social contexts which the shape the ideas represented in these texts. Selections include literary and non-literary texts from the period and critical and scholarly works from recent times which attempt to throw new light on the period. A selection of texts for self study has been suggested which will help students gain more in depth knowledge about the issue treated in the in the course.

    • Unit I: Introduction to Themes and Issues
      • Kant, What is Enlightenment?
      • Foucault, What is Enlightenment?
    • Unit II: Key Ideas
      • Paine, The Rights of Man
      • The Declaration of the Rights of Man and the Citizen
      • Descartes, Meditations I and II
    • Unit III: Texts
      • Bacon, The New Science
      • Vico, The New Science Book I
      • Burke, Reflections on the Revolution in France (Paras 125-149)
      • Pope, An Essay on Man
      • Addison, On Wit
    • Unit IV: Revisiting the Enlightenment
      • Habermas, The Structural Transformation of the Public Sphere
        • Chapter 1: Preliminary Demarcation of a Type of Bourgeois Public Sphere
        • Chapter 2: Social Structure of the Public Sphere
    • Texts for Self Study
      • Bentham, The Principles of Utility
      • Locke, An Essay Concerning Human Understanding
      • Reynolds, Discourse on Art
      • Rousseau, The Social Contract
      • Condorcet, The Perfectability of Man
      • Foucault, Omnes Et Singulatim   

Renaissance Humanism

         

This course attempts to trace the central philosophical and conceptual issues in the study of renaissance thought. Emphasis is on reconstructing the main ideas of the period and examining the literature of that age in relation to these ideas. As the first in a four-part paper, this is an attempt to acquaint students with the cultural and intellectual ideas that have shaped the modern western culture. Alongside the literary appreciation of texts, it is expected that students will also learn to appreciate the political and social contexts which the shape the ideas represented in these texts. Selections include literary and non-literary texts from the period and critical and scholarly works from recent times which attempt to throw new light on the period. A selection of texts for self study has been suggested which will help students gain more in depth knowledge about the issue treated in the in the course.


  • Unit I: Introduction to themes and Issues
    • Quentin Skinner, The Ideal of Liberty in The Foundations of Modern Political Thought
    • Stephen Greenblatt, Introduction to Renaissance Self Fashioning
  • Unit II: Key Ideas
    • Umberto Eco, On Beauty Chapter 3 – Beauty as Proportion and Harmony
    • Sir Thomas More, Utopia, Book II: Of the Religions of Utopians, Of their magistrates
    • Francis Bacon, The New Atlantis
  • Unit III: Texts
    • John Milton, Paradise Lost-Book IX
    • Dante Alighieri, The Divine Comedy, Paradiso, Canto 11.
    • Christopher Marlowe, Dr Faustus
    • William Shakespeare, The Tempest
  • Unit IV: Revisiting the Renaissance
    • Stanley Fish, Surprised by Sin, chap. 1
    • Eric Auerbach, Dante: Poet of the Secular World
    • Anthony Grafton, The New Science and the Traditions of Humanism
  • Texts for Self Study
    • Dekker, Rowley and Ford, The Witch of Edmonton
    • Thomas Harriot, Report of the New Found Land of Virginia
    • Desiderius Erasmus, The Praise of Folly and Other Writings
    • Select writings of Petrarch
    • Machiavelli, Selected Political Writings, 24, 25, 26
    • Thomas Kyd, The Spanish Tragedy
    • R W Southern, Scholastic Humanism in 'Scholastic Humanism and the Unification of Europe'
    • The Complete Essays of Montaigne     

Comparative Aesthetics II

                                                              

This course introduces students to the study of aesthetics, or the relationship between art, beauty and taste. The second in a two-part paper, this course  deals with an array of Indian thinkers on aesthetics and also introduces contemporary scholarship on Indian aesthetics. Students are expected to develop the competence to read and understand philosophical texts and equally importantly apply their understanding deriving from such readings in the actual circumstances of dealing with art and the aesthetic experience in their everyday life. The course has arranged these texts in the form of a debate spanning across many cultures and centuries. Therefore, it is important for the student to perceive the continuities and discontinuities in thinking about aesthetics that are apparent in the two traditions that are being examined here.


