History, Centre for Studies in Social Sciences, India
Fellowship : January to March 2018 (previous felloship: October to December 2016)
Discipline(s) : History
Area(s) of expertise : History of early modern and modern India
Pays : India
The underlying rationale behind this proposed project is to think systematically and innovatively about the idea of trust seen as a modern promise and grounded in a very specific European tradition. It wishes to explore the notion of trust in non-European societies, especially south Asia where there was both a long and established tradition of mercantile and commercial practices that hinged crucially around relations of reciprocity. These features however, do not figure in standard understanding of Indian business and enterprise, partly because of the ways in which colonial knowledge reconstructed and reconstituted Indian mercantile behavior as treacherous, unreliable and dishonest and partly because of the eclipse of Indian business activity in the so called formalized sector. And yet given that Indian business men worked and operated in the high-noon of imperialism, controlled and operated the intermediate market or the bazaar and represented themselves in terms of trust, credit worthiness and reputation, it would seem somewhat incongruous to overlook those principles and dynamics that informed commercial and business operations that hinged on vital practices of accounts keeping, risk sharing and commercial mediation. This project hopes to address some of these issues by looking at trust and practice through a historical perspective – the early modern period between the late seventeenth and late eighteenth centuries, the period of formal colonial rule and that of post-colonial India where the so called informal sector accounts for a vast proportion of commercial and even manufacturing activity.
This second project looks at a corpus of music related writing in South India and attempts to explain the choice of a specific scientific methodology for the same. Why was this such a pressing imperative and how and why did scientists intervene in the discursive practice that accompanied the classicization of music? What was involved in the emerging methodology for teaching and appreciation that was meant to enable an objective understanding of art practice rather than simply frame it within a template of subjective experience? The project will look at a range of writings by musicians, musicologists and scientists like C.S Ayyar and C.V.Raman whose work on the physics of sound was important and influential.
Lakshmi Subramanian, did her undergraduate and post graduate degrees in History from Calcutta University where she secured a high first. She pursued her doctoral degree in history in the University of Viswa Bharati (Santiniketan) under the mentorship of Dr.Ashin Dasgupta. Subsequently she received a number of important fellowships in the UK, Singapore, Australia and South Africa (Mellon fellowship) to develop her research work. She has taught in a number of universities in India and overseas (South Africa, Poland and Germany) and for the last seven years has been working in the Centre for Studies in Social Sciences in the capacity of Research professor. She has authored more than six major books on economic and cultural history of India, her special subfields of interest being trade and social networks in the Indian Ocean, histories of predation and the social history of music in modern south India.
SUBRAMANIAN, Lakshmi. Three merchants of Bombay. Penguin India, 2012
SUBRAMANIAN, Lakshmi. A history of India 1707-1857. Orient Blackswan, Delhi, 2010
SUBRAMANIAN, Lakshmi. Veena Dhanammal The making of a legend. Routledge, 2009
SUBRAMANIAN, Lakshmi. Ports, towns and cities: A Historical tour of the Indian littoral. Marg Mumbai, 2008
SUBRAMANIAN, Lakshmi. New Mansions for Music Performance, Pedagogy and Criticism. SSP- Orient Longmans, Delhi 2008