From ravikant at sarai.net Tue Aug 1 19:12:00 2006 From: ravikant at sarai.net (Ravikant) Date: Tue, 1 Aug 2006 19:12:00 +0530 Subject: [Deewan] Fwd: pret, prem and prince Message-ID: <200608011912.00770.ravikant@sarai.net> haal ki prince parighaTna par Ravish ke khayalaat. ravikant ---------- आगे भेजे गए संदेश ---------- Subject: pret, prem and prince Date: सोमवार 24 जुलाई 2006 10:53 From: "Ravish Kumar" To: ravikant at sarai.net LIVE, SMS AND LIFE. Pyaare Prince Tum bach gaye..kitanee achhavi baat hai...jab tak tum bache rahe tab tak humne tumhe live dikhaya...logon ne apne apne bhagwaan ko yaad kiya aur ishwar nationalism ka achhaa udaaharan pesh kiya. jaise humara desh kai bhashaon aur sanskritiyon ke baad bhee ek hai...vaise hi alag alag devtaon ke alag alag bhakt bhee tumhare liye ek ho gaye the. saare bhakt aur unke devta sms ke zariye live tv ke scroll par aa gaye the..sai baba se lekar wahe guru ji tak..sab se tumhari salamati ki duaayen maangee jaa rahi theen.isse pehle kabhi kabhi itne saare dewtaa ek saath ek bachhe ki jaan ki salaamati ke liye scroll par nahi aaye the..vo bhee us bachhe kee jaat dharam ka pata kiye bagair...Prince tumne hur tarah ke devtaon ko ek uddeshya ke liye ek scroll par laa kar secular type ka kaam kiya hai..Sirf tum hi surang se nahi nikale...ye devta gan bhee surang se nikale hain..jo humesha apnee gali mohallo mein apne bhakto ke uddhaar mein vyast rahte hain... Itihaas bana diya prince tumne..humare devtaon ko ek lakshya se jorh kar..aur madhyam bana vahi sms ..jise aaj kal gariyaane ka chalan ho gaya hai iss desh mein..sankat kee is ghari mein prince tumne sms secularism ki misaal pesh kara dee ...ye sab na hota agar tum gaddhe mein na gire hote...naye sire se oopar aane ke liye phir se hum sab ko gaddhe mien girnaa chaahiye aur nikala janaa chaahiye..live tv par.. Khair ab tum hero ho..50 ghante 60 foot ke bheetar..isse pehle is tarah ke record yogi babaon ke naam rahe hain..lekin unka koi pramaan kisi ne nahi dekha..yogiyon ke baare mein prachaar karaya gaya...tumhe to poore desh ne live tv par dekhaa..sms bhi kiya..pradhan mantri ka bhee sandesh aayaa..tum naye yogi ho..tumne yogiyon ko bhee bachaa liyaa hai. Tumne live tv ko badnaam hone se bachaa liya..surang mein jaa rahi tv patrkaarita ko apne jivan ke bachaane ke abhivaan se jorh tumne use ek mukti dee hai..pyaare...ab koi nahi kahegaa ki tv waale baat baat par preton aur premiyon ka hi live karte hain...vo to ab prince ka bhee live karte hain..dhanya ho tumhara jo tum gaddhe mein gire... ravish kumar ------------------------------------------------------- From kamal_bhu at rediffmail.com Fri Aug 4 20:49:11 2006 From: kamal_bhu at rediffmail.com (Kamal Kumar Mishra) Date: 4 Aug 2006 15:19:11 -0000 Subject: [Deewan] LOKPRIYA UPANYASON KE PAKCH MEN... Message-ID: <20060804151911.5275.qmail@webmail43.rediffmail.com>       LOKPRIYA UPANYASON KE PAKCH MEN   KUCH DALILEN Lokpriya(Jasoosi)upanyason ko tathakathit Ucch- Sahitya(karon) ne n sirf lagatar neechi neegahon se dekha balki aksarhan ise Sahitya ki shreni men rakhne se inkar bhi kiya hai.Iske jawab men in lokpriya upanyason ke lekhakon v prakashakon ne is sahitya ke pakch men apne tark gadhe.Yakin maniye in lekhak-prakashakon ke tark n to kam dilchasp hain aur n hi kamjor.Inhin tarkon ki ek bangi pesh -e-nazar hai. Lekin is tark-vitark men jane se pahle aaiye zara ek nazar is ishtehar par bhi dalte chalen- Chaliye! Daudiye!! Lijiye!!! Saste aur sansani purna din ka khana aur raat ki neend haram kar dene wale ghatnaon ke ghata top se paripurn UPANYAS! ---------------------------- Bade -bade bhayankar dakoo aur luteron ke romanchkari karnamon se yukt,jungle,pahad aur gufaon me chipe hue vilayati thagon ke ashcharyajanak addon ke rahasya bhedi bhanda fod sahit,sansar ke prasidh-prasidh jasooson ke hriday ko hila dene vali chaturai purn chalon se susazzit saste aur sundar jasoosi upanyas.Hum dave ke saath kah sakte hain ki hamare upanyason ko padh kar aap ek baar dang rah jayenge.Hathon haath bik rahe hain.Aap bhi 1) pravesh fees dekar aaj hi grahak ho jaiye.Sthayee grahkon ko paune mulya men diye jaate hain. MANEGER- Hindi Pustakalya,Mathura Hindi Pustakalya,Mathura ne 1935 men anuvadit jasoosi upanyason ki jo shrinkhala prakashit ki yah usi ANUVADIT MALA ka ek vigyapan hai.Is srinkhala men doosari bhasaon se hindi men anuvadit jasoosi upanyason prakashit kiye gaye.Prakashakon ka dava hai ki ye upanyas - din ka khana aur raat ki neend haram kar dene wale hain.Mahaj itna hi nahin,is shrinkhala ke sampadak shree Mukund ne 'BHISHAN RAHASYA urf NAKALI HATYARA' ke liye likhe apne "Sampadkiya vaktvya" (20 JUNE 1935)men in lokpriya jasoosi upanyason ke pakch me, bade hi vyavasthit dhang se apne tark prastavit kiye jo is vyavsaik prakashan ki vyavsaikta ke saath hi saath jasoosi upanyas ki vidha, lokruchi, bhasha v sahitya se jude prashnon ke ird-gird kendrit hain. uparokt "sampadkiya vaktavya" prastut hai,aap se gujarish hai ise bagaur padhen- " Hindi men jasoosi upanyason ka jor hai. Calcutta aur Banaras ke anek prakashkon ne aisa sahitya prakashit kar ke quafi naam aur paisa kamaya hai. Chandrakanta, Bhootnath aur London Rahasya jaise upanyason ke kai - kai sansakaran prakashit ho chuke hain.Swabhawath hi log inhen pasand karte hain aur madhyam darje ke shikshit aur ardh shikshit to Ramayan aur Bhagwat ki tarah kai kai baar inka paath karte hain. Yah sab kyon hota hai? Ucch koti ka aadarsh poshak sahitya chod kar log ise kyon pasand karte hain? samay ko vyarth nasht karne vali is bhul-bhulaiya men janta apna dimag kyon nahaq khapati hai?Lok ruchi idhar kyon daudi chali ja rahi hai?Kya yah sab bina soche samjhe ho raha hai?Kya jaan boojh kar Hindi sansar apne bhasha bhandar ko is anupyogi kude karkat se bhar raha hai?Kya uski yah ek dam nai aur aswabhawik pragati hai. Nahin qudapi nahin ! Anya bhashaon men bhi yah sahitya maujud hai aur paryapt matra men maujud hai. Hamare yahan to abhi iska pure roop se vikash hua bhi nahin hai.Abhi to hum anya bhashaon ki,khaskar Bangla aur Angrejee ki joothan hee bator rahen hain. Hamare yahan jasoosi dhang ke maulik upanyas likhne vale sidh hast lekhak hain hi nahin.Ek tarah se yah bhasha ka durbhagya hai.Hum janta ki ruchi ka aakanchit rochak sahitya bhi paryapt matra men upasthit nahin kar sake to yah hamare liye ek lajja ki baat hai.videshi bhasha ke anuvad se kisi bhasha ka gaurav uncha nahin ho sakta.Hindi ka yah vibhag ek tarah se soona pada hai. Bahot kam vastuen is chetra men aisi hain jinhen hum apni kah sakte hain. Sansar ki pratek jiwit bhasha ke kshetra men aaj upanyason ka pramukh sthan hai.Hamare pracheen saitya men bhi katha kahanion ke rochak varnanon ka abhav nahin hai unmen se bahot si aisi hain ,jinhen hum aaj bhi upanyason ki koti men sab se upar bithla sakte hain.Sach baat to yah hai ki sansar ki samast bhashaon men se yadi is ek vastu ko nikal den to phir vahan shesh kuch bhi nahin rah jata.Kavya, itihas , ganit,tark,niti sab isi ke aadhar par gadhe hue hote hain. Nav ras ka paripak bina marmik varnan ke ho hi nahin sakta. Jasoosi upanyason men adbhut ras ka ek adhbhut sammishran hota hai.Ashcharya,sansani,udveg aur utsukta ki safal yojna hoti hai.Pag -pag par aasha aur nirasha ka nirav nritya hota hai.Pathak kabhi bhay se stabdh rah jata hai,kabhi vismay se parabhoot.Uska hridya kamal kabhi harsh se unmatt ho uthta hai,kabhi sok se katar.Ghrina,rosh,nairashya aur kshobh uske hridaya ko aandolit kar dalte hain.Ek baat uske anumaan ke anusar hoti hai,kintu kshan bhar baad hi doosri ghatna uski komal kalpana par marmik aaghat karti hai aur use khand -khand kar daalti hai,vah aatur ho jata hai aur vishmay ke saath aage badhta hai.uske hriday men ek agyat vedna ka madhur sparsh hota hai,vastav men yahi kala ka komal aur sajiv ang hai. Phir jis maulik rachna men in sab ka safal aayojan hoga, use sahitya marmagya, niras, nirupyogi,aur samay nasht karne vali kaise kah sakte hain?Usmen saral aur sajiv bhasha ka prayog aur hona chahiye kisi khash pakch ya aadarsh ki poosti ho ya n ho.Janta avasya uska yathochit satkaar karegi.Iske vipareet vichaar karna vichaar sunyata hai. Inhin sab drishtion se janta ne abhi tak in sab anuvadon ko apnaya hai aur bhavishya men yadi aur tatparta se kaam liya gaya to us se aur bhi adhik aasha ki ja sakti hai. Hamare suyogya "Hindi Pustakalya" ke sanchalkon ne ukt sari baten dhyan men rakh kar hi jasoosi upanyason ki is anuvadit mala ka sanchalan arambh kiya hai.Unka vichar is disha men aur bhi adhik karya karne ka hai. Yadi hindi sansar ne unka samuchit utsah samvardhan kiya to shrigh hi vah is kshetra men bahut kuch karya kar dikhlayenge,hindi ke saputon ka dil badhana hindi ka karya hai...." Manik chauk Mathura 20 JUNE 1935 - 'MUKUND' 'Hindi ke sapoot' hone ka dava aur sahitya bhandar ke vikash men yogdan ka Hindi Pustakalya ke is sampadak ka dava apne aap men koi akelee ya anokhi baat nahi hai.'JASOOS' masik ke sampadak Gopal Ram Gahmari bhi apne sampadkiya alekhon men khood ko 'Hindi ka akinchan sewak' batate hain.Hindi ki sewa ka dam bharne vale in sapooton ke anya rochak vritanton ke saath - phir milenge!!! kamal. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060804/e6541dc0/attachment.html From ramannandita at gmail.com Mon Aug 7 10:36:11 2006 From: ramannandita at gmail.com (Nandita Raman) Date: Mon, 7 Aug 2006 10:36:11 +0530 Subject: [Deewan] I fellow Meet Message-ID: <1df07d930608062206q39c5ce97j4e745ea44dc14dbb@mail.gmail.com> As per the informatuion received from Shivam last week, when I reached Sarai yesterday at 6 for the meeting there was no one there. The watchman said the meeting was at 3.30. Has the meeting happened/ postponed ... Nandita -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060807/a80571b6/attachment.html From ravikant at sarai.net Mon Aug 7 15:17:38 2006 From: ravikant at sarai.net (Ravikant) Date: Mon, 7 Aug 2006 15:17:38 +0530 Subject: [Deewan] I fellow Meet In-Reply-To: <1df07d930608062206q39c5ce97j4e745ea44dc14dbb@mail.gmail.com> References: <1df07d930608062206q39c5ce97j4e745ea44dc14dbb@mail.gmail.com> Message-ID: <200608071517.38516.ravikant@sarai.net> Oops, sorry Nandita. The meeting actually happened at 3.30 as it was announced on the mail invite but unfortunately you got it wrong. Ravikant सोमवार 07 अगस्त 2006 10:36 को, Nandita Raman ने लिखा था: > As per the informatuion received from Shivam last week, when I reached > Sarai yesterday at 6 for the meeting there was no one there. The watchman > said the meeting was at 3.30. Has the meeting happened/ postponed ... > > Nandita From kamal_bhu at rediffmail.com Mon Aug 7 21:03:36 2006 From: kamal_bhu at rediffmail.com (Kamal Kumar Mishra) Date: 7 Aug 2006 15:33:36 -0000 Subject: [Deewan] LOKPRIYA UPANYASON KE PAKCH MEN... Message-ID: <20060807153336.15726.qmail@webmail71.rediffmail.com>   On Sun, 06 Aug 2006 आलोक कुमार wrote : >4 Aug 2006 15:19:11 -0000, Kamal Kumar Mishra kamal_bhu at rediffmail.com: >> >> >> >> >>Lokpriya(Jasoosi)upanyason ko tathakathit Ucch- Sahitya(karon) ne n sirf lagatar neechi neegahon se dekha balki aksarhan ise Sahitya ki shreni men rakhne se inkar bhi kiya >नहीं हम तो ऊँची निगाहों से देखते हैं। >साहित्य की परिभाषा क्या है? Priya Alok, Hazr bar dhanyavaad pahla to muj takniki-ashikchit ko rediff mail par hindi padhne men samarth banane ke liye aur doosra lokpriya jasoosi upanyason ko neechi neegahon se n dekhane ke liye.Bahut -bahut sukriya!!! Sahitya ki koi sarvamanya paribhasha dena to jara pechida kaam hai,kam se kam mere jaise iitihas ke vidyarthi ke liye.Yahan meri murad Dr.Nagendra aur Ram Chandra Shukla sarikhe Hindi Sahitya ke alochakon aur itihas lekhakon se hai jinhone Hindi sahitya ka(pramanik) itihas likhate vakht lokpriya sahitya ko Sahitya ki koti men rakhna munasib nahin samjha,aur iski mahtvapurna bhumika se kahin n kahin inkar bhi kiya.vaise ,jaisa ki aap ne mere pichle post men padha bhi hoga ,jawabdave karne vale lokpriya lekhak sahitya ki Ras- nispatti vale pakch par zor dete hain.Aur isi adhar par ve in lokpriya upanyason ke sahityak mulya ko sthapit karte hain. ABHIVADAN SAHIT!!! kamal. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060807/fb9eb4d1/attachment.html From kamal_bhu at rediffmail.com Mon Aug 7 22:12:33 2006 From: kamal_bhu at rediffmail.com (Kamal Kumar Mishra) Date: 7 Aug 2006 16:42:33 -0000 Subject: [Deewan] SARAI posting Message-ID: <20060807164233.27688.qmail@webmail26.rediffmail.com>  Dear ANDREW, Thousands apologies for not answering to your mail for soooo long,today when i was clearing my mail account i noticed this blunder i have done,i am extremely sorry!!! True as you say the relationship between crime and detective is closely related to biometrics and fingerprinting in most of the cases...but you might find it surprising that in Hindi detective ficttions this link is mostly absent. Hindi deteective fictions have a few peculiar characteristics par example-1) there might not be a single detective and this function might be performed by many people or 2) detective need not use modern or rational techniques to solve a mystry, role of chance is often crucial in solving a case. Thus one hardly finds this clue and puzzle type in hindi detective fictions. I have not come across a single piece translated ,adapted,or original where (here i am talking about the early hindi detective fictons from 1900-1940's) a detective solves a case with the help of fingerprints.Though, one may find examples of foot prints, as a clue, but not so elaborate either. THEN what we have are discourse of criminality mostly based on jati(caste)n lakchana (physical attributes n morality) where colonial state is often absent in these popular fictions. hope you find it interesting enough...with apologies again warm regards!!! kamal On Mon, 30 Jan 2006 Andrew MacDonald wrote : >Hi Kamal.. > > Nice to see your posting on SARAI and your research..I'm a post-grad history student based at Duban, University of KwaZulu-Natal, South Africa. I just thought, tangentially, since I have just finished reading it myself, The book Imprint of the Raj - how fingerprinting was born in Colonial India. Maybe you have seen it already, but the relationship between crime and detectives is closely related to biometrics and fingerprinting (which was only then becoming the kind of embryonic, precocious state project we now take for granted). I wonder if their is much in the Hindi literature on this topic? It would be quite interesting... > I have worked/am working on aspects of biopower (to sound foucauldian, though i have some real problems with his arguments), concerned less with literature but more with labour and immigration in colonial South Africa).. > > Anway, thought I would put my two cents worth in.. > > Andrew > > >--------------------------------- >To help you stay safe and secure online, we've developed the all new Yahoo! Security Centre. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060807/1e5f0a0b/attachment.html From avinashcold at gmail.com Tue Aug 8 17:52:22 2006 From: avinashcold at gmail.com (Avinash Kumar) Date: Tue, 8 Aug 2006 17:52:22 +0530 Subject: [Deewan] SARAI posting In-Reply-To: <20060807164233.27688.qmail@webmail26.rediffmail.com> References: <20060807164233.27688.qmail@webmail26.rediffmail.com> Message-ID: Dear Kamal, Sorry for butting in without a legitimate ground. Nevertheless thought, I would give my two cents.I haven't read too many early detective fictions in Hindi, so it goes with a caveat. One of the most famous stories by Gopalram Gahmari, 'Malgodam mein Chori' is a stark example of the way the 'modern, rational' practices of detection methodology were sought to be acknowledged. As I remember clearly, even though it does not talk of finger print, it talks of a 'keen, detailed' analysis of the crime scene and not merely remains dependent on 'chance', though, that as you correctly say, remained a principal feature in a lot of fiction of that period. What is further interesting in that piece is that, even as the crime has happened somewhere in Bihar (i forget where, perhaps gaya), the detective called into investigate is from Calcutta, the signifier for a 'modern city' and who speaks with an English accent despite being a Bengali. Of course, how he blends in with the local landscape singing popular Braj poetry while doing his job, is another matter to investigate. Second, in another novel of Gahmari, I forget the title right now and the Shivpujan Sahay classic , 'Dehati Duniya', Jati is very prominent as once again rightly pointed out by you. Yet, I would see it still as a result of the very presence of colonial discourse of criminality, which fixated certain castes, tribes under the labels of criminality. Even, the colour, physical attributes etc as a criterion, came under the same phenomenon largely. We are now replete with studies around this theme. On the other hand, the role of daroga, the local police is so predominant in these stories (and not only in these two works I am talking of) that the picture you get is that villages are vacated en masse with the news of arrival of the local 'daroga'. In this sense, what I would assert is given the context, whether as a pseudo-detective posing as a city-bred man like Holmes or as a daroga, the colonial state is omnipresent in these narratives. What then is worth investigating is how they are renegotiating these different roles... Sorry, for this long mail but this, as I said is an instant reaction with a very limited knowledge of the subject... thanks, avinash On 7 Aug 2006 16:42:33 -0000, Kamal Kumar Mishra wrote: > > Dear ANDREW, > Thousands apologies for not answering to your mail for soooo > long,today when i was clearing my mail account i noticed this blunder i have > done,i am extremely sorry!!! > True as you say the relationship between crime and detective is > closely related to biometrics and fingerprinting in most of the cases...but > you might find it surprising that in Hindi detective ficttions this link is > mostly absent. > > Hindi deteective fictions have a few peculiar characteristics par > example-1) there might not be a single detective and this function might