  • Unit 5: Indian Aesthetics
    • Bharatamuni, On natya and rasa, from Natyashastra
    • Dandin, Sarga Bandha, Epic Poetry, from Kavyadarsha
    • Anandavardhana, Dhvani, The Structure of Poetic Meaning, from Dhvanyaloka
    • Kuntaka, Language of poetry and Metaphor from Vakrokti Jivita
    • Abhinavagupta, On Shanta rasa Aesthetic Equipoise from Abhinavabharati
    • Amir Khusrau Multilingual Literary Culture, From Nuh Siphir
  • Unit 6: Indian Aesthetics Reconsidered
    • Raniero Gnoli On some expressions used in Indian Aesthetics
    • K Krishnamoorthy Sanskrit Poetics: An Overview in “Indian Literary Criticism” G N Devy (Ed)
    • V. K. Chari, The Genre Theory in Sanskrit Poetics in “Literary India Comparative Studies in Aesthetics, Colonialism, and Culture” by Hogan and Pandit (Eds)
    • Pravas Jivan Chaudhury The Theory of Rasa
    • Richard Schechner Rasaesthetics
    • Vidya Niwas Misra Sanskrit Rhetoric and Poetic
    • Kathleen Marie Higgins An Alchemy of Emotion: Rasa and Aesthetic Breakthroughs
    • V. K. Chari The Indian Theory of Suggestion (dhvani)                    
    • Franklin Edgerton Indirect Suggestion in Poetry: A Hindu Theory of Literary Æsthetics
  • Unit 7: Comparative Aesthetics
    • Ananda Coomaraswamy, The Christian and Oriental, or the True philosophy of Art  in “Christian and Oriental Philosophy of Art”
    • Eliot Deutsch, Reflections on Some Aspects of the Theory of Rasa, Studies in Comparative Aesthetics
    • Roshni Rustomji "Rasa" And "Dhvani" In Indian and Western Poetics and Poetry
    • Edwin Gerow, Rasa and Katharsis: A Comparative Study, Aided by Several Films
    • Chantal Maillard, The Aesthetic Pleasure of Tragedy in Western and Indian Thought, in “The Pursuit of Comparative Aesthetics”

Teaching Design for Comparative Aesthetics Course

Here are some leads to design the teaching for the Comparative Aesthetics course:

1. In Part I of the course, the debate was on figuring out what is beauty in art, what is 'the beautiful' and what is the relationship between the beautiful and the good and such like. However, Indian aesthetics has not raised this question at all. On the contrary, the question in Indian aesthetics is how to evoke the right "response", "emotion" or "rasa" in the connoiseur. 

Broadly, one can say that in the Western tradition, the nature of the object of art is paramount, and in Indian aesthetics, the nature of the experience of art is paramount. So, making students see this distinction when they are reading a couple of ancient texts would be a good exercise. A simple way of doing it is to ask students whether in these Indic texts they see issues like realism, the message inherent in art and such like. The answer most probably would be in the negative. That is, issues like realism will not come up in these texts at all. Then some speculations from students about why do they think this is so would set the tenor of the course. 


2. Another aspect is to understand "rasa" itself. If by using a couple of critical pieces one can arrive at an appreciation of the meaning of "rasa" then it is a success in itself. Here is a pointer: just compare your response to an exquisite brew of tea leaves with that of someone who has no taste for or expertise in tea. While you are able to respond to the tea in many sophisticated ways and the tea is capable of bringing out subtle experiences in you, the other person who is not a connoisseur of tea can only experience a very unsophisticated experience of liquidy-bitterness. All those experiences you are privy to are completely lost on that person. Now, put simply, what you have and what is absent in that other person, is itself rasa. That is, rasa is the cultivation, evocation and experience of taste with respect to a particular field. The field could be anything from cooking to art to music to sport. That is why culinary taste and artistic taste are both referred to by the same name "rasa". 

Getting students to respond to the question, "what is entailed in cultivating a taste for something" is a useful activity. It helps if students can talk about a field in which they have some iota of taste themselves. It could be movies, cooking, cricket anything. But the point is to say what marks off an expert from a novice. Why or how would the expert derive more joy from the taste he has in a field compared to a novice and so on. All the Indian texts in the selection either directly or indirectly reflect on this question itself. 

3. Now to the last aspect: broadly one could say that while trying to understand the world and the human soul (or human mind or human subjectivity or what have you) through art is the aim of western aesthetics, the aim of Indian aesthetics is to educate the novice into accessing richer shades of experience itself and not to educate him about this or that aspect of our reality. This is the thrust of the word "comparative" in our comparative aesthetics". Coomaraswamy or some such reading should help you drive home this point. 

4. Finally, a note about texts: Bharatamuni, Anandavardhana and Abhinavagupta could be your selection from the Indic category. You could suggest only a page or two of each and not more (This is for point 1 above). Similarly K Krishnamoorthy, Kathleen Marie Higgins and/or Richard Schechner
​ could help with cracking the rasa problem (Point 2 above). And finally, 
Ananda Coomaraswamy
​, ​
Edwin Gerow
​ and/or 
Chantal Maillard​ for the comparative angle (point 3 above). 

