Advertisement

Tagore Through Portraits: An Intersubjective Picture Gallery

  • Debashish Banerji
Chapter
Part of the Sophia Studies in Cross-cultural Philosophy of Traditions and Cultures book series (SCPT, volume 7)

Abstract

This essay deals with subject formation as a dynamic negotiation between self, community, and the public space of modernity. The ideological mythologies which structure the public space of the modern nation are reflected in processes of self-identification at the individual level. This relation can be mediated by the intersubjective space of the postmodern community, not a community based on blood or ideology, but on a shared condition of experience which can be called “human,” in the species sense of the term. The paper deals with Tagore’s home community of Jorasanko as such an affective space of creative mutuality, where a foundational fraternity could ground critique and enable reflection and reinvention of the self in its dynamic relation to the forces of modernity. By looking at the visual language of exchanges coded into portraits of Rabindranath made his nephews Gaganendranath and Abanindranath, I try to trace the locus of this intersubjective space as the amorphous domain of the poet’s mutating self-identification.

Keywords

Identity politics Modernity Nationalism Visual studies Jorasanko 

Bibliography

  1. Banerji, D. (2010). The alternate nation of Abanindranath Tagore. New Delhi: Sage.Google Scholar
  2. Chakrabarti, S. (2004). Rabindranath and Lalan Fakir. Studies in Tagore: Critical essays. New Delhi: Atlantic Publishers and Distributors.Google Scholar
  3. Choudhury, B. (1973). Lipir shilpi Abanindranath. Kolkata: Dey’s Publishing.Google Scholar
  4. Datta, K., & Robinson, A. (1996). Rabindranath Tagore: The myriad-minded man. New York: St. Martin’s Press.Google Scholar
  5. Gangopadhyay, M. (1990). Dokkhiner baranda. Kolkata: Viswabharati Granthan Vibhag.Google Scholar
  6. Ghosh, S. (2006). Rabindra sangeet miscellany (M. Chakrabarti, Trans.). New Delhi: Concept Publishing Company.Google Scholar
  7. Heidegger, M. (1962). Being and time: A translation of Sein und Zeit (J. Macquarrie & E. Robinson, Trans.). New York: Harper & Row.Google Scholar
  8. Heidegger, M. (1977). The age of the world picture [1938]. The question concerning technology and other essays (W. Lovitt, Trans. and ed.). New York: Harper Torchbooks.Google Scholar
  9. Milton, J. (1943). In M. Kelley (Ed.), Paradise lost and other poems. New York: Walter J. Black.Google Scholar
  10. Mitter, P. (1994). Art and nationalism in colonial India, 1850–1922: Occidental orientations. Cambridge: Cambridge UP.Google Scholar
  11. Mitra, T. (1991). Art and artists in Twentieth century Calcutta. In S. Chaudhuri (Ed.), Calcutta, the living city (Vol. I). Kolkata: Oxford University Press.Google Scholar
  12. Tagore, R. (1917). Bhanu Singha. In My Reminiscences. London and New York: Macmillan Company.Google Scholar
  13. Tagore, A. (1941). Bageshwari silpa prabandhabali. Kolkata: Ananda Publishers, 1999.Google Scholar
  14. Tagore, R. (1961a). Ghare Baire. In Rabindra Racanabali (Vol. 8). Calcutta: Saraswati Press.Google Scholar
  15. Tagore, R. (1961b). Phalguni. In Rabindra Racanabali (Vol. 6). Calcutta: Saraswati Press.Google Scholar
  16. Tagore, R. (1962). Naibedya. Centenary volume. Shantiniketan: Visva-Bharati Prakashan.Google Scholar
  17. Tagore, A. (1979). Jorasankor dhare. In Abanindra Rachanabali (Vol. 1). Calcutta: Prakash Bhavan.Google Scholar

Copyright information

© Springer India 2015

Authors and Affiliations

  1. 1.Indian StudiesUniversity of Philosophical ResearchLos AngelesUSA

Personalised recommendations