be > performed by many people or 2) detective need not use modern or rational > techniques to solve a mystry, role of chance is often crucial in solving a > case. > Thus one hardly finds this clue and puzzle type in hindi detective > fictions. > I have not come across a single piece translated ,adapted,or original > where (here i am talking about the early hindi detective fictons from > 1900-1940's) a detective solves a case with the help of > fingerprints.Though, one may find examples of foot prints, as a clue, but > not so elaborate either. > > THEN what we have are discourse of criminality mostly based on > jati(caste)n lakchana (physical attributes n morality) where colonial state > is often absent in these popular fictions. > hope you find it interesting enough...with apologies again > warm regards!!! > kamal > > > On Mon, 30 Jan 2006 Andrew MacDonald wrote : > >Hi Kamal.. > > > > Nice to see your posting on SARAI and your research..I'm a post-grad > history student based at Duban, University of KwaZulu-Natal, South Africa. I > just thought, tangentially, since I have just finished reading it myself, > The book Imprint of the Raj - how fingerprinting was born in Colonial India. > Maybe you have seen it already, but the relationship between crime and > detectives is closely related to biometrics and fingerprinting (which was > only then becoming the kind of embryonic, precocious state project we now > take for granted). I wonder if their is much in the Hindi literature on this > topic? It would be quite interesting... > > I have worked/am working on aspects of biopower (to sound foucauldian, > though i have some real problems with his arguments), concerned less with > literature but more with labour and immigration in colonial South Africa).. > > > > Anway, thought I would put my two cents worth in.. > > > > Andrew > > > > > >--------------------------------- > >To help you stay safe and secure online, we've developed the all new > Yahoo! Security Centre. > > > > > > _______________________________________________ > Deewan mailing list > Deewan at mail.sarai.net > http://mail.sarai.net/cgi-bin/mailman/listinfo/deewan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060808/9c5bf17b/attachment.html From mahmood.farooqui at gmail.com Wed Aug 9 11:38:49 2006 From: mahmood.farooqui at gmail.com (mahmood farooqui) Date: Wed, 9 Aug 2006 11:38:49 +0530 Subject: [Deewan] dilli shahar nahin camp hai chhavni hai Message-ID: San 1857 mein Ghalib ki bhoomika ke baare mein bahut se sawaal uthaye jate rahe hain...baaghi sipaahiyon se unki badzani jag zaahir hai, ghadar ke dauran dastanbui naam ke apne faarsi roznamche mein unhone jam kar kaalon ko bura bhala kaha aur goron ki taareef ke qulaabe milaaye... Magar ghadar ke baad dilli par jo aafat pari usmein angrezon ke deegar khairkhwaahon-master ramchandra aur mashhoor jaasoos Jeewan lal samet-voh bhi tarah tarah ki azziyyaton ka shikaar hue... Ghadar ke baad ki tabaahi ne ghalib ko itna majrooh kar diya ki uske baad apni maut tak, yaani 1869 tak, unhone bamushkil 10-15 ghazlein hi kahin. Khat magar kasrat se likhe... yeh do khaton ke iqtebas-dard-e dilli ke naam: "merath se aakar dekha ki yahan bari shiddat hai aur yeh haalat hai ki goron ki paasbaani par qinaaat nahin hai.Lahori darwaze ka thanedar mondha bichha kar sarak par baithta hai. Jo bahar se goron ki aankh bacha kar aata hai usko pakar kar hawalaat bhej deta hai. Haakim ke yahan se paanch paanch bed lagte hain ya do do rupaya jurmana liya jata hai, aath din qaid rahta hai. Isse alawa sab thanon par hukm hai ki daryaft karo, kaun betikat muqeem hai aur kaun tikat rakhta hai? Thanon mein naqshe murattab hone lage. Yahan ka jamadar mere paas bhi aaya. Maine kaha, bhai tu mujhe naqshe mein na rakh. Meri kaifiyat ki ibarat alag likh. Ibarat yeh hai ki "asadullah khan pensendar san 1850 se hakeem patiyale wale ki bhai ki haweli mein rahta hai, na kaalon ke waqt mein kahin gaya na goron ke zamane mein nikla aur nikala gaya. karnail burn saheb bahadur ke zabani hukm par uski iqamat ka madar hai, ab tak kisi haakim ne voh hukm nahin badla, ab haakim-e waqt ko ikhtiyaar hai." Parson yeh ibarat jamadar ne muhalle ke naqshe ke saath kotwali mein bhej di hai. Kal se yeh hukm nikla ki yeh log shahar se bahar dukan, makan kyun banate hain, jo makan ban chuke hain unhein dhaha do aur aainda ko mumaaneat ka hukm suna do. Aur yeh bhi mashhoor hai ki paanch hazaar tikat chaape gaye hain. Jo musalman shahar mein iqamat chahe ba qadre maqdoor nazrana de. Uska andaza qarar dena haakim ki raaye par hai. Rupaya de aur tikat le. Ghar barbaad ho jaaye, aap shahar mein aabaad ho jaaye. Aaj tak yeh soorat hai, dekhiye shahar ke basne ki kaun si mahurat hai. Jo rahte hain voh bhi ikhraaj kiye jaate hain, ya jo bahar pare hue hain voh shahar mein aate hain. al mulkullahe wal hukmullahe... budhwaar, 2 farwari, 1859. miyan, yeh ahle dehli ki zubaan hai Are ab ahle dehli ya hanood hain ya ahle hurfa hain ya khaki hain ya punjabi hain ya gore hain. Inmein se tu kis ki zabaan ki taarif karta hai... museebat-e azeem yeh hai ki qari ka kunwa band ho gaya. Lal diggi ke kunwe yak qalam khari ho gaye. Khair khaari hi paani peete hain, garam paani nikalta hai, parson main sawaar hokar kunwon ka haal daryaaft karne gaya tha. Masjid-e Jaama se raajghaat darwaaze tak, bila mubalgha ek sahra laq-o daq hai. Eenton ke dher jo pare hain voh agar uth jaayein to hoo ka makaan ho jaaye. YAAd karo mirza gauhar ke bagheeche ke us jaanin ko kain baans nasheb tha. Ab voh bagheeche ke sehab ke barabar ho gaya. Yahan tak ki rajghat ka darwaza band ho gaya. Faseel ke kangure khule rahe, baaqi sab at gaya. Kashmiri darwaaze ka haal tum dekh gaye ho. Ab aahni sarak ke waaste kalkatta darwaaze se kaabuli darwaaze tak maidan ho gaya, punjabi katra, dhobiwara, ramji ganj, saadat khan ka katra, jarnail beebi ki haweli, ramji das godam waale ke makaanat, saheb ram ka bagh, haweli, insmein se kisee ka pata nahin lagta. Qissa mukhtasar shahar sehra ho gaya tha. AB jo kunwein jate rahe aur paani gauhar-e nayab ho gaya to yeh sahra sahraaye karbala ho jaayega. Allah allah, dilli na rahi aur dilli waale ab tak yahan ki zabaan ko achha kahe jaate hain. Waah re husn-e aitqaad. Are banda-e khuda, urdu bazar na raha, urdu kahan, dilli wallah ab shahar nahin hai, camp hai, chhavni hai, na qila na shahar na bazar na nahar... From ramannandita at gmail.com Thu Aug 10 18:21:28 2006 From: ramannandita at gmail.com (Nandita Raman) Date: Thu, 10 Aug 2006 18:21:28 +0530 Subject: [Deewan] Exchange Progrramme- mamta Mantri and Nandita Raman on Cinema Halls Message-ID: <1df07d930608100551n6e16b37cyfa6f761809809eac@mail.gmail.com> This is part of the exhchange programme of Sarai. Mamta Mantri who is researching on the cinema Halls in Mumbai came to Delhi and I took her around to the Cinema Halls that I was documenting in Delhi. Below is our essay on our experience. *Nandita's Report;* "I am wearing an orange Gandhi T-shirt. The code word is 'lal gulab'." "Ha ha ha…ok." "Alright then, see you at five." I met Mamta at a few minutes past five near Regal. Unfortunately, my orange t-shirt was too conspicuous and left no need for the use of the code word. It was a hopeless attempt to be filmy. With Regal next door, I couldn't resist taking Mamta there right after exchanging pleasantries. So we went in. The shutter bug took over Mamta and she captured the past actors and actresses' photos hung on the gallery. To explain the plan of the theatre which was built for live performances, I took her to the floor plan, pined up in a glass box next to the box office. "I didn't come across these in Mumbai halls." She observed. I had come across these floor plans in every cinema hall in Delhi and took it to be a standard format for safety rules to display the plan with the fire exits. At Standard Restaurant, we discussed our journey so far, our motive, experiences and impressions of the Cinema Halls. It was an animatedly passionate discussion. It was elating to find a fellow traveler. In the next five, six days we went to Excelsior, Moti, Ritz, Golcha, Delite, Rivoli and Plaza. I was a little apprehensive taking a guest to the Halls. Having gone alone to all these places, I wasn't sure how they would react to another inquisitive visitor. My apprehensions were put to ease by the warm welcome we received at Excelsior. It was fascinating to know that like many cinema halls in Mumbai that Mamta was studying, Excelsior too had a *durgah*. The cinema hall patronized it. The Manager believes that it was the *pir*who looks after the Hall, that is surviving against all odds. After comparative observations on ticket prices, film genres and audience between Mumbai Halls and Excelsior we headed towards Moti, another interesting hall in Chandani Chowk. On our way we visited Jama Masjid and had a sumptuous lunch of parathas at the parathe wali gali. After the indulgent meal we just about dragged ourselves to Moti. A bhojpuri film was playing there. When we entered the balcony wing a mujara was playing. Majority of the audience were totally involved in the song, clapping and hooting. It was as if they were watching a live performance and the screen didn't exist. Though the audience consisted of shop attendants, rickshaw pullers and laborers, Mamta found most of the viewers more urbane than Mumbai. In the course of visiting the cinema halls we came to understand the differences and similarities between the cinema halls in Delhi and Mumbai. Beside the higher ticket rates and larger space in Delhi, I feel there was a subtle difference in the owners and their management. From what I understand after discussing with Mamta, the Delhi owners seem to have a residual feudalism in them. The cinema hall owners that Mamta had met in Mumbai were more approachable. What was especially delightful for me was to see someone look at the cinema hall, its people, the screen, the projectors and its operators with the same intensity of emotions as I had approached it. It was an enriching experience. Nandita *Mamta Mantri's report* 11/7, a date evoking bad memories in the mind of Mumbai. To my good luck, I was in Delhi, another big city, on exchange programme, as a part of which I had to visit cinema halls there. The pleasure of meeting Nandita at Regal hall at Connuaght place was doubled with the visit to the hall. What was striking was the employment of the space by the hall owner. Huge, large, magnificent were the words that came to my mind. I was reminded of Eros in Mumbai, my favorite hall. The black and white pictures of Dev Anand, Madhubala, Raj Kapoor and others added to the feeling of nostalgia. Well, we then headed to Stadium Restaurant next door, and began chatting about and with each other. The Restaurant was again huge and the other side was interesting, though under renovation. So, other things apart, we began discussing the motives behind the research. It was nice to know that her motive were as personal as mine were; and a part of a personal journey; like I had embarked upon. That hit me instantly. The next journey that we undertook was to Excelsior, at Chawri Bazar. As we moved to the ground from the Metro, N told me about the engineering marvel that this station was. The moment we were out and began understanding the place, she recollected an incident, which I thought was worth remembering. She wanted to enquire about the now extinct Amar cinema to a particular richshaw wala, in front of the Metro station. He said," Kyon mazak kar rahe? Aap wahi par to khadi hai." Walking through the old city was an experience in itself. Although all old parts of cities look similar (I am thinking of Surat, Vadodara, Ajmer, Alwar, et al), yet there is something very distinct about each city in an unknown manner. anyways, Excelsior felt very closer to the cinema halls that I studied in mumbai, although very different in terms of color(striking blues and greens as opposed to biege here), stairs, terrace et al. somehow, the memories of this hall remain not of affluence and renovation, which does get seen, but that of now defunct A/C, the fans, the closed garage, the hands-on-the-breast-poster of "Sadhu Bana Shaitan", the fake new film "Heeralal-something", the lassi-ka-bada-glass" and the good-looking manager. The lack of time deterred us from making longish and detailed conversations. We then began to walk towards Jami Masjid and Meena Bazar and moved on to Chandni chowk-parathe-wali-gali and had a wholesome lunch, the best being the Banana paratha. Then we went on to see Moti. Very much like Naaz in Mumbai, the entrance to the compound passed through an overflowing and so many posters....dirty surroundings, colorful paraphernalia. The following days, we visited Ritz at Kashmiri Gate, Rivoli PVR, Delite and Golcha at Daryaganj, ---------- at Connaught Place. During the brief visits to all the halls, the following came to my mind: The ticket rates are higher than that of the cinema halls under survey in mumbai; most of the halls showed fresh releases. They were huge and royal in magnitude, and accommodated women and families. The canteens were cleaner, safe and very inviting. Always felt like eating there. It looked like the owners took very genuine interest in their theatres. The most striking was the Delite, which proudly boasted of its grand past with photos of the then President, Prime minister and other dignitaries. Well, Delhi has its plusses. While the entire war of cinema halls seemed to concentrate around PVRs as opposed to single screen halls there, the tough fight given by the owners of single screens is worth noting. I simply could not resist the temptation of watching a film there, but had to stop myself due to paucity of time. But I did visit the projector room, terraces, and of course, the loos. They say, one can understand the place by its loos. It was worth the visit. For me, the experience got intense with emotions of resistance and tough fights all along the way by these cinema halls, along with the humane facet to it. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060810/6d01a07d/attachment.html From kamal_bhu at rediffmail.com Fri Aug 11 00:19:19 2006 From: kamal_bhu at rediffmail.com (Kamal Kumar Mishra) Date: 10 Aug 2006 18:49:19 -0000 Subject: [Deewan] SARAI posting Message-ID: <20060810184919.2532.qmail@webmail69.rediffmail.com>   Dear Avinash, Thanks a lot for your comments and suggestion. I thought I was careful enough not to simplify or give a misleading picture while I was responding to the queries of Andrew regarding the uses of fingerprints and 'aspects of bio power' as it appear in these hindi detective fictions. To avoid such confusions I have been using words like 'mostly' n 'often' and not 'always'. By the way I am thankful to you for bringing the complexity of subject in for a discussion .I think I have nothing much to say about the uses of fingerprints as you also agree that we don't see it even in the texts of Gahmari. Gopal Ram Gahmari is a very important hindi detective fiction writer thus he requires special attention. Though I agree what you say about the characteristic feature of the novels of Gopal Ram Gahmari ,regarding a keen and detailed analysis of crime scene still I think the picture is much more complex as, here too,its mostly chance which use to play an important role in solving a case than the rationale of detection. Pursuing a few issues a bit further such as the question of jati in the novels of Gahmari and all pervasive nature of colonial authority might not only help us understand Gahmari's works better but it could also be of some interest. As far as my reading of Gahmari is concerned ,I would like to ask why is it so that most of the 'original' detectives of Gahmari a part from Md. Sarwar are rajputs? ( for deciding what is his original and what is not I am using one of Gahmari's own account where he gives the full list of his original ,translated and adapted works and he claims Md Sarwar to be one of his original creation) For example Sujan Singh,Sanwal Singh, Deven Singh ,Roshan Singh,Diler Singh and all .Does it have any thing to do with the idea of 'jawanmardi' or 'bahaduri' attached to rajputs or its just a co-incidence? Or how should one look at this? Could we say that like the discourse of criminality it also confirms the colonial stereotype. Or Its so because of some deep rooted structures? Or is it a sign of fractured colonial modernity? "EK POLICE ADHIKARI KI ATMKATHA" by Vishwanath Lahiri though confirms the important position of local police officers, like DAROGA, it also helps me ask- with what set of values do these local officers(mostly Indians ) use to operate? And above all what about the texts (jasoosi of course)which are direct descendents of tilasmi n ayyari tradition of kissagoi.Its mostly in these texts ,produced throughout in a considerable number we don't find the presence of colonial authority and even if its there its undermined as in 'BHYANKAR JASOOS' by Ram Chandra Singh (Rachit),gullu prasad kedarnath,Benaras city, 1935. In 'Bhayankar Jasoos', Daroga Tedhai Khan has been murderd by Shyama ,when she is on her way to search her husband and Tedhai Khan, who has been portrayed as nutfe haram(a born illegitimate ), tries to rape her. After this murder Shyama manages to escape and reaches to Usha Rani,her close friend who is married to a rich Bengali Rajnikant Mukherjee.Both the husband and wife tries to console her and say there is nothing wrong in killing someone while defending one's dharma( stri dharma here of course) and later they decide to inform another friend Bina who is, "ek bahut chalak sakhi hai dooje wah fan ayyari men nipun aur sujan hai .yon to hum log bhi kisi se kam nahin hain lekin wah hamjolion men sab se gunagar hai." As a consequence what we encounter is this long tussle going on between both of these groups, the detectives (in fact they are ayyars more than jasoos in any modern sense)of colonial state on the one hand who are trying to catch the murderer of Daroga as well as her companions and Bina and Shyama and co. on the other , using their magical powers in this struggle. What strikes most to a reader like me is the character of 'jungali Raza'(a tribal king) who has been portrayed ,sympathetically, as a powerful character and with his magical powers, like his control over the wild animals, tries ho help Bina. And here he comes in a direct confrontation with the colonial state/authority. Animals can fly and these ayyars/jasoos could transform themselves into animals. Nothing is impossible -of course- in this world of novel where there is enough space for such imagination. Finally ,the all mighty colonial state had to bow-down. Colonial authorities had to accept the request of setting a special court of hearing in this matter . where Shyama and her friends would not only be acquitted but would be awarded with other jassos for their bravery. In his jasoosi faisla writer says- "aap donon dalon ka yahi kartvya tha .jo ki apne apne kala-kaushal ko ek doosre ke tain khadyantra rach kar upanyas ke premi rasik janon ko sarvada ke liye ek accha rasta nikala jise padh kar upanyas ke anugami bane rahenge" We also have in this very line the novels written by Devaki Nandan Khatri, for ex-Narendra Mohini , to name just one ,where one can read the presence of colonial modernity only between the lines. Apart from Khatri we have lots more from other known and less known writers who do undermine or remained silent towards the reality/ies of the colonial present in their own particular ways. I am not sure if that is what you meant by investigation for negotiations and renegotiations of these different roles? regards! kamal On Tue, 08 Aug 2006 Avinash Kumar wrote : >Dear Kamal, > >Sorry for butting in without a legitimate ground. Nevertheless thought, I >would give my two cents.I haven't read too many early detective fictions in >Hindi, so it goes with a caveat. > >One of the most famous stories by Gopalram Gahmari, 'Malgodam mein Chori' is >a stark example of the way the 'modern, rational' practices of detection >methodology were sought to be acknowledged. As I remember clearly, even >though it does not talk of finger print, it talks of a 'keen, detailed' >analysis of the crime scene and not merely remains dependent on 'chance', >though, that as you correctly say, remained a principal feature in a lot of >fiction of that period. >What is further interesting in that piece is that, even as the crime has >happened somewhere in Bihar (i forget where, perhaps gaya), the detective >called into investigate is from Calcutta, the signifier for a 'modern city' >and who speaks with an English accent despite being a Bengali. Of course, >how he blends in with the local landscape singing popular Braj poetry while >doing his job, is another matter to investigate. > >Second, in another novel of Gahmari, I forget the title right now and the >Shivpujan Sahay classic , 'Dehati Duniya', Jati is very prominent as once >again rightly pointed out by you. Yet, I would see it still as a result of >the very presence of colonial discourse of criminality, which fixated >certain castes, tribes under the labels of criminality. Even, the colour, >physical attributes etc as a criterion, came under the same phenomenon >largely. We are now replete with studies around this theme. > >On the other hand, the role of daroga, the local police is so predominant in >these stories (and not only in these two works I am talking of) that the >picture you get is that villages are vacated en masse with the news of >arrival of the local 'daroga'. In this sense, what I would assert is given >the context, whether as a pseudo-detective posing as a city-bred man like >Holmes or as a daroga, the colonial state is omnipresent in these >narratives. What then is worth investigating is how they are renegotiating >these different roles... > >Sorry, for this long mail but this, as I said is an instant reaction with a >very limited knowledge of the subject... > >thanks, > >avinash > >On 7 Aug 2006 16:42:33 -0000, Kamal Kumar Mishra >wrote: >> >> Dear ANDREW, >> Thousands apologies for not answering to your mail for soooo >>long,today when i was clearing my mail account i noticed this blunder i have >>done,i am extremely sorry!!! >> True as you say the relationship between crime and detective is >>closely related to biometrics and fingerprinting in most of the cases...but >>you might find it surprising that in Hindi detective ficttions this link is >>mostly absent. >> >>Hindi deteective fictions have a few peculiar characteristics par >>example-1) there might not be a single detective and this function might be >>performed by many people or 2) detective need not use modern or rational >>techniques to solve a mystry, role of chance is often crucial in solving a >>case. >>Thus one hardly finds this clue and puzzle type in hindi detective >>fictions. >> I have not come across a single piece translated ,adapted,or original >>where (here i am talking about the early hindi detective fictons from >>1900-1940's) a detective solves a case with the help of >>fingerprints.Though, one may find examples of foot prints, as a clue, but >>not so elaborate either. >> >>THEN what we have are discourse of criminality mostly based on >>jati(caste)n lakchana (physical attributes n morality) where colonial state >>is often absent in these popular fictions. >>hope you find it interesting enough...with apologies again >>warm regards!!! >>kamal >> >> >>On Mon, 30 Jan 2006 Andrew MacDonald wrote : >> >Hi Kamal.. >> > >> > Nice to see your posting on SARAI and your research..I'm a post-grad >>history student based at Duban, University of KwaZulu-Natal, South Africa. I >>just thought, tangentially, since I have just finished reading it myself, >>The book Imprint of the Raj - how fingerprinting was born in Colonial India. >>Maybe you have seen it already, but the relationship between crime and >>detectives is closely related to biometrics and fingerprinting (which was >>only then becoming the kind of embryonic, precocious state project we now >>take for granted). I wonder if their is much in the Hindi literature on this >>topic? It would be quite interesting... >> > I have worked/am working on aspects of biopower (to sound foucauldian, >>though i have some real problems with his arguments), concerned less with >>literature but more with labour and immigration in colonial South Africa).. >> > >> > Anway, thought I would put my two cents worth in.. >> > >> > Andrew >> > >> > >> >--------------------------------- >> >To help you stay safe and secure online, we've developed the all new >>Yahoo! Security Centre. >> >> >> >> >> >>_______________________________________________ >>Deewan mailing list >>Deewan at mail.sarai.net >>http://mail.sarai.net/cgi-bin/mailman/listinfo/deewan >> >> -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060810/1ec24db6/attachment.html From avinashcold at gmail.com Mon Aug 14 15:22:39 2006 From: avinashcold at gmail.com (Avinash Kumar) Date: Mon, 14 Aug 2006 15:22:39 +0530 Subject: [Deewan] SARAI posting In-Reply-To: <20060810184919.2532.qmail@webmail69.rediffmail.com> References: <20060810184919.2532.qmail@webmail69.rediffmail.com> Message-ID: Dear Kamal, Thanks for your detailed reply and apologies for late posting as I have not been checking my mails regularly. Am taking your three broad assertions for response, some of which actually continue from the previous mails. 1. still I think the picture is much more complex as, here too,its mostly chance which use to play an important role in solving a case than the rationale of detection. It would perhaps demand a long essay once again to discuss the meritocracy debate between 'chance' and 'detection' yet, i would merely like to revisit some of the specific contexts within which this genre appears in both west and east...and this is merely to do a loud thinking ... In the west, as we know, it specifically arose as one of the genres just like 'positivist hitoriography' to assert the 'rational, causation theory' which formed the bedrock of the 'modern, scientific method' of enquiry; its self-affirmed belief which almost defined the 'new west'. On a specific level, Holmes' investigations into the labyrinthine, mysterious streets of London were also an acknowledgement of the kind of unfathomable challenges a newly developing 'urban civilisation' was posing before the west itself. The art of 'detection' tried to do both, to unravel these mysteries through a 'methodology' (still evolving though) which was seen as the only way out. In the colonially subjugated contries like India, where perhaps it was still too early to fully be aware of all the contours of this rationalist enquiry, esp. when the context was quite different, I think the very first question that fascinates me is the amazing popularity that this genre received and that too in all its myriad forms, from the translations of extremely popular novels like 'Mysteries of the court of London' ('Landan Rahasya)- little known in its own land of birth though, to Khatri's so-called pseudo-scientific tilismi world of adventures (which very soon came under severe attacks from those advocating 'realism' like Guleri) to those pretending as the 'classic' of the genre like the ones written by Gahmari. In fact, Gahmari himself has a range of all of this. In this context, and this relates to your second point in my response, i.e. the presence of/ resistance against, colonial authority: 2.''Apart from Khatri we have lots more from other known and less known writers who do undermine or remained silent towards the reality/ies of the colonial present in their own particular ways.'' my assertion once again would be that in no way you could 'remain silent' towards colonial authority, not after 1857 which was still fresh and the myriad ways in which this authority was making its inroads in each and every nook and cranny of the vast hinterlands even though symbolically through a 'chowkidar' if not daroga...Yes, the debate could be around the way in which one 'negotiates' (sorry, but its my favourite word!) this presence..In fact, the way you have discussed this vis-a-vis 'Bhayankar Jasoos' reminds me of the ways in which Rajendra Yadav has discussed 'Chandrakanta' and that brings me back to your first point, ie 'chance vs detection'...It is Yadav's observation that in order to negotiate, undermine, call whatever you like, the colonial presence, the form of Khatri's 'chandrakanta' is what it is, that of a curoius combination of older stories borrowed from Persian tales of 'Dastan-e-Amir Hamza' and that of newly emerging 'technological prowess' of the 'scientific west'...Khatri makes use of all these tools to battle the colonial might, as it were where in fact it has no direct presence. But that's precisely my point, even where it might not have a direct role in the narrative doesn't mean state is not present! Yes, 'chance' is there, but to what end and to what purpose? Do we simply see it as a marker of 'oriental identity' and leave it at that? Or do we explore this further in terms of contemporary writers' difficulty in comprehending the art of scientific detection itself? An associated question with its immense popularity would be why does it peter out by late colonial period to remerge later of course? Also, what about its presence in Urdu literature? Ibn-e-safi BA is still on the shelves of many conossieurs, lets look at that as well. What I am trying to plead here is to look into the way the form has evolved over these years and it has not remained fossilised into any one slot... As for your third point with respect to Jati, esp. Gahmari's rajput heroes, 3.Could we say that like the discourse of criminality it also confirms the colonial stereotype. Or Its so because of some deep rooted structures? Or is it a sign of fractured colonial modernity? I can only say that yes, it does have a strong bearing of the colonial discourse on criminality on one hand and that of caste on the other..Just to illustrate, it would be important to refer to Kitchener-Curzon debate here on 'martial races theory', which included Sikhs and Rajputs, esp. those who had helped the Britishers retain their Raj in 1857. Yes, the valorisation to a great extent I would say also comes from this. I hope I have made some sense in attempting to understand this really enriching world of hindi detective fiction... a On 10 Aug 2006 18:49:19 -0000, Kamal Kumar Mishra wrote: > > > Dear Avinash, > Thanks a lot for your comments and suggestion. I thought I was > careful enough not to simplify or give a misleading picture while I was > responding to the queries of Andrew regarding the uses of fingerprints and > 'aspects of bio power' as it appear in these hindi detective fictions. To > avoid such confusions I have been using words like 'mostly' n 'often' and > not 'always'. > > By the way I am thankful to you for bringing the complexity of subject in > for a discussion .I think I have nothing much to say about the uses of > fingerprints as you also agree that we don't see it even in the texts of > Gahmari. > > Gopal Ram Gahmari is a very important hindi detective fiction writer thus > he requires special attention. Though I agree what you say about the > characteristic feature of the novels of Gopal Ram Gahmari ,regarding a keen > and detailed analysis of crime scene still I think the picture is much more > complex as, here too,its mostly chance which use to play an important role > in solving a case than the rationale of detection. > > Pursuing a few issues a bit further such as the question of jati in the > novels of Gahmari and all pervasive nature of colonial authority might not > only help us understand Gahmari's works better but it could also be of some > interest. > > As far as my reading of Gahmari is concerned ,I would like to ask why is > it so that most of the 'original' detectives of Gahmari a part from Md. > Sarwar are rajputs? ( for deciding what is his original and what is not I am > using one of Gahmari's own account where he gives the full list of his > original ,translated and adapted works and he claims Md Sarwar to be one of > his original creation) For example Sujan Singh,Sanwal Singh, Deven Singh > ,Roshan Singh,Diler Singh and all .Does it have any thing to do with the > idea of 'jawanmardi' or 'bahaduri' attached to rajputs or its just a > co-incidence? Or how should one look at this? > > > Could we say that like the discourse of criminality it also confirms the > colonial stereotype. Or Its so because of some deep rooted structures? Or is > it a sign of fractured colonial modernity? > > "EK POLICE ADHIKARI KI ATMKATHA" by Vishwanath Lahiri though confirms the > important position of local police officers, like DAROGA, it also helps me > ask- with what set of values do these local officers(mostly Indians ) use to > operate? > > And above all what about the texts (jasoosi of course)which are direct > descendents of tilasmi n ayyari tradition of kissagoi.Its mostly in these > texts ,produced throughout in a considerable number we don't find the > presence of colonial authority and even if its there its undermined as in > 'BHYANKAR JASOOS' by Ram Chandra Singh (Rachit),gullu prasad > kedarnath,Benaras city, 1935. > > In 'Bhayankar Jasoos', Daroga Tedhai Khan has been murderd by Shyama ,when > she is on her way to search her husband and Tedhai Khan, who has been > portrayed as nutfe haram(a born illegitimate ), tries to rape her. After > this murder Shyama manages to escape and reaches to Usha Rani,her close > friend who is married to a rich Bengali Rajnikant Mukherjee.Both the > husband and wife tries to console her and say there is nothing wrong in > killing someone while defending one's dharma( stri dharma here of course) > and later they decide to inform another friend Bina > > who is, "ek bahut chalak sakhi hai dooje wah fan ayyari men nipun aur > sujan hai .yon to hum log bhi kisi se kam nahin hain lekin wah hamjolion men > sab se gunagar hai." > > As a consequence what we encounter is this long tussle going on between > both of these groups, the detectives (in fact they are ayyars more than > jasoos in any modern sense)of colonial state on the one hand who are trying > to catch the murderer of Daroga as well as her companions and Bina and > Shyama and co. on the other , using their magical powers in this struggle. > > > What strikes most to a reader like me is the character of 'jungali Raza'(a > tribal king) who has been portrayed ,sympathetically, as a powerful > character and with his magical powers, like his control over the wild > animals, tries ho help Bina. And here he comes in a direct confrontation > with the colonial state/authority. > > Animals can fly and these ayyars/jasoos could transform themselves into > animals. Nothing is impossible -of course- in this world of novel where > there is enough space for such imagination. > > Finally ,the all mighty colonial state had to bow-down. Colonial > authorities had to accept the request of setting a special court of hearing > in this matter . where Shyama and her friends would not only be acquitted > but would be awarded with other jassos for their bravery. > In his jasoosi faisla writer says- > "aap donon dalon ka yahi kartvya tha .jo ki apne apne kala-kaushal > ko ek doosre ke tain khadyantra rach kar upanyas ke premi rasik janon > ko sarvada ke liye ek accha rasta nikala jise padh kar upanyas ke > anugami bane rahenge" > > We also have in this very line the novels written by Devaki Nandan Khatri, > for ex-Narendra Mohini , to name just one ,where one can read the presence > of colonial modernity only between the lines. Apart from Khatri we have lots > more from other known and less known writers who do undermine or remained > silent towards the reality/ies of the colonial present in their own > particular ways. > > > > > I am not sure if that is what you meant by investigation for negotiations > and renegotiations of these different roles? > > > regards! > > kamal > > > On Tue, 08 Aug 2006 Avinash Kumar wrote : > >Dear Kamal, > > > >Sorry for butting in without a legitimate