Comparative Aesthetics I

                                                     

This course introduces students to the study of aesthetics, or the relationship between art, beauty and taste. The two-part paper does so in a comparative perspective using Western theories of aesthetics and Indian expositions on aesthetics in the next semester. Students are expected to develop the competence to read and understand philosophical texts and equally importantly apply their understanding deriving from such readings in the actual circumstances of dealing with art and the aesthetic experience in their everyday life. The course has arranged these texts in the form of a debate spanning across many cultures and centuries. Therefore, it is important for the student to perceive the continuities and discontinuities in thinking about aesthetics that are apparent in the two traditions that are being examined here.

Unit I: Introduction to Aesthetics
    • Conception of beauty and pleasure
    • The role of Culture in determining the beautiful
    • Framing the problem of Comparative Aesthetics
    • "aesthetics." Encyclopædia Britannica. Encyclopædia Britannica Student and Home Edition.  Chicago: Encyclopædia Britannica, 2011.
Unit 2: Greco-Roman Aesthetics
    • Plato Ion and selections from The Republic (CLC, pp. 1-50)
    • Aristotle Poetics (CLC, pp. 51-90)
    • Horace The Art of Poetry (CLC, pp. 98-110)
    • Tacitus Dialogue on Orators
    • Longinus On Sublimity
    • Dio of Prusa Philoctetes in the Tragedians
Unit 3: The Reaction to Art as Imitation: Art as Expression
    • David Hume Of the Standard of Taste
    • Tolstoy What is Art? (Chapters 1, 5-20)
    • Collingwood The Principles of Art (Introduction, Book I, and Book III)
Unit 4: Kant's Aesthetics: The Critique of Judgement

    • The Theory of Beauty: "Analytic of the Beautiful" (§§1-22, General Remark)
    • The Theory of the Sublime: "Analytic of the Sublime" (§§23-29, General Remark)
    • The Theory of Art: §§43-54
    • The Deduction of Taste and the Link to Morality: §§30-42, 55-60

Cultural Studies II

                                                                            

This course takes up the issue of examining culture in the background of the postcolonial project. It examines the history of Orientalism, the discipline, and Orientalism, the book as also try to reconceptualise the postcolonial project of attending to cultural difference. The course introduces students to a novel way of thinking about culture and cultural difference by using the hypothesis of “culture as configuration of learning”.

Unit 5: Orientalism: The Project
  1. William Jones and theory of linguistic monogenesis
  2. German Romanticism and the search for the Ursprache
  3. The Burke-Hastings debate and Cultural relativism
  4. Suttee (Sati) and the search for authentic custom
  5. Codification of Hindu Law
Unit 6: Orientalism: The Problem
  1. Orientalism as a Discourse
  2. Edward Said’s Orientalism and its impact
  3. Colonial forms of knowledge
  4. Anthropology and ‘the other’
Unit 7: Re-evaluating Orientalism
  1. Disciplinary critiques of Orientalism
  2. Orientalism as cognitive limit of the West
Unit 8: Towards a Philosophy of Culture
  1. ‘Knowing that’ and ‘knowing how’
  2. Anthropology as science of action