ground. Nevertheless thought, I > >would give my two cents.I haven't read too many early detective fictions > in > >Hindi, so it goes with a caveat. > > > >One of the most famous stories by Gopalram Gahmari, 'Malgodam mein Chori' > is > >a stark example of the way the 'modern, rational' practices of detection > >methodology were sought to be acknowledged. As I remember clearly, even > >though it does not talk of finger print, it talks of a 'keen, detailed' > >analysis of the crime scene and not merely remains dependent on 'chance', > >though, that as you correctly say, remained a principal feature in a lot > of > >fiction of that period. > >What is further interesting in that piece is that, even as the crime has > >happened somewhere in Bihar (i forget where, perhaps gaya), the detective > >called into investigate is from Calcutta, the signifier for a 'modern > city' > >and who speaks with an English accent despite being a Bengali. Of course, > >how he blends in with the local landscape singing popular Braj poetry > while > >doing his job, is another matter to investigate. > > > >Second, in another novel of Gahmari, I forget the title right now and the > >Shivpujan Sahay classic , 'Dehati Duniya', Jati is very prominent as once > >again rightly pointed out by you. Yet, I would see it still as a result > of > >the very presence of colonial discourse of criminality, which fixated > >certain castes, tribes under the labels of criminality. Even, the colour, > >physical attributes etc as a criterion, came under the same phenomenon > >largely. We are now replete with studies around this theme. > > > >On the other hand, the role of daroga, the local police is so predominant > in > >these stories (and not only in these two works I am talking of) that the > >picture you get is that villages are vacated en masse with the news of > >arrival of the local 'daroga'. In this sense, what I would assert is > given > >the context, whether as a pseudo-detective posing as a city-bred man like > >Holmes or as a daroga, the colonial state is omnipresent in these > >narratives. What then is worth investigating is how they are > renegotiating > >these different roles... > > > >Sorry, for this long mail but this, as I said is an instant reaction with > a > >very limited knowledge of the subject... > > > >thanks, > > > >avinash > > > >On 7 Aug 2006 16:42:33 -0000, Kamal Kumar Mishra < > kamal_bhu at rediffmail.com> > >wrote: > >> > >> Dear ANDREW, > >> Thousands apologies for not answering to your mail for soooo > >>long,today when i was clearing my mail account i noticed this blunder i > have > >>done,i am extremely sorry!!! > >> True as you say the relationship between crime and detective is > >>closely related to biometrics and fingerprinting in most of the > cases...but > >>you might find it surprising that in Hindi detective ficttions this > link is > >>mostly absent. > >> > >>Hindi deteective fictions have a few peculiar characteristics par > >>example-1) there might not be a single detective and this function might > be > >>performed by many people or 2) detective need not use modern or rational > >>techniques to solve a mystry, role of chance is often crucial in solving > a > >>case. > >>Thus one hardly finds this clue and puzzle type in hindi detective > >>fictions. > >> I have not come across a single piece translated ,adapted,or original > >>where (here i am talking about the early hindi detective fictons from > >>1900-1940's) a detective solves a case with the help of > >>fingerprints.Though, one may find examples of foot prints, as a clue, > but > >>not so elaborate either. > >> > >>THEN what we have are discourse of criminality mostly based on > >>jati(caste)n lakchana (physical attributes n morality) where colonial > state > >>is often absent in these popular fictions. > >>hope you find it interesting enough...with apologies again > >>warm regards!!! > >>kamal > >> > >> > >>On Mon, 30 Jan 2006 Andrew MacDonald wrote : > >> >Hi Kamal.. > >> > > >> > Nice to see your posting on SARAI and your research..I'm a post-grad > >>history student based at Duban, University of KwaZulu-Natal, South > Africa. I > >>just thought, tangentially, since I have just finished reading it > myself, > >>The book Imprint of the Raj - how fingerprinting was born in Colonial > India. > >>Maybe you have seen it already, but the relationship between crime and > >>detectives is closely related to biometrics and fingerprinting (which > was > >>only then becoming the kind of embryonic, precocious state project we > now > >>take for granted). I wonder if their is much in the Hindi literature on > this > >>topic? It would be quite interesting... > >> > I have worked/am working on aspects of biopower (to sound > foucauldian, > >>though i have some real problems with his arguments), concerned less > with > >>literature but more with labour and immigration in colonial South > Africa).. > >> > > >> > Anway, thought I would put my two cents worth in.. > >> > > >> > Andrew > >> > > >> > > >> >--------------------------------- > >> >To help you stay safe and secure online, we've developed the all new > >>Yahoo! Security Centre. > >> > >> > >> > >>< > http://adworks.rediff.com/cgi-bin/AdWorks/sigclick.cgi/www.rediff.com/signature-home.htm/1507191490 at Middle5?PARTNER=3 > > > >> > >>_______________________________________________ > >>Deewan mailing list > >>Deewan at mail.sarai.net > >>http://mail.sarai.net/cgi-bin/mailman/listinfo/deewan > >> > >> > > > > > > -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060814/fcb9c0a1/attachment.html From delhi.yunus at gmail.com Wed Aug 16 15:49:53 2006 From: delhi.yunus at gmail.com (Syed Yunus) Date: Wed, 16 Aug 2006 15:49:53 +0530 Subject: [Deewan] SAFETY TIPS: Asahaye Mahanagar IX Message-ID: Murder qatal dakaiti ki khabrein roz akhbar main chapti hain magar jab kabhi yeh khabaren kisi akele rehne wale buzurg , ya phir buzurg jode se, judi hoti hain to Old age helpline mein betahasha calls barh jati hain ,zyada tar buzurg log jo akele rahte hain Pareshan hojate hain ke kahin wo to khatre main nahiin, kahin koi un par hamla na kar baithe. Natija ye ke helpline ka phone thamne ka naam hi nahii leta. Buzurgon ke saath barthi vaardaton KO dekhte huye dilli police ne ek program chalaya aur aisi guidelines muhayya ki gai jin se buzurgon ki security barh sake. ye jaan kari buzueg helpline wale apne un callers ko detein hain jo, akele rahte hain ,ya pir jinhein kisi wardat ka khatra mehsoos hota hao. Kya karein: Ghar ke khirki darwazon mein mazboot taale aur rok kagwaien. Darwazon main magic eye ,door chain auto lock lagain. Agar mumkin ho ek paltu kutta rakhen Tahalne ke liye hamesha Group main bahar jain. Kisi bhi sandighd aadmi ko dekhte ki PCR , police ya parosiyon ko khabar karein. Ghar ke naukron ki pehchann hemesha police thane mein de. Sirf un hi plumber electrician aur carpenters se sewa lein jo jaan pehchan ke hon ya phir RWA Dwara Aye hon. Kya na karein: ghar par qeemti cheese khuli na chorein, apni daulat aur zeewraat ke baare main deenge na haanke anjaan logo ke liye darwaza na kholen ghar main akele band ho kar na rahe, bahara logo se milte julte rahein naukron aur anjaan logo ke samne , property aur jaidaad waghaira ke baaare mein baat na karein. kisi bi aisi baat ko na taalein jis main koi shubha ho foran police ko batlaein. From kamal_bhu at rediffmail.com Fri Aug 18 08:02:35 2006 From: kamal_bhu at rediffmail.com (Kamal Kumar Mishra) Date: 18 Aug 2006 02:32:35 -0000 Subject: [Deewan] SARAI posting Message-ID: <20060818023235.20293.qmail@webmail36.rediffmail.com>     Dear Avinash, Thanks a lot for your response. I tell you its really helping me think. Now I take a few issues from your post to reflect on. 1)Yes, 'chance' is there, but to what end and to what purpose? Do we simply see it as a marker of 'oriental identity' and leave it at that? Or do we explore this further in terms of contemporary writers' difficulty in comprehending the art of scientific detection itself? An associated question with its immense popularity would be why does it peter out by late colonial period to remerge later of course? Also, what about its presence in Urdu literature? Ibn-e-safi BA is still on the shelves of many conossieurs, lets look at that as well. What I am trying to plead here is to look into the way the form has evolved over these years and it has not remained fossilised into any one slot... During my last field-trip to Allahabad I had this opportunity to converse with Muzabir Hussain, a close friend of Asrar Saheb (Ibn-e–safi B.A.). Muzabir Saheb, an editor of RUMANI DUNIYA, had also been writing under the pen name Ibn-e-Said for the Nakhat Publications, during these years, when Asrar Saheb (ibn-e-safi) was sick and had stopped writing for JASOOSI DUNIYA.In one of these interesting conversations, I had with Muzabir Saheb, he told me that what readers like most in the novels of Asrar Saheb (mostly adaptations of the novels written in English) is his humour mixed with suspense and this unique characterisation. Muzabir Saheb also recalls what M.L.Pandey, the pioneer writer-publisher of jasoosi novels in Allahabad in the late 40’s, use to say about the jasoosi fictions.He says, Mr. Pandey use to say that –“ghatna par ghatna ghatat jai ehi jasoosi upanyas hai”( detective fiction is nothing else but a form of fiction where there is an incident after an other.) I think this statement is full of meaning . It gives us some idea of how these fiction writers and publishers ,of the both, colonial and post-colonial periods(if I am allowed to use these terms) use to look up on their craft. Here I would like to mention the titles of two novels written by Gopal Ram Gahmari, as well, they are –“GHARAU GHATNA” and “GHATNA GHATATOPA”. What I mean to say,( by chance vs. rationale of detection) is this technique used by these detective fiction writers of Hindi (including Gopal Ram Gahmari ).At this point, I think it wont be less interesting to take into account the 'category' provided to these fictions by the canon forming writers of “high-Hindi-literature” which is ‘Ghatna-pradhan Upanyas’(though the uses have certain reductionist connotation in this context). As far as the context of the production of these Hindi detective novels is concerned I think one will have to locate these texts in the rich and varied field of ‘commercial- publishing’, in the late 19th century as, what Orsini says ,“Texts of pleasure” or as texts of “entertainment”(along with quissas, songs and popular poems and theatre chapbooks) ,here, we need to keep in mind this context of domain transfer from oral to print. Orsini talks of three forces in the field (in an un published paper titled “PRINT AND PLEASURE”) - “1)the insertion/appearance of less or non literate audiences and their oral traditions into the print market.2)second element/force was constituted by literate, educated writers who responded to the new possibilities of print and of the market( the news paper ,commercial fiction publishing) and who created hybrid forms that harnessed resources(character, aesthetic, narrative models) from old genres to new textual dynamics(suspense, serialization) and new discorses.3) the world of commercial theatre, which put a premium on eclecticism, the “assortment of pleasures” and act as a catalyser….”And that is something most of the exiting historiography (literary history )tend to ignore. True as you say the popularity of these “Texts of pleasure” is amazing. I have tried to approach this genre as it has been evolving over the years never I am looking at it as fossilised in one slot….i don’t know why do you say so? My assertions are strictly related to/based upon the novels published until 1940s.In Urdu ,too, as far as I know before Ibn-e –safi (who started writing in the50s) we have all these JASOOSI fiction writers like Mirza Hadi Ruswa ,Jafar Umar, Quaisi Rampuri,Tirath Ram Firozpuri who are blending the old (the elements of dastans)with the new. I am sure it would be very interesting to look at the works of Ibn-e–safi. More over I proposed to work out readership aspect as well which I have not been able to do for some reasons. 2)But that's precisely my point, even where it might not have a direct role in the narrative doesn't mean state is not present! I am not saying that state is not there but the very existence of these princely states and zamindaris also have some bearing on this literature or not? regards! kamal On Mon, 14 Aug 2006 Avinash Kumar wrote : >Dear Kamal, > >Thanks for your detailed reply and apologies for late posting as I have not >been checking my mails regularly. >Am taking your three broad assertions for response, some of which actually >continue from the previous mails. > >1. still I think the picture is much more complex as, here too,its mostly >chance which use to play an important role in solving a case than the >rationale of detection. > >It would perhaps demand a long essay once again to discuss the meritocracy >debate between 'chance' and 'detection' yet, i would merely like to revisit >some of the specific contexts within which this genre appears in both west >and east...and this is merely to do a loud thinking ... > >In the west, as we know, it specifically arose as one of the genres just >like 'positivist hitoriography' to assert the 'rational, causation theory' >which formed the bedrock of the 'modern, scientific method' of enquiry; its >self-affirmed belief which almost defined the 'new west'. On a specific >level, Holmes' investigations into the labyrinthine, mysterious streets of >London were also an acknowledgement of the kind of unfathomable challenges a >newly developing 'urban civilisation' was posing before the west itself. The >art of 'detection' tried to do both, to unravel these mysteries through a >'methodology' (still evolving though) which was seen as the only way out. >In the colonially subjugated contries like India, where perhaps it was still >too early to fully be aware of all the contours of this rationalist enquiry, >esp. when the context was quite different, I think the very first question >that fascinates me is the amazing popularity that this genre received and >that too in all its myriad forms, from the translations of extremely popular >novels like 'Mysteries of the court of London' ('Landan Rahasya)- little >known in its own land of birth though, to Khatri's so-called >pseudo-scientific tilismi world of adventures (which very soon came under >severe attacks from those advocating 'realism' like Guleri) to those >pretending as the 'classic' of the genre like the ones written by Gahmari. >In fact, Gahmari himself has a range of all of this. In this context, and >this relates to your second point in my response, i.e. the presence of/ >resistance against, colonial authority: > >2.''Apart from Khatri we have lots more from other known and less known >writers who do undermine or remained silent towards the reality/ies of the >colonial present in their own particular ways.'' > >my assertion once again would be that in no way you could 'remain silent' >towards colonial authority, not after 1857 which was still fresh and the >myriad ways in which this authority was making its inroads in each and >every nook and cranny of the vast hinterlands even though symbolically >through a 'chowkidar' if not daroga...Yes, the debate could be around the >way in which one 'negotiates' (sorry, but its my favourite word!) this >presence..In fact, the way you have discussed this vis-a-vis 'Bhayankar >Jasoos' reminds me of the ways in which Rajendra Yadav has discussed >'Chandrakanta' and that brings me back to your first point, ie 'chance vs >detection'...It is Yadav's observation that in order to negotiate, >undermine, call whatever you like, the colonial presence, the form of >Khatri's 'chandrakanta' is what it is, that of a curoius combination of >older stories borrowed from Persian tales of 'Dastan-e-Amir Hamza' and that >of newly emerging 'technological prowess' of the 'scientific west'...Khatri >makes use of all these tools to battle the colonial might, as it were where >in fact it has no direct presence. But that's precisely my point, even >where it might not have a direct role in the narrative doesn't mean state is >not present! > >Yes, 'chance' is there, but to what end and to what purpose? Do we simply >see it as a marker of 'oriental identity' and leave it at that? Or do we >explore this further in terms of contemporary writers' difficulty in >comprehending the art of scientific detection itself? An associated question >with its immense popularity would be why does it peter out by late colonial >period to remerge later of course? Also, what about its presence in Urdu >literature? Ibn-e-safi BA is still on the shelves of many conossieurs, lets >look at that as well. >What I am trying to plead here is to look into the way the form has evolved >over these years and it has not remained fossilised into any one slot... > >As for your third point with respect to Jati, esp. Gahmari's rajput heroes, > >3.Could we say that like the discourse of criminality it also confirms the >colonial stereotype. Or Its so because of some deep rooted structures? Or is >it a sign of fractured colonial modernity? > >I can only say that yes, it does have a strong bearing of the colonial >discourse on criminality on one hand and that of caste on the other..Just to >illustrate, it would be important to refer to Kitchener-Curzon debate here >on 'martial races theory', which included Sikhs and Rajputs, esp. those who >had helped the Britishers retain their Raj in 1857. Yes, the valorisation to >a great extent I would say also comes from this. > >I hope I have made some sense in attempting to understand this really >enriching world of hindi detective fiction... > >a > >On 10 Aug 2006 18:49:19 -0000, Kamal Kumar Mishra >wrote: >> >> >> Dear Avinash, >> Thanks a lot for your comments and suggestion. I thought I was >>careful enough not to simplify or give a misleading picture while I was >>responding to the queries of Andrew regarding the