Detailed Bibliography

Arnold, Matthew. “Culture and Anarchy. 1869.” Ed. Samuel Lipman. New Haven: Yale UP (1994): 1–164. Print.
Asad, Talal. Anthropology & the Colonial Encounter. Ithaca Press London, 1973. Print.
Balagangadhara, S. N., and Jakob De Roover. “The Secular State and Religious Conflict: Liberal Neutrality and the Indian Case of Pluralism.” Journal of Political Philosophy 15.1 (2007): 67–92. Print.
Balagangadhara, S. N., and Marianne Keppens. “Reconceptualizing the Postcolonial Project: Beyond the Strictures and Structures of Orientalism.” interventions 11.1 (2009): 50–68. Print.
Bhabha, Homi. “Cultural Diversity and Cultural Differences.” The post-colonial studies reader 209 (1995): n. pag. Print.
Chakrabarty, Dipesh. Provincialising Europe: Post-Colonial Thought and Colonial Difference. Princeton, NJ: Princeton University Press, 2000. Print.
Chatterjee, Partha. Nationalist Thought and the Colonial World: The Derivative Discourse? Zed Books, 1986. Print.
Cohn, Bernard S. Colonialism and Its Forms of Knowledge: The British in India. Princeton University Press, 1996. Print.
Dhareshwar, Vivek. “Valorizing the Present Orientalism, Postcoloniality and the Human Sciences.” Cultural Dynamics 10.2 (1998): 211–231. Print.
Eliot, Thomas Stearns. Notes towards the Definition of Culture. Faber & Faber, 2010. Print.
Fabian, Johannes. Time and the Other: How Anthropology Makes Its Object. Columbia University Press, 2002. Print.
Forster, Michael N. German Philosophy of Language: From Schlegel to Hegel and Beyond. Oxford University Press, 2011. Print.
Gandhi, Mahatma. Gandhi:’hind Swaraj’and Other Writings. Cambridge University Press, 1997. Print.
Geertz, Clifford. “Thick Description: Toward an Interpretive Theory of Culture.” Readings in the philosophy of social science (1994): 213–231. Print.
Hall, Stuart. “Cultural Studies: Two Paradigms.” Media, culture, and society: A critical reader (1986): 9–32. Print.
Herder, Johann Gottfried. “Treatise on the Origin of Language.” Herder: philosophical writings (2002): 65–166. Print.
Hobsbawm, Eric, and Terence Ranger. The Invention of Tradition. Cambridge University Press, 2012. Print.
Hoijer, Harry. “The Sapir-Whorf Hypothesis.” Language in culture (1954): 92–105. Print.
Inden, Ronald. “Orientalist Constructions of India.” Modern Asian Studies 20.3 (1986): 401–446. Print.
Irwin, Robert. For Lust of Knowing: The Orientalists and Their Enemies. Penguin UK, 2007. Print.
Kay, Paul, and Willett Kempton. “What Is the Sapir-Whorf Hypothesis?” American Anthropologist 86.1 (1984): 65–79. Print.
Lévi-Strauss, Claude. Myth and Meaning. Psychology Press, 2001. Print.
---. Structural Anthropology. Basic Books, 2008. Print.
Malinowski, Bronislaw. Crime and Custom in Savage Society. Transaction Pub, 2013. Print.
Mani, Lata. “Contentious Traditions: The Debate on Sati in Colonial India.” Cultural Critique 7 (1987): 119–156. Print.
Marx, Karl, and Friedrich Engels. The German Ideology. Vol. 1. International Publishers Co, 1970. Print.
Oakeshott, Michael. “Rational Conduct.” Cambridge Journal 4 (1962): 3–27. Print.
Polanyi, Michael. Science, Faith, and Society. University of Chicago Press, 1964. Print.
Popper, Karl Raimund. Conjectures and Refutations: The Growth of Scientific Knowledge. Routledge & Kegan Paul London, 1965. Print.
Ramanujam, A. K. “Is There an Indian Way of Thinking.” The Book Review (1990): 19–23. Print.
Rao, Bairady Narahari. A Semiotic Reconstruction of Ryle’s Critique of Cartesianism. Vol. 38. Walter de Gruyter, 1994. Print.
Rao, Balagangadhara. “Comparative Anthropology and Action Sciences: An Essay on Knowing to Act and Acting to Know.” PHILOSOPHICA (GENT) 40.2 (1987): 77–107. Print.
Rao, Narahari. "Culture as Learnables: An Outline for a Research on the Inherited Traditions", Memo 30, Fachrichtung Philosophie, Lehrstuhl Prof. Dr. K. Lorenz, Universität des Saarlandes, Saarbücken (1997)
Rao, Narahari. “A Meditation on the Christian Revelations An Asian Mode of’Self-Reflection’.” Cultural Dynamics 8.2 (1996): 189–209. Print.
Riley, Helene M. Kastinger. “Some German Theories on the Origin of Language from Herder to Wagner” The Modern Language Review (1979): 617–632. Print.
Ryle, Gilbert. “Knowing How and Knowing That: The Presidential Address.” Proceedings of the Aristotelian Society. Vol. 46. N. p., 1945. 1–16. Print.
---. The Concept of Mind. University of Chicago Press, 1949. Print.
Said, Edward. “Orientalism. 1978.” New York: Vintage 1994 (1979): n. pag. Print.
Schwab, Raymond. “The Oriental Renaissance: Europe’s Rediscovery of India and the East, 1680-1880.” (1984): n. pag. Print.
Shils, Edward. Tradition. University of Chicago Press, 2006. Print.
Staal, Frits. “The Meaninglessness of Ritual.” Numen 26.1 (1979): 2–22. Print.
Taylor, Charles. “The Politics of Recognition.” New contexts of Canadian criticism (1997): 98–131. Print.

Williams, Raymond. Culture and Society. Chatto & Windus London, 1958. Print.