uses of fingerprints and >>'aspects of bio power' as it appear in these hindi detective fictions. To >>avoid such confusions I have been using words like 'mostly' n 'often' and >>not 'always'. >> >>By the way I am thankful to you for bringing the complexity of subject in >>for a discussion .I think I have nothing much to say about the uses of >>fingerprints as you also agree that we don't see it even in the texts of >>Gahmari. >> >>Gopal Ram Gahmari is a very important hindi detective fiction writer thus >>he requires special attention. Though I agree what you say about the >>characteristic feature of the novels of Gopal Ram Gahmari ,regarding a keen >>and detailed analysis of crime scene still I think the picture is much more >>complex as, here too,its mostly chance which use to play an important role >>in solving a case than the rationale of detection. >> >>Pursuing a few issues a bit further such as the question of jati in the >>novels of Gahmari and all pervasive nature of colonial authority might not >>only help us understand Gahmari's works better but it could also be of some >>interest. >> >>As far as my reading of Gahmari is concerned ,I would like to ask why is >>it so that most of the 'original' detectives of Gahmari a part from Md. >>Sarwar are rajputs? ( for deciding what is his original and what is not I am >>using one of Gahmari's own account where he gives the full list of his >>original ,translated and adapted works and he claims Md Sarwar to be one of >>his original creation) For example Sujan Singh,Sanwal Singh, Deven Singh >>,Roshan Singh,Diler Singh and all .Does it have any thing to do with the >>idea of 'jawanmardi' or 'bahaduri' attached to rajputs or its just a >>co-incidence? Or how should one look at this? >> >> >>Could we say that like the discourse of criminality it also confirms the >>colonial stereotype. Or Its so because of some deep rooted structures? Or is >>it a sign of fractured colonial modernity? >> >>"EK POLICE ADHIKARI KI ATMKATHA" by Vishwanath Lahiri though confirms the >>important position of local police officers, like DAROGA, it also helps me >>ask- with what set of values do these local officers(mostly Indians ) use to >>operate? >> >>And above all what about the texts (jasoosi of course)which are direct >>descendents of tilasmi n ayyari tradition of kissagoi.Its mostly in these >>texts ,produced throughout in a considerable number we don't find the >>presence of colonial authority and even if its there its undermined as in >>'BHYANKAR JASOOS' by Ram Chandra Singh (Rachit),gullu prasad >>kedarnath,Benaras city, 1935. >> >>In 'Bhayankar Jasoos', Daroga Tedhai Khan has been murderd by Shyama ,when >>she is on her way to search her husband and Tedhai Khan, who has been >>portrayed as nutfe haram(a born illegitimate ), tries to rape her. After >>this murder Shyama manages to escape and reaches to Usha Rani,her close >>friend who is married to a rich Bengali Rajnikant Mukherjee.Both the >>husband and wife tries to console her and say there is nothing wrong in >>killing someone while defending one's dharma( stri dharma here of course) >>and later they decide to inform another friend Bina >> >> who is, "ek bahut chalak sakhi hai dooje wah fan ayyari men nipun aur >>sujan hai .yon to hum log bhi kisi se kam nahin hain lekin wah hamjolion men >>sab se gunagar hai." >> >>As a consequence what we encounter is this long tussle going on between >>both of these groups, the detectives (in fact they are ayyars more than >>jasoos in any modern sense)of colonial state on the one hand who are trying >>to catch the murderer of Daroga as well as her companions and Bina and >>Shyama and co. on the other , using their magical powers in this struggle. >> >> >>What strikes most to a reader like me is the character of 'jungali Raza'(a >>tribal king) who has been portrayed ,sympathetically, as a powerful >>character and with his magical powers, like his control over the wild >>animals, tries ho help Bina. And here he comes in a direct confrontation >>with the colonial state/authority. >> >>Animals can fly and these ayyars/jasoos could transform themselves into >>animals. Nothing is impossible -of course- in this world of novel where >>there is enough space for such imagination. >> >>Finally ,the all mighty colonial state had to bow-down. Colonial >>authorities had to accept the request of setting a special court of hearing >>in this matter . where Shyama and her friends would not only be acquitted >>but would be awarded with other jassos for their bravery. >>In his jasoosi faisla writer says- >> "aap donon dalon ka yahi kartvya tha .jo ki apne apne kala-kaushal >> ko ek doosre ke tain khadyantra rach kar upanyas ke premi rasik janon >> ko sarvada ke liye ek accha rasta nikala jise padh kar upanyas ke >>anugami bane rahenge" >> >>We also have in this very line the novels written by Devaki Nandan Khatri, >>for ex-Narendra Mohini , to name just one ,where one can read the presence >>of colonial modernity only between the lines. Apart from Khatri we have lots >>more from other known and less known writers who do undermine or remained >>silent towards the reality/ies of the colonial present in their own >>particular ways. >> >> >> >> >>I am not sure if that is what you meant by investigation for negotiations >>and renegotiations of these different roles? >> >> >>regards! >> >>kamal >> >> >>On Tue, 08 Aug 2006 Avinash Kumar wrote : >> >Dear Kamal, >> > >> >Sorry for butting in without a legitimate ground. Nevertheless thought, I >> >would give my two cents.I haven't read too many early detective fictions >>in >> >Hindi, so it goes with a caveat. >> > >> >One of the most famous stories by Gopalram Gahmari, 'Malgodam mein Chori' >>is >> >a stark example of the way the 'modern, rational' practices of detection >> >methodology were sought to be acknowledged. As I remember clearly, even >> >though it does not talk of finger print, it talks of a 'keen, detailed' >> >analysis of the crime scene and not merely remains dependent on 'chance', >> >though, that as you correctly say, remained a principal feature in a lot >>of >> >fiction of that period. >> >What is further interesting in that piece is that, even as the crime has >> >happened somewhere in Bihar (i forget where, perhaps gaya), the detective >> >called into investigate is from Calcutta, the signifier for a 'modern >>city' >> >and who speaks with an English accent despite being a Bengali. Of course, >> >how he blends in with the local landscape singing popular Braj poetry >>while >> >doing his job, is another matter to investigate. >> > >> >Second, in another novel of Gahmari, I forget the title right now and the >> >Shivpujan Sahay classic , 'Dehati Duniya', Jati is very prominent as once >> >again rightly pointed out by you. Yet, I would see it still as a result >>of >> >the very presence of colonial discourse of criminality, which fixated >> >certain castes, tribes under the labels of criminality. Even, the colour, >> >physical attributes etc as a criterion, came under the same phenomenon >> >largely. We are now replete with studies around this theme. >> > >> >On the other hand, the role of daroga, the local police is so predominant >>in >> >these stories (and not only in these two works I am talking of) that the >> >picture you get is that villages are vacated en masse with the news of >> >arrival of the local 'daroga'. In this sense, what I would assert is >>given >> >the context, whether as a pseudo-detective posing as a city-bred man like >> >Holmes or as a daroga, the colonial state is omnipresent in these >> >narratives. What then is worth investigating is how they are >>renegotiating >> >these different roles... >> > >> >Sorry, for this long mail but this, as I said is an instant reaction with >>a >> >very limited knowledge of the subject... >> > >> >thanks, >> > >> >avinash >> > >> >On 7 Aug 2006 16:42:33 -0000, Kamal Kumar Mishra < >>kamal_bhu at rediffmail.com> >> >wrote: >> >> >> >> Dear ANDREW, >> >> Thousands apologies for not answering to your mail for soooo >> >>long,today when i was clearing my mail account i noticed this blunder i >>have >> >>done,i am extremely sorry!!! >> >> True as you say the relationship between crime and detective is >> >>closely related to biometrics and fingerprinting in most of the >>cases...but >> >>you might find it surprising that in Hindi detective ficttions this >>link is >> >>mostly absent. >> >> >> >>Hindi deteective fictions have a few peculiar characteristics par >> >>example-1) there might not be a single detective and this function might >>be >> >>performed by many people or 2) detective need not use modern or rational >> >>techniques to solve a mystry, role of chance is often crucial in solving >>a >> >>case. >> >>Thus one hardly finds this clue and puzzle type in hindi detective >> >>fictions. >> >> I have not come across a single piece translated ,adapted,or original >> >>where (here i am talking about the early hindi detective fictons from >> >>1900-1940's) a detective solves a case with the help of >> >>fingerprints.Though, one may find examples of foot prints, as a clue, >>but >> >>not so elaborate either. >> >> >> >>THEN what we have are discourse of criminality mostly based on >> >>jati(caste)n lakchana (physical attributes n morality) where colonial >>state >> >>is often absent in these popular fictions. >> >>hope you find it interesting enough...with apologies again >> >>warm regards!!! >> >>kamal >> >> >> >> >> >>On Mon, 30 Jan 2006 Andrew MacDonald wrote : >> >> >Hi Kamal.. >> >> > >> >> > Nice to see your posting on SARAI and your research..I'm a post-grad >> >>history student based at Duban, University of KwaZulu-Natal, South >>Africa. I >> >>just thought, tangentially, since I have just finished reading it >>myself, >> >>The book Imprint of the Raj - how fingerprinting was born in Colonial >>India. >> >>Maybe you have seen it already, but the relationship between crime and >> >>detectives is closely related to biometrics and fingerprinting (which >>was >> >>only then becoming the kind of embryonic, precocious state project we >>now >> >>take for granted). I wonder if their is much in the Hindi literature on >>this >> >>topic? It would be quite interesting... >> >> > I have worked/am working on aspects of biopower (to sound >>foucauldian, >> >>though i have some real problems with his arguments), concerned less >>with >> >>literature but more with labour and immigration in colonial South >>Africa).. >> >> > >> >> > Anway, thought I would put my two cents worth in.. >> >> > >> >> > Andrew >> >> > >> >> > >> >> >--------------------------------- >> >> >To help you stay safe and secure online, we've developed the all new >> >>Yahoo! Security Centre. >> >> >> >> >> >> >> >>< >>http://adworks.rediff.com/cgi-bin/AdWorks/sigclick.cgi/www.rediff.com/signature-home.htm/1507191490 at Middle5?PARTNER=3 >> > >> >> >> >>_______________________________________________ >> >>Deewan mailing list >> >>Deewan at mail.sarai.net >> >>http://mail.sarai.net/cgi-bin/mailman/listinfo/deewan >> >> >> >> >> >> >> >> >> >> -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060818/ca8f761d/attachment.html From ramannandita at gmail.com Fri Aug 18 20:47:34 2006 From: ramannandita at gmail.com (Nandita Raman) Date: Fri, 18 Aug 2006 20:47:34 +0530 Subject: [Deewan] Horrible experience at KINSEY PHOTOGRAPHY LAB Message-ID: <1df07d930608180817n7c241e79wb26829ac24dd16ff@mail.gmail.com> Dear All, I want to share this horrific experience I had in the Kinsey Labs owned by Ashok Dilwali. I have been documenting the changing faces of cinema halls in and around Delhi in the Black and white film medium. Spending a couple of days at each cinema hall, requesting permission, developing a familiarity and taking photographs. When I gave the last batch of 5 rolls to Kinsey Brothers in Connaught Place, little did I know that all this work will be ruined. All the five rolls have irregular scratches in most of the negatives! The people handling the processing acknowledged the scratches, accepted it was not the problem of the camera but had no idea where they went wrong. A scary situation. To top it all when I spoke to Ashok Dilwali about this over the phone, here is what he said; 'The black and white negatives are so delicate, you know. They will get scratches where ever you will process them' I was stunned, didn't know what to say to this man who has been photographing for donkey years and is amongst the top photographers in India when it comes to Himalayas. ' Well, sir, I would like to show these negatives to you. These are not scratches because the medium is delicate. And I have a request please do not process any black and white in your lab till you fix this problem.' ' We process black and white everyday, we have never got such complaints.' I thought what contradictions in a matter of a minute-from delicate negative likely to get scratched to no complains of scratches. ' Alright sir, I will wait for your call so I can come over with the negatives for you to see.' So at the end of it I stand with 36X5 =180 unusable shots and an unwillingness to give all the unprocessed rolls that I have to any lab. Thought it might be useful for you all to know this experience. Best regards, Nandita -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060818/22a95a91/attachment.html From delhi.yunus at gmail.com Sun Aug 20 00:48:18 2006 From: delhi.yunus at gmail.com (Syed Yunus) Date: Sun, 20 Aug 2006 00:48:18 +0530 Subject: [Deewan] PATRI PER BACHPAAN:ASAHAYE MAHANAGAR X Message-ID: Sarak par rehne wale kamkaji bachcho se aksar helpline karyakartaon ki mulqat rehti hai aur rabta qayam rahta hai... Aise bahut saare bachche railway station par rehtein hain...Ghar se nikalne ke baad station hi in bachcho ka ghar hota hai...ye bachche aksar free helpline main call kar ke batiyate hain Kuch khaas bateein jo helpline worker inke baare main batate hain: • Station par sirf do hi rishte hotein hain...Dost ya phir Dushman. • Lagbhag sabhi bachce kuch Na kuch nasha kartein hain…sab se aam 'solution' (erase x) hai …isse soonghne se Dard, bhook, baichaini, sardi garmi aur ghar ki yaad sab kuch bhool jata hai…isliye ye aadat nahi 'zaroorat' hai. • Chote aur kamzor baccho ke saath Yaunachar hota hai... Kabhi kabhi chand rupyou ke liye bachche apni marzi se bhi sex kartein hain. • Khane ka bandobast rajdhani aur shatabdi gariyon se hota hai… • Kharche ke liye paisa khali botalein bech kar aata hai..Ya phir train khali hone par jo bhi samaan Ander mil jaaye. • Station par rehne wale bachce zayda bahadur aur khatro ke khiladi hote hain…wo aam bachcho ki tarah rote nahin hain • Bachco ko saari traino ka time table muh zabani yaad hota hai... • Kaun se mandir main aur kaun se gudware main kab langar/bhandara chalega is ka time table bhi unke pass hota hai. • Sab ka favorite time pass film dekna hota hai. • hafte main ek ya do din Railway police force wale round lagate hain aur jo bachcha unhe bina ticket platform par milta hai usse pakar lete hain…kabhi to aise hi chhod dete hain aur kabhi platform par kaam karne wali ghair sarkari sansthaon ke hawale kar dete hain…Prayas naami sanstha ke saath unka ek sajha project hai. • Nai dilli railway station par kam se kam 13 ghair sarkari sansthain kaam kar rahi hai...Kisi ko bhi bachco ki asal ginti ka pata nahi... Zyada tar sanstha food education aur medicine waghaira muhayya karti hain… ….mushkil case aane par us ilaaqe ki helpline KO call karke...Case unke hawale kar diya jata hai. Lekin aksar bahar se aane wale visitors ko station ghumaya jata hai taki unse fund liya ja sake • Purane bachcho ko maalom hota hai ki kon si sanstha unke kab kaam aa sakti hai..jaise Police se bachne ke liye 'Prayas' Medical ke liye salaam baalak trust Paise jama karne ke liye Butterflies Parhai ke liye Don Bosco ashayalam Ghar wapas jaane ke liye Child helpline. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060820/66a232bb/attachment.html From ravikant at sarai.net Tue Aug 22 17:37:27 2006 From: ravikant at sarai.net (Ravikant) Date: Tue, 22 Aug 2006 17:37:27 +0530 Subject: [Deewan] Fwd: [Sarai Newsletter] Sarai-CSDS Independent Fellows Workshop 2006 Message-ID: <200608221737.27360.ravikant@sarai.net> ---------- आगे भेजे गए संदेश ---------- Subject: [Sarai Newsletter] Sarai-CSDS Independent Fellows Workshop 2006 Date: मंगलवार 22 अगस्त 2006 14:31 From: The Sarai Programme To: newsletter at sarai.net Dear All, Find below the schedule for the Sarai-CSDS Independent Fellows Workshop 2006. You can explore the interim research postings, updates and individual blogs of Sarai research fellows since January 2006 via a consolidated blog ( which is still being still updated) at: http:// ifellows2006.wordpress.com. For details of individual fellowships, including project abstracts, visit: http://www.sarai.net/community/ fellow.htm All are welcome and we hope to see you there! Warmly Aarti ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++ Sarai-CSDS Independent Fellows Workshop 2006 24-27 August 2006 29 Rajpur Road, Delhi 110054 Thursday 24 August 9.00-9.30 Tea 9.30-10.00 Opening Statements: Vivek Narayanan and Shuddhabrata Sengupta 10.00–11.30 Microcosmic Views - 1 Chair: Shuddhabrata Sengupta Dilip D'Souza, Mumbai Village in the City: Bombay in Microcosm Abhinandita Mathur and Venu Mathur, New Delhi My Building and the Shahar Mamta Mantri, Mumbai Movie Theatres on and around Maulana Shaukat Ali Road, Mumbai 11.30-11.45 Refreshment Break 11.45-12.45 The Return of the Region Chair: Ravikant Daljit Ami, Chandigarh Celluloid and Compact Disks in Punjab Anil Pandey, NOIDA Desi Filmon ka Karobar (The Business of Desi Films) 12.45-1.45 Lunch 1.45-3.15 Microcosmic Views - 2 Chair: Monica Narula Parismita Singh, New Delhi “6 O’Clock” – A Series of Comic Book Stories Janice Erica Pariat, New Delhi Writing the Notion of Home and Urban Space Nandita Raman Dilli ke Cinemagharon ka Badalta Swaroop: Ek Chhayachitran (The Changing Face of Delhi’s Cinema Halls) 3.15-3.30 Refreshment Break 3.30-5.30 Lost and Re-imagined Lifeworlds Chair: Sarada Balagopalan Debjani Sengupta, New Delhi Colony Fiction: Refugee Colonies and Their Representation in Post-Partition Kolkata Uddipana Goswami, Guwahati City as Setting: Reflections of the Changing Faces of Guwahati in Assamese Literature Maitrey Bajpai, Mumbai Cawnpore 5.45-7.30 Audible Traditions / Listening Lounge Chair: Mahmood Farooqui Brajesh Kumar Jha, Delhi Hindi Cinemayee Geet aur Uska Bhashayee Safar (The Language Journeys of Hindi Cinema) Naresh Kumar, New Delhi Festival of Music in the City of Sports: Harballabh Sangeet Mela of Jalandhar Budhaditya Chattopadhyay, Kolkata Story of a Forgotten Melody: Restoring the Sound of Bishnupur Gharana Friday 25 August 10.00-11.00 The Telephone and the Mobile Phone Chair: Lokesh Girindra, New Delhi Pravasi Ilaqe mein Telephone Booth Sanskriti (The Culture of Telephone Booths in Migrant Communities) Rama Rao, Bhopal Ladkiyon ke College ka Sarvajanik Telephone aur Ab Har Hath mein Mobile (Then and Now: The Public telephone in Girls’ Colleges and the Mobile Phone) 11.00-11.15 Refreshment break 11.15-12.45 Non-Metropolitan Trajectories Chair: Sadan Jha Prabhat Kumar, Delhi Yuvak Sangh aur Yuvak: 1920 ke Dashak mein Bihar ka Bauddhik Parivesh (Yuvak Sangh and the Yuvak Magazine in the Intellectual Public Sphere in 1920s Bihar) Rinchin, Bhopal Tracing the History of Girls' Education in a Small Town through the Eyes of Its First Woman Teacher Mrityunjay Tripathi, Allahabad Allahabad ki Chhatra Rajniti(Student Politics in Allahabad) 12.45-1.45 Lunch 1.45-3.15 Local Strategies, Regimes and Ramifications Chair: Shivam Vij Rakshat Hooja, Jaipur Urban Stakeholder Activism and the Role of Resident Welfare Associations Aamit Rai, Wardha Harsud aur Media (Harsud and the Media) Tushar Bhor, Mumbai Water Lenses: Prelude for a New Imagination for Urban Water in Mumbai 3.15-3.30 Refreshment Break 3.30-5.00 Subjective Sexualities Chair: Aarti Sethi Akshay Khanna, Delhi Apni Jagah, Zarah Hut Ke: A “Staged Ethnography” of Space and Sexuality Sheba Tejani, Mumbai Queer Cityscapes: Exploring Mumbai Cityscapes through the Eyes of Two Queer Women Sidharth Srinivasan, Delhi A Photoroman Feature Film: A Love Story Intertwined with the Myth and Folklore of Delhi's Heritage Sites 5.15-6.15 Play Reading / Performance Chair: Shuddhabrata Sengupta Averee Chaurey, Delhi “The Song of the Baul” Saturday 26 August 10.00-11.30 Generic Journeys Chair: Ravikant Kamal Kumar Mishra, New Delhi Hindi Hridaysthali mein Jasoosi Upanyason va Inkey Paathakon ka Ek Samajik Itihas (A Social History of Detective Novels and Their Readers in the Hindi Heartland) Piyush Pandey, Delhi News Channelon ka Satyakathakaran (The ‘Satyakatharization’ of News Channels/On the Compulsive Crime Reporting on TV) Indu Verma, Mumbai Society and the Soap Factory 11.30-11.45 Refreshment Break 11.45-1.15 Creative Genealogies Chair: Lawrence Liang Dripta Piplai, Delhi The Hegemony of Calcutta Music Schools in Tagore Songs: Towards an Archival Preservation of 'Multiple Traditions in Rabindrasangeet' Rajesh Mehar, Bangalore Exploring Notions of Creative Ownership Among Contemporary Musicians Rudradeep Bhattacharjee, Mumbai Freedom in Cyberspace in the Context of India: A Video Documentary 1.15-2.15 Lunch 2.15-3.15 Ambiguous and Emergent Transitions Chair: Ravi Sundaram Sudipta Paul, Asansol Response of the Labour Force to the Changing Urban Formation in the Asansol Industrial Area, West Bengal Kaushiki Rao, New Delhi Transplanting the Urban Aesthetic in a Resettlement Colony in Delhi 3.15-3.30 Refreshment Break 3.30-5.00 The City and Its Discontents Chair: Smriti Vohra Syed Mohd. Yunus and Syed Mohd Faisal, Delhi Asahay Mahanagar: Helpline Karyakartaon ke Nazariye Se Dilli Shahar ka Adhyayan(Helpless City: A Study of Delhi from the Perspective of Helpline Workers) Peerzada Arshad Hamid, Anantnag Exploring the Space of Psychiatric Hospitals in Srinagar Udaykumar M, Delhi Unravelling a 'Real' Media Incident in Trivandrum 5.00-10.00 Launch of Sarai Reader 06: Turbulence / Dinner Sunday 27 August 10.30-12.30 The “Foreigners” and the “Locals” Chair: Iram Ghufran Farhana Ibrahim, Gurgaon Maritime Histories: Merchant Networks and the Production of Locality in Western India Ayesha Sen Choudhury, Kolkata Locating Sexuality through the Eyes of Afghan and Burmese Refugee Women in Delhi John Patrick Ojwando, Bangalore An Exploration of the Experiences of Afro Students in South Asia Mallica, New Delhi Identities and Aspirations of Tibetan Youth in New Delhi 12.30-1.30 Lunch 1.30-3.00 The Endurance of Print Chair: Rakesh Singh Arshad Amanullah, New Delhi Journalism in Madrasas and Madrasas in Journalism Ram Murthi Sharma, Una, Himachal Pradesh An Analysis of Magazines in Braille Izhar Ahmed Nadeem, Delhi Muslim Mahilaon ki Urdu Patrikayo ki Duniya(Urdu Women's Magazines: Their Impact on Muslim Women) 3.00-3.15 Refreshment Break 3.15-4.45 In Search of Form - 1 Chair: Vivek Narayanan Rajesh Kumar K, Trivandrum An Ethnography of Teyyam Performance from a Practitioner’s Point of View Aman Sethi, Delhi Seeking Alternative Ways and Means of Representing “the Poor and the Oppressed” by Studying Informal Networks at Labour Mandis in Delhi Rahul Pandita, Delhi Byte Soldier: The Life and Times of a Metro TV Reporter/A Graphic Novel in Hindi 4.45-5.00 Refreshment Break 5.00-6.30 In Search of Form - 2 Chair: Priya Sen Nirupama Sekhar and Sanjay Ramchandran, Mumbai Urban Stories: A Collection of Graphic Essays on the City of Mumbai Lakshmi IndraSimhan and Jacob Weinstein, New Delhi Vending as Vernacular: Depicting Street Sales and Services through Sequential Art Anjali Jyoti, New Delhi Home Street Home: A Street Child Survival Guide for Delhi 6.30-7.30 Closing Statements / Feedback Session The Newsletter of the Sarai Programme, 29 Rajpur Road, Delhi 110 054, www.sarai.net Info: dak at sarai.net.To subscribe: send a blank email to newsletter-request at sarai.net with subscribe in the subject header. Directions to Sarai: We are ten minutes from Delhi University. Nearest bus stop: IP college or Exchange Stores See Calendar and Newsletter online: http://www.sarai.net/calendar/newsletter.htm ------------------------------------------------------- From ravikant at sarai.net Wed Aug 23 15:05:10 2006 From: ravikant at sarai.net (Ravikant) Date: Wed, 23 Aug 2006 15:05:10 +0530 Subject: [Deewan] kalpana - ek mahatvapoorna site Message-ID: <200608231505.10627.ravikant@sarai.net> dosto, kal mujhe ek achhi site ka pata mila jispar hindi ke kuchh lekhakon ki rachnayein paRi hain, sahityik va sahityetar dono. maslan aap ispar Om thanvi ka Pakistani safarnaa parh sakte hain tho Iftikhar Geelani ki nai pustak ke bahane hindi patrakarita par charcha bhi. Laltu ka lekhan bhi yahan hai, tho archna verma ki kavitaayein bhi. kuchh masaala filmon par bhi hai. http://www.kalpana.it/hindi/lekhan/omthanvi/index.htm maze lein. kuchh cheezein .pdf file format mein hain yani acrobat reader type ke kisi auzar se chalengi tho kuchh unicode mein hai, tani deewan list walon ke liye ise parhne mein dikkat nahin hogi. cheers ravikant From ravikant at sarai.net Wed Aug 23 15:33:50 2006 From: ravikant at sarai.net (Ravikant) Date: Wed, 23 Aug 2006 15:33:50 +0530 Subject: [Deewan] =?utf-8?b?4KSf4KWL4KSs4KS+IOCkn+Clh+CklSDgpLjgpL/gpII=?= =?utf-8?b?4KS5IC0g4KSV4KS54KS+4KSo4KWAIOCktSDgpKjgpL7gpJ/gpJU=?= Message-ID: <200608231533.50346.ravikant@sarai.net> यह कहानी आपने ज़रूर पढ़ी होगी, यहाँ इसका नाट्य रुपांतर भी सुना जा सकता है. कहानी यहां मैं इसलिए पुनर्प्रकाशित कर रहा हूँ क्योंकि साफ़-सुथरे ढंग से पेश की गई है. रविकान्त http://www.bbc.co.uk/hindi/entertainment/story/2005/05/050510_manto_tobateksingh.shtml टोबा टेक सिंह स'आदत हसन मंटो भाग -1 बँटवारे के दो-तीन साल बाद पाकिस्तान और हिंदुस्तान की हुकूमतों को ख़्याल आया कि अख़्लाक़ी क़ैदियों की तरह पागलों का भी तबादला होना चाहिए, यानी जो मुसलमान पागल हिंदुस्तान के पा गलख़ानों में हैं, उन्हें पाकिस्तान पहुँचा दिया जाए और जो हिंदू और सिख पाकिस्तान के पागलख़ानों में हैं, उन्हें हिंदुस्तान के हवाले कर दिया जाए. मालूम नहीं, यह बात माक़ूल थी या ग़ैर माक़ूल, बहरहाल दानिशमंदों के फ़ैसले के मुताबिक़ इधर-उधर ऊँची सतह की कान्फ्रेंसें हुईं और बिलआख़िर पागलों के तबादले के लिए एक दिन मुक़र्रर हो गया. अच्छी तरह छानबीन की गई- वे मुसलमान पागल जिनके लवाहिक़ीन हिंदुस्तान ही में थे, वहीं रहने दिए गए; जितने हिंदू-सिख पागल थे, सबके-सब पुलिस की हिफाज़त में बॉर्डर पह पहुंचा दिए गए. उधर का मालूम नहीं लेकिन इधर लाहौर के पागलख़ाने में जब इस तबादले की ख़बर पहुंची तो बड़ी दि लचस्प चिमेगोइयाँ (गपशप) होने लगीं. एक मुसलमान पागल जो 12 बरस से, हर रोज़, बाक़ायदगी के साथ “ज़मींदार” पढ़ता था, उससे जब उसके एक दोस्त ने पूछा: “मौलबी साब, यह पाकिस्तान क्या होता है...?” तो उसने बड़े ग़ौरो-फ़िक़्र के बाद जवाब दिया: “हिंदुस्तान में एक ऐसी जगह है जहाँ उस्तरे बनते हैं...!” यह जवाब सुनकर उसका दोस्त मुतमइन हो गया. इसी तरह एक सिख पागल ने एक दूसरे सिख पागल से पूछा: “सरदार जी, हमें हिंदुस्तान क्यों भेजा जा रहा है... हमें तो वहाँ की बोली नहीं आती...” दूसरा मुस्कराया; “मुझे तो हिंदुस्तोड़ों की बोली आती है, हिंदुस्तानी बड़े शैतानी आकड़ आकड़ फिरते हैं...” एक दिन, नहाते-नहाते, एक मुसलमान पागल ने “पाकिस्तान: जिंदाबाद” का नारा इस ज़ोर से बुलंद किया कि फ़र्श पर फिसलकर गिरा और बेहोश हो गया. बाज़ पागल ऐसे भी थे जो पागल नहीं थे; उनमें अक्सरीयत (बहुतायत) ऐसे क़ातिलों की थी जिनके रि श्तेदारों ने अफ़सरों को कुछ दे दिलाकर पागलख़ाने भिजवा दिया था कि वह फाँसी के फंदे से बच जाएँ; यह पागल कुछ-कुछ समझते थे कि हिंदुस्तान क्यों तक़्सीम हुआ है और यह पाकिस्तान क्या है; लेकिन सही वाक़िआत से वह भी बेख़बर थे; अख़बारों से उन्हें कुछ पता नहीं चलता था और पहरेदार सिपाही अनपढ़ और जाहिल थे, जिनकी गुफ़्तुगू से भी वह कोई नतीजा बरामद नहीं कर सकते थे. उनको सिर्फ़ इतना मालूम था कि एक आदमी मुहम्मद अली जिन्नाह है: जिसको क़ायदे-आज़म कहते हैं; उसने मुसलमानों के लि ए एक अलहदा मुल्क बनाया है जिसका नाम पाकिस्तान है; यह कहाँ है, इसका महल्ले-वुक़ू (भौगोलिक स्थिति) क्या है, इसके मुताल्लिक़ वह कुछ नहीं जानते थे- यही वजह है कि वह सब पागल जिनका दिमाग़ पूरी तरह माऊफ़ नहीं हुआ था, इस मख़मसे में गिरफ़्तार थे कि वह पाकिस्तान में है या हिंदुस्ता न में; अगर हिंदुस्तान में है तो पाकिस्तान कहाँ है; अगर पाकिस्तान में हैं तो यह कैसे हो सकता है कि वह कुछ अर्से पहले यहीं रहते हुए हिंदुस्तान में थे. एक पागल तो हिंदुस्तान और पाकिस्तान, पाकिस्तान और हिंदुस्तान के चक्कर में कुछ ऐसा गिरफ़्तार हुआ कि और ज़्यादा पागल हो गया. झाड़ू देते-देते वह एक दिन दरख़्त पर चढ़ गया और टहने पर बैठकर दो घंटे मुसलसल तक़रीर करता रहा, जो पाकिस्तान और हिंदुस्तान के नाज़ुक मसले पर थी... सिपाहियों ने जब उसे नीचे उतरने को कहा तो वह और ऊपर चढ़ गया. जब उसे डराया-धमकाया गया तो उसने कहा: “मैं हिंदुस्तान में रहना चाहता हूं न पाकिस्तान में... मैं इस दरख़्त ही पर रहूंगा...” बड़ी देर के बाद जब उसका दौरा सर्द पड़ा तो वह नीचे उतरा और अपने हिंदू-सिख दोस्तों से गले मिलकर रोने लगा- उस ख्याल से उसका दिल भर आया था कि वह उसे छोड़कर हिंदुस्तान चले जाएँगे... एक एमएससी पास रेडियो इंजीनियर में, जो मुसलमान था और दूसरे पागलों से बिलकुल अलग-थलग बाग़ की एक ख़ास रविश पर सारा दिन ख़ामोश टहलता रहता था, यह तब्दीली नुमूदार हुई कि उसने अपने तमाम कपड़े उतारकर दफ़ेदार के हवाले कर दिए और नंग-धड़ंग सारे बाग़ में चलना-फिरना शुरू कर दि या. चियौट के एक मोटे मुसलमान ने, जो मुस्लिम लीग का सरगर्म कारकुन रह चुका था और दिन में 15-16 मर्तबा नहाया करता था, यकलख़्त यह आदत तर्क कर दी उसका नाम मुहम्मद अली था, चुनांचे उसने एक दिन अपने जंगल में एलान कर दिया कि वह क़ायदे-आज़म मुहम्मद अली जिन्नाह है; उसकी देखा-देखी एक सिख पागल मास्टर तारा सिंह बन गया- इससे पहले कि ख़ून-ख़राबा हो जाए, दोनों को ख़तरनाक पागल क़रार देकर अलहदा-अलहदा बंद कर दिया गया. लाहौर का एक नौजवान हिंदू वकील मुहब्बत में नाकाम होकर पागल हो गया; जब उसने सुना कि अमृतसर हिंदुस्तान में चला गया है तो बहुत दुखी हुआ. अमृतसर की एक हिंदू लड़की से उसे मुहब्बत थी जिसने उसे ठुकरा दिया था मगर दीवानगी की हालत में भी वह उस लड़की को नहीं भूला था-वह उन तमाम हिंदू और मुसलमान लीडरों को गालियाँ देने लगा जिन्होंने मिल-मिलाकर हिंदुस्तान के दो टुकड़े कर दिए हैं, और उनकी महबूबा हिंदुस्तानी बन गई है और वह पाकिस्तानी…जब तबादले की बात शुरू हुई तो उस वकील को कई पागलों ने समझया कि दिल बुरा न करे… उसे हिंदुस्तान भेज दिया जाएगा, उसी हिंदुस्तान में जहाँ उसकी महबूबा रहती है- मगर वह लाहौर छोड़ना नहीं चाहता था; उसका ख़याल था कि अमृतसर में उसकी प्रैक्टिस नहीं चलेगी. योरोपियन वार्ड मं दो एंग्लो इंडियन पागल थे. उनको जब मालूम हुआ कि हिंदुस्तान को आज़ाद करके अंग्रेज़ चले गए हैं तो उनको बहुत सदमा हुआ; वह छुप-छुपकर घंटों आपस में इस अहम मसले पर गुफ़्तुगू करते रहते कि पागलख़ाने में अब उनकी हैसियत किस क़िस्म की होगी; योरोपियन वार्ड रहेगा या उड़ा दि या जाएगा; ब्रेक-फ़ास्ट मिला करेगा या नहीं; क्या उन्हें डबल रोटी के बजाय ब्लडी इंडियन चपाटी तो ज़हर मार नहीं करनी पड़ेगी? ....अगली डाक में जारी.... From ravikant at sarai.net Wed Aug 23 15:35:19 2006 From: ravikant at sarai.net (Ravikant) Date: Wed, 23 Aug 2006 15:35:19 +0530 Subject: [Deewan] =?utf-8?b?4KSf4KWL4KSs4KS+IOCkn+Clh+CklSDgpLjgpL/gpII=?= =?utf-8?b?4KS5IC0g4KSt4KS+4KSXLTI=?= Message-ID: <200608231535.19911.ravikant@sarai.net> भाग -2 एक सिख था, जिसे पागलख़ाने में दाख़िल हुए 15 बरस हो चुके थे. हर वक़्त उसकी ज़ुबान से यह अजी बो-ग़रीब अल्फ़ाज़ सुनने में आते थे : “औपड़ दि गड़ गड़ दि अनैक्स दि बेध्यानाँ दि मुंग दि दाल आफ़ दी लालटेन…” वह दिन को सोता था न रात को. पहरेदारों का यह कहना था कि 15 बरस के तलीव अर्से में वह लहज़े के लिए भी नहीं सोया था; वह लेटता भी नहीं था, अलबत्ता कभी-कभी दीवार के साथ टेक लगा लेता था- हर वक़्त खड़ा रहने से उसके पाँव सूज गए थे और पिंडलियाँ भी फूल गई थीं, मगर जिस्मानी तकलीफ़ के बावजूद वह लेटकर आरा म नहीं करता था. हिंदुस्तान, पाकिस्तान और पागलों के तबादले के मुताल्लिक़ जब कभी पागलख़ाने में गुफ़्तुगू होती थी तो वह ग़ौर से सुनता था; कोई उससे पूछता कि उसका क्या ख़याल़ है तो वह बड़ी संजीदगी से जवाब देता : “औपड़ दि गड़ गड़ दि अनैक्स दि बेध्यानाँ दि मुंग दि दाल आफ़ दी पाकिस्तान गवर्नमेंट…! ” लेकिन बाद में “आफ़ दि पाकिस्तान गवर्नमेंट ” की जगह “आफ़ दि टोबा सिंह गवर्नमेंट!” ने ले ली, और उसने दूसरे पागलों से पूछना शुरू कर दिया कि टोबा टेक सिंह कहाँ है, जहाँ का वह रहने वाला है. किसी को भी मालूम नहीं था कि टोबा सिंह पाकिस्तान में है... या हिंदुस्तान में; जो बताने की कोशिश करते थे वह ख़ुद इस उलझाव में गिरफ़्तार हो जाते थे कि सियालकोट पहले हिंदुस्तान में हो ता था, पर अब सुना है पाकिस्तान में है. क्या पता है कि लाहौर जो आज पाकिस्तान में है... कल हिंदुस्तान में चला जाए... या सारा हिंदुस्तान ही पाकिस्तान बन जाए... और यह भी कौन सीने पर हाथ रखकर कह सकता है कि हिंदुस्तान और पाकिस्तान, दोनों किसी दिन सिरे से ग़ायब ही हो जाएँ...! इस सिख पागल के केश छिदरे होकर बहुत मुख़्तसर रह गए थे; चूंकि बहुत कम नहाता था, इसलिए दाढ़ी और सिर के बाल आपस में जम गए थे. जिसके बायस उसकी शक्ल बड़ी भयानक हो गई थी; मगर आदमी बे-ज़रर था. 15 बरसों में उसने कभी किसी से झगड़ा-फसाद नहीं किया था. पागलख़ाने के जो पुराने मुलाज़िम थे, वह उसके मुताल्लिक़ इतना जानते थे कि टोबा टेक सिंह में उसकी कई ज़मीनें थीं; अच्छा खाता-पीता ज़मींदार था कि अचानक दिमाग़ उलट गया, उसके रिश्तेदार उसे लोहे की मोटी-मो टी ज़ंजीरों में बाँधकर लाए और पागलख़ाने में दाख़िल करा गए. महीने में एक मुलाक़ात के लिए यह लोग आते थे और उसकी ख़ैर-ख़ैरियत दरयाफ़्त करके चले जाते थे; एक मुद्दत तक यह सिलसिला जारी रहा, पर जब पाकिस्तान, हिंदुस्तान की गड़बड़ शुरू हुई तो उसका आना-जाना बंद हो गया. उसका नाम बिशन सिंह था मगर सब उसे टोबा टेक सिंह कहते थे. उसको यह क़त्अन मालूम नहीं था कि दिन कौन सा है, महीना कौन सा है या कितने साल बीत चुके हैं; लेकिन हर महीने जब उसके अज़ी ज़ो-अकारिब उससे मिलने के लिए आने के क़रीब होते तो उसे अपने आप पता चल जाता; उस दिन वह अच्छी तरह नहाता, बदन पर ख़ूब साबुन घिसता और बालों में तेल डालकर कंघा करता; अपने वह कपड़े जो वह कभी इस्तेमाल नहीं करता था, निकलवाकर पहनता और यूँ सज-बनकर मिलने वालों के पास जाता. वह उससे कुछ पूछते तो वह ख़ामोश रहता या कभी-कभार “औपड़ दि गड़ दि अनैक्स दि बेध्यानाँ दि मुंग दि दाल आफ़ दी लालटेन...” कह देता. उसकी एक लड़की थी जो हर महीने एक ऊँगली बढ़ती-बढ़ती 15 बरसों में जवान हो गई थी. बिशन सिंह उसको पहचानता ही नहीं था-वह बच्ची थी जब भी अपने बाप को देखकर रोती थी, जवान हुई तब भी उसकी आँखों से आँसू बहते थे. पाकिस्तान और हिंदुस्तान का क़िस्सा शुरू हुआ तो उसने दूसरे पागलों से पूछना शुरू किया कि टोबा टेक सिंह कहाँ है; जब उसे इत्मीनानबख़्श जवाब न मिला तो उसकी कुरेद दिन-ब-दिन बढ़ती गई. अब मुला क़ात भी नहीं आती थी; पहले तो उसे अपने आप पता चल जाता था कि मिलनेवाले आ रहे हैं, पर अब जैसे उसके दिल की आवाज़ भी बंद हो गई थी जो उनकी आमद की ख़बर दे दिया करती थी-उसकी बड़ी ख़्वाहिश थी कि वह लोग आएँ जो उससे हमदर्दी का इज़हार करते थे और उसके लिए फल, मिठाइयाँ और कपड़े लाते थे. वह आएँ तो वह उनके पूछे कि टोबा टेक सिंह कहाँ है... वह उसे यक़ीनन बता देंगे कि टोबा टेक सिंह वहीं से आते हैं जहाँ उसकी ज़मीनें हैं. पागलख़ाने में एक पागल ऐसा भी था जो ख़ुद को ख़ुदा कहता था. उससे जब एक रोज़ बिशन सिंह ने पूछा कि टोबा टेक सिंह पाकिस्तान में है या हिंदुस्तान में तो उसने हस्बे-आदत क़हक़हा लगाया और कहा : “वह पाकिस्तान में है न हिंदुस्तान में, इसलिए कि हमने अभी तक हुक्म ही नहीं दिया...!” बिशन सिंह ने उस ख़ुदा से कई मर्तबा बड़ी मिन्नत-समाजत से कहा कि वह हुक्कम दे दे ताकि झंझट ख़त्म हो, मगर ख़ुदा बहुत मसरूफ़ था, इसलिए कि उसे और बे-शुमार हुक्म देने थे. एक दिन तंग आकर बिशन सिंह ख़ुदा पर बरस पड़ा: “ औपड़ दि गड़ गड़ दि अनैक्स दि बेध्यानाँ दि मुंग दि दाल आफ़ वाहे गुरु जी दा ख़ालसा एंड वाहे गुरु जी दि फ़तह...!” इसका शायद मतलब था कि तुम मुसलमानों के ख़ुदा हो, सिखों के ख़ुदा होते तो ज़रूर मेरी सुनते. तबादले से कुछ दिन पहले टोबा टेक सिंह का एक मुसलमान जो बिशन सिंह का दोस्त था, मुलाक़ात के लिए आया; मुसलमान दोस्त पहले कभी नहीं आया था. जब बिशन सिंह ने उसे देखा तो एक तरफ़ हट गया, फिर वापिस जाने लगा मगर सिपाहियों ने उसे रोका: “यह तुमसे मिलने आया है...तुम्हारा दोस्त फ़ज़लदीन है...!” बिशन सिंह ने फ़ज़लदीन को एक नज़र देखा और कुछ बड़बड़ाने लगा. बिशन सिंह ने फ़ज़लदीन ने आगे बढ़कर उसके कंधे पर हाथ रखा : “मैं बहुत दिनों से सोच रहा था कि तुमसे मिलूँ लेकिन फ़ुरसत ही न मिली... तुम्हारे सब आदमी ख़ैरियत से हिंदुस्तान चले गए थे ... मुझसे जितनी मदद हो सकी, मैंने की... तुम्हारी बेटी रूपकौर...” वह कहते-कहते रुक गया. बिशन सिंह कुछ याद करने लगा : “बेटी रूपकौर...” फ़ज़लदीन ने फिर कहना शुरू किया : उन्होंने मुझे कहा था कि तुम्हारी ख़ैर-ख़ैरियत पूछता रहूँ... अब मैंने सुना है कि तुम हिंदुस्तान जा रहे हो... भाई बलबीर सिंह और भाई वधावा सिंह से मेरा सलाम कहना और बहन अमृतकौर से भी... भाई बलबीर से कहना कि फ़ज़लदीन राज़ीख़ुशी है...दो भूरी भैसें जो वह छोड़ गए थे, उनमें से एक ने कट्टा दिया है... दूसरी के कट्टी हुई थी, पर वह 6 दिन की होके मर गई...और... मेरे लायक़ जो ख़िदमत हो, कहना, मैं हर वक़्त तैयार हूँ... और यह तुम्हारे लिए थोड़े-से मरोंडे लाया हूँ...!” बिशन सिंह ने मरोंडों की पोटली लेकर पास खड़े सिपाही के हवाले कर दी और फ़ज़लदीन से पूछा : “टो बा टेक सिंह कहाँ है...” फ़ज़लदीन ने क़दरे हैरत से कहा : “कहाँ है... वहीं है, जहाँ था!” बिशन सिंह ने फिर पूछा : “पाकिस्तान में है या हिंदुस्तान में...” “हिंदुस्तान में... नहीं, नहीं पाकिस्तान में...! ” फ़ज़लदीन बौखला-सा गया. बिशन सिंह बड़बड़ाता हुआ चला गया : “औपड़ दि गड़ गड़ दि अनैक्स दि बेध्यानाँ दि मुंग दि दाल आफ़ दी पाकिस्तान एंड हिंदुस्तान आफ़ दी दुर फ़िटे मुँह...! ” ।।।।।।।।। तबादले की तैयारियाँ मुकम्मल हो चुकी थीं, इधर से उधर और उधर से इधर आनेवाले पागलों की फ़ेहरिस्तें पहुँच चुकी थीं और तबादले का दिन भी मुक़र्रर हो चुका था. सख़्त सर्दियाँ थीं जब लाहौर के पागलख़ाने से हिंदू-सिख पागलों से भरी हुई लारियाँ पुलिस के मुहाफ़िज़ दस्ते के साथ रवाना हुई, मुताल्लिक़ा अफ़सर भी हमराह थे. वागह के बौर्डर पर तरफ़ैन के सुपरिटेंडेंट एक-दूसरे से मिले और इब्तिदाई कार्रवाई ख़त्म होने के बाद तबादला शुरू हो गया, जो रात भर जारी रहा. पागलों को लारियों से निकालना और उनको दूसरे अफ़सरों के हवाले करना बड़ा कठिन काम था; बाज़ तो बाहर निकलते ही नहीं थे, जो निकलने पर रज़ामंद होते थे, उनको संभालना मुश्किल हो जाता था, क्योंकि उन्हें फाड़कर अपने तन से जुदा कर देते-कोई गालियाँ बक रहा है... कोई गा रहा है... कुछ आपस में झगड़ रहे हैं... कुछ रो रहे हैं, बिलख रहे हैं-कान पड़ी आवाज़ सुनाई नहीं देती थी- पागल औरतों का शोरो-ग़ोग़ा अलग था, और सर्दी इतनी कड़ाके की थी कि दाँत से दाँत बज रहे थे. पागलों की अक्सरीयत इस तबादले के हक़ में नहीं थी, इसलिए कि उनकी समझ में नहीं आ रहा था कि उन्हें अपनी जगह से उख़ाड़कर कहाँ फेंका जा रहा है; वह चंद जो कुछ सोच-समझ सकते थे, “पाकिस्ता न : ज़िंदाबाद” और “पाकिस्तान : मुर्दाबाद” के नारे लगा रहे थे ; दो-तीन मर्तबा फ़साद होते-होते बचा, क्योंकि बाज़ मुसलमानों और सिखों को यह नारे सुनकर तैश आ गया था. जब बिशन सिंह की बारी आई और वागन के उस पार का मुताल्लिक़ अफ़सर उसका नाम रजिस्टर में दर्ज करने लगा तो उसने पूछा : “टोबा टेक सिंह कहाँ है... पाकिस्तान में या हिंदुस्तान में.... ?” मुताल्लिक़ा अफ़सर हँसा : “पाकिस्तान में...! ” यह सुनकर बिशन सिंह उछलकर एक तरफ़ हटा और दौड़कर अपने बाक़ीमादा साथियों के पास पहुंच गया. पाकिस्तानी सिपाहियों ने उसे पकड़ लिया और दूसरी तरफ़ ले जाने लगे, मगर उसने चलने से इनकार कर दिया : “टोबा टेक सिंह यहाँ है..! ” और ज़ोर-ज़ोर से चिल्लाने लगा : “औपड़ दि गड़ गड़ दि अनैक्स दि बेध्यानाँ दि मुंग दि दाल आफ़ दी टोबा टेक सिंह एंड पाकिस्ता न...! ” उसे बहुत समझाया गया कि देखो, अब टोबा टेक सिंह हिंदुस्तान में चला गया... अगर नहीं गया है तो उसे फ़ौरन वहाँ भेज दिया जाएगा, मगर वह न माना! जब उसको जबर्दस्ती दूसरी तरफ़ ले जाने की कोशिश की गई तो वह दरमियान में एक जगह इस अंदाज़ में अपनी सूजी हुई टाँगों पर खड़ा हो गया जैसे अब उसे कोई ताक़त नहीं हिला सकेगी... आदमी चूंकि बे-ज़रर था, इसलिए उससे मज़ीद ज़बर्दस्ती न की गई ; उसको वहीं खड़ा रहने दिया गया, और तबादले का बाक़ी काम होता रहा. सूरज निकलने से पहले साकितो-सामित (बिना हिलेडुले खड़े) बिशन सिंह के हलक़ के एक फ़लक शिगा फ़(गगनभेदी) चीख़ निकली. इधर-उधर से कई अफ़सर दौड़े आए और उन्होंने देखा कि वह आदमी जो 15 बरस तक दिन-रात अपनी टाँगों पर खड़ा रहा था, औंधे मुँह लेटा है-उधर ख़ारदार तारों के पीछे हिंदुस्तान था, इधर वैसे ही तारों के पीछे पाकिस्तान ; दरमियान में ज़मीन के उस टुकड़े पर जिसका कोई नाम नहीं था, टो बा टेक सिंह पड़ा था. (प्रकाशक की अनुमति से राजकमल प्रकाशन के संग्रह 'दस्तावेज़' से साभार) ---------- From ravikant at sarai.net Wed Aug 23 15:47:59 2006 From: ravikant at sarai.net (Ravikant) Date: Wed, 23 Aug 2006 15:47:59 +0530 Subject: [Deewan] Laltoo on reservations Message-ID: <200608231547.59577.ravikant@sarai.net> लाल्टू के ब्लॉग * आइए हाथ उठाएं हम भी * से, चूँकि आरक्षण फिर गरमा रहा है. शीर्षक में फुरसतिया नामक एक और हिन्दी ब्लॉग का ज़िक्र है. रविकान्त http://laltu.blogspot.com/ Friday, June 09, 2006 बकौल फुर्सतिया क्या कल्लोगे भाई हाल में टी वी पर बी बी सी चैनल पर स्पोर्ट्स रीलीफ की बनाई फिल्म देखी, जो भारत में चल रहे उनके प्रोजेक्ट्स के संदर्भ में है। इंग्लैंड से मुख्यतः मीडीया से जुड़े कुछ लोग भारत में आकर तीन जगहों में क्रिकेट खेलते हैं। पहले दो दक्षिण में त्सुनामी प्रभावित जगहें हैं। रेलवे चिल्ड्रेन नामक बच्चे जो रेलगा ड़ियों में भीख माँगकर जी रहे हैँ, उनके लिए भी उनका एक प्रोजेक्ट् है। इंग्लैंड में लोग दौड़ आयोजनों में शामिल होकर पैसा इकट्ठा करते हैं, जिसे स्पोर्ट्स रीलीफ भारत जैसे मुल्कों में ऐसे प्रोजेक्ट्स में लगाती है। ऐसी फिल्मों में सबसे अद्भुत बात मुझे लगती है कि पश्चिमी मुल्कों के साफ स्वच्छ वातावरणों से आए लोग हमारे मैले कुचैले अस्वस्थ बच्चों को चाहे कैमरा के लिए ही सही, प्यार से गले कैसे लगा लेते हैं। इस फि ल्म में आज के एपीसोड में दो मर्द रोते हुए दिखे, जो पश्चिमी संस्कृति के लिहाज से अनोखी बात है। हम अपने गरीबों को यूँ गले क्यों नहीं लगा सकते? मैं जब आई आई टी में पढ़ने आया, तो पहली बार घर से बाहर आने की वजह से अक्सर घर की याद में भा वुक हो जाता। उन्हीं दिनों मेरे जेहन में बात बैठ गई कि हो न हो अपने से निकृष्ट लगने वाले लोगों के प्रति भावुक न हो पाने में कहीं न कहीं जातिगत भावनाएँ हैं। मैंने तय किया कि छुट्टियों में घर जाने पर और कुछ नहीं तो मुहल्ले के हमउम्र सफाई कर्मचारी हीरालाल और उसके भाई को हमारे साथ फुटबाल खेलने के लिए कहेंगे। और सचमुच मैंने उनसे कहा भी। यह अलग बात कि या तो उनको फुर्सत न थी या कोई और कारण रहे होंगे, वे कभी हमारे साथ खेले नहीं। विदेश में पढ़ते हुए यह बात मन में रही और तय किया कि लौटेंगे तो हीरालाल और राजू के साथ भी उसी तरह मिलेंगे जैसे अपने दूसरे दो स्तों से। चार साल बाद लौटा तो जहाँ उन चार सालों में मेरी शक्ल और खिल गई थी, हीरालाल और राजू की शक्ल मेरे दीगर दोस्तों की तुलना में ज्यादा बिगड़ी थी। उन्हें देखकर मन में किसी तरह की स्नेह की भावना नहीं उपजी। पर बात मेरे मन में रह गई कि कुछ घपला है। बहुत बाद में जब बेटी पैदा हुई और जच्चा बच्चा वार्ड में मेरी पत्नी और बच्चे सहित दर्जनों को लेटा छोड़ कर ऊँची जाति के डाक्टर मंडल कमीशन की उस रीपोर्ट के खिलाफ भूख हड़ताल पर बैठे थे जिसमें पिछ्ड़ी जातियों के लिए संविधान के निर्देशों के मुताबिक आरक्षण का अनुमोदन किया गया था, तब वार्ड में दौड़ते चूहों को देखते हुए मैंने जाति समीकरणों को बहुत करीब से समझा। हमारे साथ जो हुआ, उसको आज भी हम झेल रहे हैं, पर निजी पीड़ाओं की बात यहाँ नहीं। चूहों की बात इसलिए महत्त्वपूर्ण है कि इससे मेरी एक धारणा को बल मिला। अमरीका में लंबे समय तक रहने के बाद सही गलत जो भी, मन में यह धारणा बन गई कि अगर अस्पताल में जच्चा बच्चा वार्ड में चूहे दौड़ते हों तो शायद डाक्टर चूहों को मारना अपना काम समझते। पर यह तो हिंदुस्तान है। बड़ा सरकारी अस्पताल हो तो क्या, चूहों को मारना चूहेमार का काम है, जो कि एक कंट्राक्टर है, जि सके साथ पिछड़ी जाति के लोग होंगे, जो पेस्टीसाइड स्प्रे करते होंगे। गुस्से में अपने मित्र डाक्टर को मैंने कहा था कि मुझे चूहों को मारने की जिम्मेवारी दे दो। चूहे इसलिए भी थे क्योंकि हर ओर गंदगी थी। बाथरुम गंदे थे। लोग बाग जो रोगियों को देखने आते वे इधर उधर थूकते रहते। जैसा पंजाबी में कहते हैं गंद फैलाते। पहली बार मुझे समझ में आया कि हम दरअसल आस्था के संकट से गुजर रहे समाज के अंग हैं। हमें विश्वास ही नहीं कि हमारे/हम लोग कुछ कर भी सकते हैं, कि उन्हें/हमें सभ्य समाज बनाना आता है। शायद इसलिए हम कहते रहते हैं कि हमें ‘उन’ के अपलिफ्टमेंट के लिए कुछ करना चाहि ए। आरक्षण से क्या होगा। मुझे आरक्षण मुद्दे पर कुछ लिखना चाहिए, क्योंकि मेरे कई सारे युवा छात्र मित्र समझ नहीं पाते कि मेरे जैसा ‘समझदार’ बंदा भी आरक्षण के पक्ष में क्यों है। उम्र के साथ यह बात समझ में आई है कि किसी भी बात का कोई नियत अर्थ हो यह कह पाना मुश्किल है। खास कर ऐसी बातें जिनमें हर किसी को अपने सीमित अनुभव के आधार पर अपना सच दिखलाई देता है। ऐसी बहुत सी बातें हैं, जैसे ईश्वर की अवधारणा। अरे बाप रे, पहले ही ईश्वर पर आ गया। मतलब यह कि मैं जो भी लिखूँ वह उस तरह से नहीं समझा जाएगा जैसा कि मैं कहता हूँ, यह डर मुझे है। साथ में यह भी कि इसी डर की वजह से सही बात न कहें, यह कैसी बात हुई, इस तरह के शोर की भी गुंजाइश है। तो जैसा फुर्सतिया ने मेरे बारे में कहा है, “समझ गये तो ठीक है, वर्ना क्या 'कल्लोगे' भाय!", उसी अंदाज में कुछ बिंदु लिख देता हूँ। आरक्षण जातिभेद का स्थायी समाधान नहीं है। आरक्षण ऊँची जाति के कुछ भ्रमित लोगों द्वारा पिछ्ड़े जाति के लोगों के लिए दया दिखलाने के लिए लिया गया कदम नहीं है। आरक्षण लोकतांत्रिक संरचना में पिछ्ड़े वर्गों के लोगों के संघर्षों से निकला एक सामयिक समाधान है, जो वर्त्तमान में चल रहे अलिखित पर स्पष्ट तौर पर विद्यमान, ऊँची जातियों के वर्चस्व की व्यवस्था को दरकिनार करने की एक कोशिश है। जो हल्ला आरक्षण को लेकर मचाया जाता है, वह महज ऊँची जातियों के युवाओं के हठ और कइयों की ना दानी को ही दिखलाता है। अगर कभी कोई क्रांतिकारी सरकार सत्ता में आती है, जो सचमुच जन की हितैषी होगी, तो आरक्षण की ज़रुरत नहीं रहेगी। पर रुस, चीन वगैरह का जो हश्र हुआ है, उसके बाद क्रांति के लिए इंतज़ार करने के लिए किसे कहा जाए – इसलिए आरक्षण एक पूरी तरह से सही नहीं, पर ज़रुरी कदम है। आज के समय में ‘मेरे पापा के दफ्तर में ऐश करता फलाँ ओ बी सी का बेटा आरक्षण का फायदा उठा रहा है’ जैसे अनंत बकवास इलेक्ट्रानिक मीडिया में दर्ज़ हो रहें हैं, जो भविष्य में इतिहासकारों को यह समझने के काम आएगा कि इन दिनों जिनका वर्चस्व है, उन जातियों के युवा अवधारणा के स्तर पर गणित, विज्ञान और अन्य विषयों की तरह सामाजिक विषयों में भी ज़ीरो हैं। हीरो बनते रहते हैं, पर ज़रा सा कुरेदो तो ‘होगा कोई कांशीराम या मायावती का औलाद’ कहते हुए रोने लग जाते हैं। ऊँची जाति के गरीबों का क्या होगा, यह चिंता कइयों की है। तो भई, पहली बात तो यह कि तमाम सरकारी नियम कानूनों के बावजूद नौकरियों में आरक्षण वांछित स्तर से बहुत कम हुआ है। दूसरी बात यह कि जब तक ‘निचले काम’ सिर्फ पिछड़ी जातियों के लोगों के काम होगे, तब तक तो ऊँची जाति के गरीबों का हल्ला मचाना मतलब नहीं रखता। जिस दिन जनसंख्या में अनुपात के बराबर मेहतरों की संख्या में ब्राह्मणों बनियों या अन्य ऊँची जातियों का अनुपात होगा, तब यह शोर मतलब रखेगा। नहीं तो, फालतू की बातचीत के पहले लोगों को राज्य स्तरीय और राष्ट्रीय आँकड़े देखकर पहले यह समझना चाहिए कि गरीबों में जातिगत अनुपात कैसा है। आँकड़े देख पढ़ लें तो शायद शुकर मनाएँ कि आरक्षण के जरिए बहुसंख्यक लोगों के असंतोष को दबा कर रखा जा रहा है, नहीं तो यह सचमुच आश्चर्य ही है कि हिंदुस्तान में चारों ओर आग नहीं लगी है। जहाँ तक सरकारें और चुनावी खेलों का सवाल है तो बंधुओ, अगर यह पहली बार समझ आ रहा है कि बुर्ज़ुआ लोकतंत्र यही होता है, तो भी बढ़िया, जैसा कि पढ़े लिखे अर्थशास्त्रियों को पता है, मार्क्स बाबा बहुत पहले यह सब कह गए थे। इसीलिए तो मैं मार्क्स के जन्मस्थान ट्रीयर शहर को देखने के बाद से सबसे कहता हूँ कि मैं हज कर आया। जिनको ‘आरक्षण के अलावा अपलिफ्टमेंट के लिए कुछ करना चाहिए’ कहते रहने का शौक है, वे कुछ जरुर करें, पर जनता इस इंतज़ार में बैठी तो रहेगी नहीं कि पहले किसी और तरीके से उनका अपलिफ्टमेंट हो । और हड़ताल पर जा रहे डाक्टर! बेहतर स्वास्थ्य सुविधाओं के लिए, बेहतर वजीफों, तनखाहों के लिए हड़ताल करें, यह तो ठीक है, पर बहुसंख्यक लोगों की आकांक्षाओं के खिलाफ हड़ताल, खासकर जब पढ़ाई के खर्च का अधिकांश सरकारी भत्ते से ही भरा जा रहा हो, जो उन्हीं बहुसंख्यक लोगों की मेहनत की कमाई हो, यह तो सरासर घोर अपराध है। अंत में दोस्तो, एक युवा मित्र ने सोचा कि मेरी भावनाएँ आहत हैं (‘होगा कोई कंशीराम या मायावती की औलाद!’) तो ऐसा कुछ नहीं है। यह मेरी समझ है और असंख्य समझदार लोगों की तरह मैंने भी अपनी जिम्मेदारी समझते हुए ही ये बातें सोची हैं। जिनको खास जानकारी चाहिए उनको मैं अपने माता पिता का नाम बतला सकता हूँ। हम जिस माहौल में पले बढ़े, वहाँ जातिगत सोच तो थी, पर जातिभेद के खिलाफ और इंसान-इंसान की बराबरी के पाठ भी थे। जब पहले पहल चंडीगढ़ आया तो एक छात्रा ने लाइब्रेरी में पूछा, सर आपकी कास्ट क्या है? मैं तो दंग था, मेरी कल्पना में नहीं था कि कोई किसी से खुले आम जाति पूछ सकता है। बाद में पता चला कि पंजाब में पारिवारिक नाम या पृष्ठभूमि के लिए भी कास्ट शब्द का उपयोग होता है, पर अंतिम मकसद तो जाति पहचान ही है। बहरहाल मैं भी दबंग सा था, बालिका को बतलाया कि दुनिया की सबसे नीची जाति मेरी कास्ट है। वह शर्माई और बोली कि नहीं सर मैं सोची कि आप गिल होंगे, गिल कास्ट के लोग काफी पढ़े लिखे होते हैं। अब सोचता हूँ तो लगता है कि मैं कितना भोला था, मैं सोचता था कि जाति-वाति अनपढ़ों की समस्याएँ हैं और पढ़े लिखे लोग यह सब नहीं सोचा करते। शायद कोलकाता में बड़े होने का असर था । मुझे पता ही नहीं था कि यूनिवर्सिटीयों तक में कैसा मजबूत जाति तंत्र है। चलो, अब हमले से बचने की तैयारी करें। From ravikant at sarai.net Thu Aug 24 11:20:53 2006 From: ravikant at sarai.net (Ravikant) Date: Thu, 24 Aug 2006 11:20:53 +0530 Subject: [Deewan] Fwd: Ganesha loves Amul Cool Message-ID: <200608241120.53921.ravikant@sarai.net> ---------- आगे भेजे गए संदेश ---------- Subject: Ganesha loves Amul Cool Date: बुधवार 23 अगस्त 2006 20:44 From: "Ravish Kumar" To: ravikant at sarai.net World after Ganesh ji had milk Paras milk...put a hoarding...saying..." Humara doodh bhagwaan bhi peete hain." Mother dairy- " Bhagwaan ne maa ka nahi..humara doodh piyaa hai." Amul cool- " Ganesha told to Shiva -parvati- himalay is so hot and am tired of making round of u...thanks god I am carrying..Amul Cool..." Dosto..bhagwaan ke doodh peene par log kyon aitraaz kar rahe hain..samajh mien nahi aataa...hindustan mein bhagwaan zamaane se khaate rahe hain..bhog ke roop mein.vo kelaa khaate hain...churan khaate hain..charanamrit peete hain...aur aam aur paan ka patta bhi chabaate hain...humare dharm mein bhagwaan sirf moorti nahi..bulki khaate peete divya shakti hain...hur pundit..hur pooja se pehle bhog charha hai...ye tv aur akhbaar waale indian hindu tradition ko nahi jaante...unhe ismien bhi khabar mil jaatee hai ki bhagwaan doodh peete hain...maloom hi nahi..ki bhagwaan hur pooja ke khatam hone se pehle full diet lete hain. 56 bhog were meant for them..not for us...anyway...its good that Gods drank milk...what would have sunita narayan done..if ganesha had cola on that day... unki report ki aisee taisee ho jaatee ...bhaktjan naagrik kahte hain..agar ismien kitnaashak hain..to bhagwaan kyon pee rahe hain...Ganesh ne ye nahi kiya...bulki doodh pee kar doodh ko popular kiya hai...cola se bhi zyada. tabhi to ye naye hoardings banane jaa rahe hain..aur in sabka lekhakiya incharge mujhe banaya gaya hai...Ganesha should be made a symbol of war against cola...He should lead us...we should not criticise him and bring science to it. thanks ravish ________________________________ From: deewan-bounces at mail.sarai.net on behalf of Ravikant Sent: Wed 8/23/2006 3:47 PM To: deewan at sarai.net Subject: [Deewan] Laltoo on reservations ?????? ?? ????? * ??? ??? ????? ?? ?? * ??, ????? ?????? ??? ???? ??? ??. ?????? ??? ???????? ???? ?? ?? ?????? ????? ?? ?????? ??. ???????? http://laltu.blogspot.com/ Friday, June 09, 2006 ???? ????????? ???? ??????? ??? ??? ??? ?? ?? ?? ?? ?? ?? ???? ?? ????????? ????? ?? ???? ????? ????, ?? ???? ??? ?? ??? ???? ??????????? ?? ?????? ??? ??? ???????? ?? ??????? ?????? ?? ???? ??? ??? ???? ??? ??? ??? ????? ??? ??????? ????? ???? ???? ?? ?????? ??? ???????? ???????? ????? ???? ????? ????????? ???? ????? ?? ????? ????? ??? ??? ?????? ?? ??? ???, ???? ??? ?? ???? ?? ?????????? ??? ???????? ??? ??? ??? ??????? ??? ????? ???? ???? ?????? ???? ???, ???? ????????? ????? ???? ???? ??????? ??? ??? ??????????? ??? ????? ??? ??? ??????? ??? ???? ?????? ??? ???? ???? ?? ?? ??????? ??????? ?? ??? ?????? ????????? ?? ?? ??? ????? ???? ?????? ??????? ?????? ?? ???? ????? ?? ??? ?? ???, ????? ?? ??? ???? ??? ???? ???? ?? ?? ??? ??? ?? ?? ?????? ??? ?? ???? ???? ??? ????, ?? ??????? ???????? ?? ????? ?? ????? ??? ??? ?? ???? ?????? ?? ??? ??? ????? ???? ??? ????? ??? ?? ?? ?? ?? ??? ???? ???, ?? ???? ??? ?? ?? ???? ??? ?? ??? ?? ????? ?? ?? ??? ??? ?? ??? ?? ????? ?????? ????? ???? ???? ??? ??? ??? ?? ?? ?? ? ?? ???? ?? ??????? ???? ???? ????? ?? ????? ????? ? ?? ???? ??? ???? ? ???? ?????? ??????? ???? ????? ?? ???? ?? ????????? ??? ?? ???? ?? ?? ??? ???? ?? ??????? ?? ?????? ???? ???????? ??????? ?? ???? ??? ?? ????? ??? ?????? ????? ?? ??? ??????? ?? ????? ????? ???? ??? ??? ?? ??? ??? ?? ?? ?? ???? ?????? ? ?? ?? ??? ?? ???? ??? ?????, ?? ??? ????? ??? ???? ????? ????? ??? ???? ??? ?? ??? ?? ??? ??? ?? ?? ???? ?? ??????? ?? ??????? ?? ???? ?? ??? ?? ??? ??? ??????? ???? ???? ????? ?? ????? ??? ??? ??? ??? ???? ?? ???? ?? ??? ????? ??? ???? ???? ?? ??? ?? ??, ??????? ?? ???? ?? ???? ???? ???? ??????? ?? ????? ??? ?????? ????? ??? ?????? ????? ?? ??? ???? ??? ?? ????? ?? ????? ???? ????? ?? ??? ???? ?? ??? ?? ?? ?? ??? ???? ??? ???? ??? ??? ?? ???? ???? ??? ?? ????? ????? ????? ??? ???? ????? ?? ????? ???? ??????? ?? ???? ??? ?? ???? ???? ?? ?????? ???? ????? ?? ?? ??????? ?? ????? ??? ????? ?? ???? ?? ?????? ?????? ??????? ?? ??? ??????? ?? ????????? ?? ??????? ?????? ?? ??????? ???? ??? ??, ?? ????? ??? ????? ????? ?? ????? ??? ????? ???? ???????? ?? ???? ???? ?? ????? ????? ??? ?? ???, ???? ?? ?? ?? ??? ??? ???, ?? ???? ?????? ?? ??? ???? ????? ????? ?? ??? ????? ???????????? ?? ?? ???? ???? ?? ????? ?? ?? ????? ?????? ??? ???? ??? ?? ???? ?? ??? ??? ??? ?? ??, ?? ??? ?? ????? ?? ?? ?? ??? ??????? ??? ????? ????? ????? ??? ???? ????? ??? ?? ???? ?????? ????? ?? ????? ???? ??? ?????? ?? ?? ?? ?????????? ??? ??? ?????? ??????? ?? ?? ????, ????? ?? ????? ??????? ?? ??? ??, ?? ?? ?? ?????????? ??, ?? ??? ??? ????? ???? ?? ??? ?????, ?? ?????????? ?????? ???? ?????? ?????? ??? ???? ????? ?????? ?? ????? ??? ?? ?? ???? ????? ?? ????? ?? ?????????? ?? ??? ???? ????? ?? ?? ??????? ?? ?? ????? ??? ?????? ???? ??? ??? ??? ?? ??????? ?? ????? ??? ?? ??? ??? ????? ????? ???? ?????? ??? ???? ??? ??? ??????? ???? ??? ???? ??? ??? ??? ?? ?? ????? ????? ?? ???? ?? ???? ??? ???? ?? ??? ???? ???? ??????? ?? ???? ?? ?????/?? ??? ??? ?? ?? ???? ???, ?? ??????/???? ???? ???? ????? ??? ??? ???? ????? ?? ???? ???? ??? ?? ???? '??' ?? ??????????? ?? ??? ??? ???? ???? ?? ?????? ?? ???? ????? ???? ?????? ?????? ?? ??? ????? ?????, ??????? ???? ?? ???? ???? ????? ????? ??? ???? ???? ?? ???? ???? '??????' ???? ?? ?????? ?? ???? ??? ????? ??? ???? ?? ??? ?? ??? ??? ??? ?? ?? ?? ???? ?? ??? ?? ??? ???? ???? ?? ?? ?? ???? ??????? ??? ??? ?? ??? ????? ?????? ?? ???? ?? ???? ????? ????? ?? ???? ?? ???? ?? ?????? ???? ??? ??? ???? ?? ????? ???, ???? ????? ?? ???????? ??? ??? ??, ???? ?? ????? ?? ? ???? ???? ?? ?? ??? ?? ?? ????? ?? ?? ??? ?? ???? ???? ????? ???? ?? ??? ???? ???, ?? ?? ???? ??? ??? ??? ?? ?? ?? ??? ?? ?? ??? ?? ??? ??? ? ????, ?? ???? ??? ???, ?? ??? ?? ??? ?? ?? ??????? ??? ?? ???? ????????? ?? ???? ???? ??? ??? ??, "??? ??? ?? ??? ??, ????? ???? '???????' ???!", ??? ????? ??? ??? ????? ??? ???? ???? ?????? ??????? ?? ?????? ?????? ???? ??? ?????? ???? ???? ?? ??? ?????? ????? ?????? ?????? ???? ?? ????? ?? ??? ??? ??????? ?? ??? ???? ??? ??? ???? ??? ?????? ??????????? ?????? ??? ?????? ?????? ?? ????? ?? ???????? ?? ????? ?? ?????? ?????? ??, ?? ????????? ??? ?? ??? ?????? ?? ?????? ??? ?? ????????, ???? ??????? ?? ??????? ?? ???????? ?? ??????? ???? ?? ?? ????? ??? ?? ????? ?????? ?? ???? ????? ???? ??, ?? ??? ???? ??????? ?? ?????? ?? ?? ?? ????? ?? ?? ???? ?? ?? ??????? ??? ??? ??? ??? ??????????? ????? ????? ??? ??? ??, ?? ????? ?? ?? ?????? ????, ?? ?????? ?? ????? ???? ?????? ?? ???, ??? ????? ?? ?? ???? ??? ??, ???? ??? ??????? ?? ??? ?????? ???? ?? ??? ???? ??? ??? - ????? ?????? ?? ???? ??? ?? ??? ????, ?? ????? ??? ??? ?? ?? ??? ??? '???? ???? ?? ????? ??? ?? ???? ???? ? ?? ?? ?? ???? ?????? ?? ????? ??? ??? ??' ???? ???? ????? ???????????? ?????? ??? ???? ?? ???? ???, ?? ?????? ??? ??????????? ?? ?? ????? ?? ??? ???? ?? ?? ????? ????? ??????? ??, ?? ??????? ?? ???? ??????? ?? ???? ?? ????, ??????? ?? ???? ?????? ?? ??? ??????? ?????? ??? ?? ???? ???? ???? ???? ???? ???, ?? ??? ?? ?????? ?? '???? ??? ???????? ?? ??????? ?? ????' ???? ??? ???? ?? ???? ???? ???? ???? ?? ?????? ?? ???? ????, ?? ????? ????? ?? ??? ?? ??, ???? ??? ?? ?? ?? ???? ?????? ???? ??????? ?? ?????? ???????? ??? ?????? ?????? ???? ?? ???? ?? ??? ??? ????? ??? ?? ?? ?? ?? '????? ???' ????? ????? ??????? ?? ????? ?? ??? ????, ?? ?? ?? ???? ???? ?? ?????? ?? ????? ????? ???? ???? ????? ??? ??? ???????? ??? ?????? ?? ????? ??????? ?? ?????? ??? ?????????? ?????? ?? ???? ???? ??????? ?? ?????? ????, ?? ?? ??? ???? ?????? ???? ??, ????? ?? ?????? ?? ???? ????? ?? ????? ?????? ?? ????????? ????? ????? ???? ?? ????? ????? ?? ?????? ??? ?????? ?????? ???? ??? ????? ??? ?? ??? ?? ???? ???? ????? ?? ?????? ?? ???? ????????? ????? ?? ?????? ?? ??? ?? ??? ?? ??? ??, ???? ?? ?? ????? ??????? ?? ?? ?? ?????????? ??? ????? ?? ?? ???? ??? ??? ???? ?? ??????? ?? ?????? ????? ?? ???? ?? ?? ?????, ??? ?? ???? ??? ??? ? ??? ?? ?? ??????? ???????? ??? ???? ??, ?? ?? ?????, ???? ?? ??? ???? ??????????????? ?? ??? ??, ??????? ???? ???? ???? ?? ?? ?? ?? ??? ?????? ?? ??? ??????? ?? ????????? ?????? ??? ?? ????? ?? ??? ?? ???? ???? ??? ?? ??? ?? ?? ???? ????? '?????? ?? ????? ??????????? ?? ??? ??? ???? ?????' ???? ???? ?? ??? ??, ?? ??? ???? ????, ?? ???? ?? ?????? ??? ???? ?? ????? ???? ?? ???? ???? ?? ????? ?? ???? ??????????? ?? ? ?? ????? ?? ?? ??? ??????! ????? ????????? ???????? ?? ???, ????? ??????, ??????? ?? ??? ????? ????, ?? ?? ??? ??, ?? ????????? ????? ?? ?????????? ?? ????? ?????, ????? ?? ???? ?? ???? ?? ??????? ?????? ????? ?? ?? ??? ?? ??? ??, ?? ?????? ????????? ????? ?? ????? ?? ???? ??, ?? ?? ????? ??? ????? ??? ??? ??? ??????, ?? ???? ????? ?? ???? ?? ???? ??????? ??? ??? ('???? ??? ??????? ?? ??????? ?? ????!') ?? ??? ??? ???? ??? ?? ???? ??? ?? ?? ?????? ?????? ????? ?? ??? ????? ?? ???? ?????????? ????? ??? ?? ?? ????? ???? ???? ????? ??? ??????? ????? ???? ??? ???? ???? ???? ?? ??? ???? ???? ???? ?? ??? ????? ??? ??? ???, ???? ?????? ??? ?? ??, ?? ??????? ?? ????? ?? ?????-????? ?? ?????? ?? ??? ?? ??? ?? ???? ??? ?????? ??? ?? ?? ?????? ?? ????????? ??? ????, ?? ???? ????? ???? ??? ??? ?? ??? ??, ???? ?????? ??? ???? ?? ?? ??? ???? ?? ???? ?? ???? ??? ???? ??? ??? ??? ??? ??? ?? ????? ??? ????????? ??? ?? ????????? ?? ??? ?? ????? ???? ?? ????? ???? ??, ?? ????? ???? ?? ???? ????? ?? ??? ?????? ??? ?? ???? ?? ??, ?????? ?? ?????? ?? ?????? ?? ???? ???? ???? ???? ????? ??? ?? ?????? ?? ???? ?? ???? ?? ??? ???? ?? ?? ??? ?????, ??? ????? ?? ??? ???? ??? ???? ???? ???? ?? ????? ??? ?? ???? ?? ?? ??? ????? ???? ??, ??? ????? ?? ?? ????-???? ?????? ?? ???????? ??? ?? ??? ???? ??? ?? ?? ???? ???? ????? ???? ??????? ??? ??? ???? ?? ??? ?? ? ???? ??? ?? ???? ?? ?? ?????????????? ?? ??? ???? ????? ???? ????? ??? ???, ?? ???? ?? ???? ?? ?????? ????? _______________________________________________ Deewan mailing list Deewan at mail.sarai.net http://mail.sarai.net/cgi-bin/mailman/listinfo/deewan ------------------------------------------------------- -------------- next part -------------- ***** NOTE: An attachment named winmail.dat was deleted from this message because it possibly contained a windows executable or other potentially dangerous file type. Contact admin at sarai.net for more information. From raviratlami at gmail.com Sat Aug 26 16:18:10 2006 From: raviratlami at gmail.com (Ravishankar Shrivastava) Date: Sat, 26 Aug 2006 16:18:10 +0530 Subject: [Deewan] =?utf-8?b?4KSs4KWN4KSy4KWJ4KSX4KSwIOCkquCksCDgpLngpL8=?= =?utf-8?b?4KSo4KWN4KSm4KWAIOCkleCkviDgpKrgpY3gpLDgpKXgpK4g4KSX4KWA4KSk?= =?utf-8?b?IOCkuOCkguCkl+CljeCksOCkuS4uLg==?= Message-ID: <44F026EA.6090508@gmail.com> सुंदर प्रयास. अन्य, तमाम रचनाकारों को भी अवश्य प्रेरणा लेनी चाहिए. देखें - http://ajaypathak.blogspot.com/ रवि From dkrai24 at gmail.com Sun Aug 27 18:17:31 2006 From: dkrai24 at gmail.com (DHARMENDRA KUMAR RAI) Date: Sun, 27 Aug 2006 18:17:31 +0530 Subject: [Deewan] subscribe Message-ID: Dear sir I have read two books of Deewan a sarai 1 and 2. In those book i got info about public mail list. I want to know more please brief me. Thankfully Dharmendra Kumar Rai Wardha, Maharashtra -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060827/59fe37f6/attachment.html From jasmin_oo99 at yahoo.co.in Fri Aug 25 10:53:20 2006 From: jasmin_oo99 at yahoo.co.in (richa jain) Date: Fri, 25 Aug 2006 06:23:20 +0100 (BST) Subject: [Deewan] want to join you Message-ID: <20060825052320.84133.qmail@web7706.mail.in.yahoo.com> --------------------------------- Here's a new way to find what you're looking for - Yahoo! Answers Send FREE SMS to your friend's mobile from Yahoo! Messenger Version 8. Get it NOW -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060825/8b690223/attachment.html From k.k_mix at yahoo.co.in Fri Aug 25 10:29:35 2006 From: k.k_mix at yahoo.co.in (kiran kaur) Date: Fri, 25 Aug 2006 05:59:35 +0100 (BST) Subject: [Deewan] want to join you Message-ID: <20060825045935.75669.qmail@web7706.mail.in.yahoo.com> --------------------------------- Here's a new way to find what you're looking for - Yahoo! Answers Send FREE SMS to your friend's mobile from Yahoo! Messenger Version 8. Get it NOW -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060825/8f3728ea/attachment.html From ruchi_ooooo99 at yahoo.co.in Wed Aug 23 13:46:27 2006 From: ruchi_ooooo99 at yahoo.co.in (Ruchi ooooo) Date: Wed, 23 Aug 2006 09:16:27 +0100 (BST) Subject: [Deewan] try to join u Message-ID: <20060823081627.72483.qmail@web7815.mail.in.yahoo.com> --------------------------------- Here's a new way to find what you're looking for - Yahoo! Answers Send FREE SMS to your friend's mobile from Yahoo! Messenger Version 8. Get it NOW -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060823/d4772ab4/attachment.html From shahnawaz1980 at gmail.com Tue Aug 29 13:58:48 2006 From: shahnawaz1980 at gmail.com (Md Shahnawaz) Date: Tue, 29 Aug 2006 01:28:48 -0700 Subject: [Deewan] subscribe Message-ID: <282cc3f20608290128q68300328n70a60062ca747e72@mail.gmail.com> my nane is Mohd. Shahnawaz and i like to join with you. -------------- next part -------------- An HTML attachment was scrubbed... URL: http://mail.sarai.net/pipermail/deewan/attachments/20060829/d52cb820/attachment.html From ravikant at sarai.net Tue Aug 29 14:40:20 2006 From: ravikant at sarai.net (Ravikant) Date: Tue, 29 Aug 2006 14:40:20 +0530 Subject: [Deewan] Fwd: job opening in Hindi ant Toronto: please circulate Message-ID: <200608291440.20412.ravikant@sarai.net> Please send it to people who might be interested. Thanks Ravikant ---------- आगे भेजे गए संदेश ---------- Subject: job opening in Hindi ant Toronto: please circulate Date: सोमवार 28 अगस्त 2006 23:03 From: "R. Halpern" To: Ravikant at sarai.net The South Asian Studies Program at New College, University of Toronto, invites applications for a teaching-stream position in Hindi Language at the rank of Lecturer. This is an exciting opportunity to join an expanding program located within one of the most progressive and dynamic colleges at the University of Toronto. We would be grateful if you brought this opening to the attention of your graduate student and postdoctoral community. The text of the advertisement follows: Starting date July 1, 2007. PhD with expertise in South Asia; a record of excellence in undergraduate teaching; extensive experience in language teaching and knowledge of current second-language teaching methodologies; ability and willingness to teach and direct courses in introductory and intermediate Hindi language; native or near-native fluency in Hindi and English. Experience in developing and maintaining web-based instructional resources is a strong asset, as is ability to teach other South Asian languages such as Tamil, Bengali, or Urdu. Desire to develop upper level courses in various aspects of South Asian history, culture, or politics is expected. This position is renewable annually for up to four years; review for promotion to Senior Lecturer may take place in the fifth year, contingent upon excellence in teaching and evidence of future pedagogical/professional development. Salary will be commensurate with qualifications and experience. Applications must be received by December 1, 2006. Please send a letter of application, curriculum vitae, a sample of teaching materials, student evaluations, three letters of reference, and a statement of teaching philosophy to Professor Rick Halpern, Principal, New College, University of Toronto, 300 Huron Street, Toronto, Ontario M5S 3J6, CANADA. Please direct queries to the Principal's Assistant, Ms. Fang Zhang The University of Toronto is strongly committed to diversity within its community and especially welcomes applications from visible minority group members, women, Aboriginal persons, persons with disabilities, members of sexual minority groups, and others who may contribute to further diversification of ideas. The University of Toronto offers the opportunity to teach, conduct research and live in one of the most diverse cities in the world. All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. ***************************************************************************** ** Prof. Rick Halpern Principal New College, University of Toronto 300 Huron Street Toronto, ON M5S 3J6 CANADA phone: 416-978-2461 fax: 416-978-4345 ********************************************************************** ********* ------------------------------------------------------- From chandma1987 at gmail.com Wed Aug 30 14:40:20 2006 From: chandma1987 at gmail.com (chandan sharma) Date: Wed, 30 Aug 2006 14:40:20 +0530 Subject: [Deewan] aayeingi chithiyaan Message-ID: वाल्मीकि विमल आयेंगी चिट्ठियां अब नहीं आती चिट्ठियां पिता की पुत्री के नाम न पुत्र की पिता के प्रेमिका की प्रेमी के नाम न प्रिय की प्रेयसी के अब तकिये के नीचे न कोई चुराकर रखता है पत्रिकाएं न सहेजता-याद करता है अतीत के क्षण अब रोई-रोई पतिया नहीं लिखवाती कोई रजमतिया परदेसी बलमा के नाम और न बिछुड़ने के गम में आता है बालम का खत पहले विरहिणी और परदेसी के पत्रों में पिरोया होता था– अन्तर्मन का हर अहसास अक्षर-अक्षर में रहता था 'ढाई आखर' स्नेहसिक्त और प्रेम पगे पत्र जोड़ते थे मन से मन के तार घर-परिवार से गांव-जवार तक के हाल-चाल का होता था विस्तार अपने प्रियजनों को संदेश-उपदेश चिट्ठियां पढ़ बच्चे सीखते थे शिष्टाचार सदी के अंत में कैसे पसर गयी संवादहीनता कैसे सिकुड़ गये संबंध कैसे सूख गया संवेदनाओं का सरोवर क्या इक्कीसवीं सदी में नहीं आयेंगी चिट्ठिया? हल्दी हल्दी तुम परायी हो जाओगी इतनी जल्दी कभी हमने सोचा भी नहीं था चली जाओगी तुम सात समंदर पार तुम्हारा हो जायेगा ऐसा बेदिल मउआर कि तुम्हें उखाड़-पखाड़कर नोंच-चोंथ और पीस-पकाकर बनायेगा दवाई भेजेगा दुनिया के बाज़ार में अपने 'ब्राण्ड-नेम' के साथ ताकि कोई नकल न कर ले अब तो तुम्हारी प्रजाति भी हो जायेगी संकर धरती में धंसकर इतनी गठीली-मोटी हो जाओगी सेठानी की तरह कि पहचान में ही न आओगी तुम्हें दे दिया जायेगा दूसरा नाम डंकल अंकल के ड्राफ्ट को कर्ज़ के लालच में खारिज़ नहीं कर पाये टुकुर-टुकुर ताकने की पुरानी परम्परा को न छोड़ पाये हम पाण्डवों और भीष्म की तरह ताकते रहे होकर मौन किसी कृष्ण ने न ली सुधि तुम विवशता में पेटेंट बन गयी 'खास' की बिना इजाजत तुम किसी से न बोल-बतिया सकती और न कर सकती दवा-दुआ ही तुम्हारे बिना कैसी लगेगी दाल और सब्जी कौन होगा मंगल का प्रतीक तुम्हारे जाने के बाद कैसा लगेगा मंडप तुम न उबटन बन लग सकोगी कुंवारी कन्याओं की देह में और न चढ़ पाओगी तेल के साथ दूलहे-दुलहन के माथे पर अब तुम्हारे बिना कैसे होंगे हाथ पीले तुम न दे पाओगी खांसते लोगों को राहत न चोट पर चूने के साथ पसर कर पाओगी दर्द हरण और अब न हल्दी का हलुआ नसीब होगा प्रसूति को तुम जा रही हो हल्दी हम कैसे करें बेटी की तरह विदाई तुम परायी हो गयी और हम भरी आंखों से टुकुर-टुकुर ताक रहे हैं आह भी तो नहीं भर सकते! From raviratlami at gmail.com Wed Aug 30 14:44:50 2006 From: raviratlami at gmail.com (Ravishankar Shrivastava) Date: Wed, 30 Aug 2006 14:44:50 +0530 Subject: [Deewan] =?utf-8?b?4KSy4KS/4KSo4KSV4KWN4KS4IOCkruClh+CkgiDgpLU=?= =?utf-8?b?4KS+4KSv4KSw4KS4IQ==?= Message-ID: <44F5570A.3000500@gmail.com> एक पुराना आलेख - मज़े लें :) लिनक्स वायरसः एक दुःस्वप्न ------------------ विंडोज़ के लिए घटिया, रद्दी, वाहियात वायरस लिख-लिख कर जब उबकाई सी होने लगी तो ज़ेहन में बिजली सी कौंधी. चलो लिनक्स के लिए वायरस लिखा जाए. आखिर अब यह विंडोज़ के बाद दूसरे नंबर पर तो है ही अतः लोगों को ज्यादा न सही थोड़ा-मोड़ा नुकसान तो पहुँचाएगा ही सही. फटाफट एक ट्रोज़न हॉर्स लिखा जो रिमोट लिनक्स तंत्र में जा कर वहाँ के सीडी रॉम ड्राइव ट्रे को अंदर बाहर कर सकता था. अब बारी आई उसके परीक्षण की. पर, अरे यह क्या? ट्रोज़न हॉर्स चलने के बजाए हर बार नए नए त्रुटि संदेश लेकर लौट आता था. जैसे कि तंत्र के /etc/fstab या mtab में कोई सीडी रॉम पारिभाषित नहीं है, कोई सीडी रॉम डिवाइस /dev में उपलब्ध नहीं है. या फ़िर सीडी रॉम ड्राइव सिर्फ रूट उपयोगक्ता के द्वारा ही माउन्ट / अनमाउन्ट किया जा सकता है. फ़िर ड्राइव माउन्ट / अनमाउन्ट करने के लिए अलग अलग अनुमतियों के कारण हर बार अलग अलग उपयोक्ताओं के पासवर्ड के त्रुटि संदेश ले आता था. ट्रोज़न चलने के बजाए यह भी त्रुटि बताता था कि सीडी रॉम ड्राइव माउन्ट / अनमाउन्ट नहीं किया जा सकता चूंकि उपकरण व्यस्त है. ख़ूब मगज़मारी के बाद भी बात नहीं बनी चूंकि हर दूसरे लिनक्स सिस्टम में या तो सीडी रॉम ड्राइव के माउन्ट होने की डिरेक्ट्री भिन्न होती थी, या अनुमतियाँ भिन्न मिलती थी या फ़िर वह उपयोक्ताओं के खाते में पारिभाषित ही नहीं होती थी! कुछ ख़तरनाक क़िस्म के, सुरक्षित लोगों ने तो कर्नेल मॉड्यूल में सीडी रॉम ड्राइव को शामिल ही नहीं किया था! मुझे ख़ासी कोफ़्त हुई. विंडोज़ के लिए दर्जनों वायरस चुटकी में लिख लेने वाला लिनक्स के लिए एक सड़ा सा ट्रोज़न नहीं लिख सकता! शर्म!शर्म! अबकी बार मैं जबरदस्त तैयारी कर मैदान में उतरा और एक शानदार वायरस लिखा जो खुद-बखुद लिनक्स तंत्र में संस्थापित होकर वहां की फ़ाइलें नष्ट कर सकता था. पर यह क्या? परीक्षण के दौरान तो और भी अजीब - अजीब तरह की मुश्किलें आईं. किसी तंत्र में कम्पाइलर का कोई संस्करण संस्थापित नहीं था अतः वायरस सोर्स के द्वारा संस्थापित हो ही नहीं सकता था. कोई आरपीएम बाइनरी पैकेज़ को ही संस्थापना के लिए स्वीकार करता था तो किसी लिनक्स तंत्र में संस्थापना हेतु डेब पैकेज आवश्यक था. कहीं पर जीपीजी सुरक्षा कुंजी की आवश्यकता होती थी तो कहीं फ़ाइल डिपेंडेसीज़ के लफ़ड़े मिलते थे. मैंने यहाँ भी हार मान ली. अंततः मैंने एक एक्स-विंडोज़ का वायरस लिखा. आख़िर विंडोज़ - एक्स विंडोज़ एक जैसे ही तो हैं. अपनी जबर्दस्त चतुराई, समस्त कलाकारी और शैतानियत की पराकाष्ठा के उपयोग से मैंने अंततः एक्स विंडोज के लिए एक वायरस लिखा जो लिनक्स तंत्रों में घुसकर मारामारी मचा सकने की क्षमता रखता था. नेट पर वायरस जारी करने के बाद उसके द्वारा लोगों पर होने वाले असर के बारे में सोच सोच कर उत्तेजित, कंपित, उत्साहित और न जाने क्या क्या होता रहा. पर यह क्या? एक दिन बीता, दो दिन बीता, कई दिन बीत गए. कहीं कोई हलचल नहीं हुई, कहीं कोई सुगबुगाहट नहीं हुई. ज़ाहिर सी बात थी अपना यह अभियान भी फ़ेल हो गया था. डरते डरते त्रुटियों की लॉग फ़ाइल खोली. पढ़ते पढ़ते रोना आ गया. हे भगवान! लिनक्स में तो तमाम तरह के विंडोज़ हैं. कोई टीडब्ल्यू एम उपयोग करता है, कोई ग्नोम २.४ तो कोई केडीई ३.२ वहीं किसी को एक्सएफ़सीई ४.२ का संस्करण पसंद है. लिहाज़ा मेरा वायरस हर जगह जाकर, क्यूटी, जीटीके और डबल्यूएक्स-विंडोज़ में कन्फ़्यूज़ होकर पैंगो बन जाता था कि इधर जाऊँ या उधर जाऊँ? किधर जाऊँ? कोई अपना एक्स-विंडोज़ वीटी ७ पर चलाता था तो कोई ४ पर या फिर ५ पर. कोई कोई तो एक साथ ही दो-तीन तरह के एक्स-विंडोज़ एक साथ ही वीटी ४,५,६,७ पर चला रहे होते थे तो किसी लिनक्स तंत्र का विंडो चलता हुआ दिखता तो कहीँ था, पर वह चलता कहीँ और रिमोट स्थान से था! विंडोज़ के नामी वायरस लेखक! लिनक्स में दिख गई तेरी औकात! रोते रोते मेरी हिचकियाँ बंध गईं. तभी किसी ने मुझे झंझोड़ा. सपने में क्या कोई बग फ़िक्स नहीं हो रहा था क्या? पत्नी सुबह की चाय लेकर खड़ी थी. सुबह के क्षीण उजाले में उसका चिर प्रफ़ुल्लित चेहरा और भी निख़रा हुआ था. नहीं यार, दुःस्वप्न में तुम मुझसे बिछुड़ गई थीं- मैंने उसे अपनी ओर भींचते हुए कहा. *+*+* From ravikant at sarai.net Wed Aug 30 16:06:11 2006 From: ravikant at sarai.net (Ravikant) Date: Wed, 30 Aug 2006 16:06:11 +0530 Subject: [Deewan] =?utf-8?b?4KSr4KS+4KSv4KSwLeCkq+ClieCkleCljeCkuCAtIA==?= =?utf-8?b?4KSq4KWB4KSw4KS+4KSo4KWAIOCkluCkrOCksD8=?= Message-ID: <200608301606.12296.ravikant@sarai.net> इस डाक-सूची के लोगों को तो पता ही है पद्मा फ़ायरफ़ॉक्स की एक और नायाब ख़ूबी है, जिसकी मदद से आप हिन्दी के कई अख़बार व पत्र युनिकोड में पढ़ सकते हैं. रविकान्त http://meri-awaaz-suno.blogspot.com/2006/06/blog-post_25.html रविवार, जून २५, २००६ फायर-फॉक्स - पुरानी खबर? जानता हूँ कि ये अब पुरानी खबर है फिर भी सच्‍चाई तो सच्‍चाई ही है, और सच यह है कि आज के समय में मॉज़िला फायर-फॉक्स से बेहतर वेब-ब्राऊज़र नही। और बात सिर्फ टैब्ड ब्राऊज़िंग की ही नही - वो तो ऑपेरा, नेटस्केप, और नये आने वाले ईन्टर्नेट एक्सप्रलोरर में भी है। बात तो बहुत सी बातों के खूबसूरत जोड़ की है। टैब्स के साथ कई अन्य अतिरिक्त फीचर्स हैं, वास्तव की हर ज़रूरत के लिये, जो कि आपके अंतर्जाल भ्रमण के अनुभव में चार नहीं चालीस चाँद लगा देते है। बिना जगह घेरने वाले टूल-बारों के कई सर्च-ईजिंन की सुविधा, मनमोहक रंग-रूप की थीम, और अगणित एड-ऑन। एड-ऑन ये फीचर होता है फयर-फॉक्स में जिससे आप अपनी सुविधा अनुसार अपने ब्राऊज़र की खूबियाँ और फंक्शनालिटीज़ घटा-बढ़ा सकतें हैं। अगर आपने चूहे-के-ईशारों (माऊस-गेस्चर्स) के बारे में नही सुना तो आप वेब-ब्राऊज़िंग की दुनियाँ के पा षाण युग में जी रहें हैं - ऐसी लत लगी है इसकी तो कि क्लिक करनें में भी आलस आने लगा है अब। मा ऊस-गेस्चर्स वो होता है जिसमे कई सामान्य प्रक्रियायें, जैसे कि वापस जाना (बैक), पन्ना पुनः लॉ ड करना, खोलना-बंद करना, और जाने क्या-क्या के लिये क्लिक करनें की जरूरत नही, सिर्फ माऊस को घुमा देना ही काफी है। हाँलाकि अतिरिक्त एड-ऑन तो अपनी जरूरत के हिसाब से आप इंस्टाल कर ही सकतें है, मैनें जो उपयोगीं पायें उनकी सूची प्रस्तुत है: 1. टॉकबैक (Talkback) - ये किसी कारण से यदि फायर-फॉक्स क्रेश कर जाये तो उसकी सूचना बनाने वाली टीम को देने के लिये है, जिससे कि वो खामियों का विश्लेषण कर उसको सुधारने की कोशिश करें। ये उपयोगकर्ता के सीधे काम का नही और इसकों इंस्टाल करनें की भी ज़रूरत नही क्योंकि ये खुद-बखुद ही इंस्टाल हो जाता है। 2. पी डी एफ डाऊनलॉड (PDF Download) - अगर आप अंतर्जाल से किसी पी डी एफ फाईल को डाऊनलॉड करतें हैं, अथवा बिना कंप्यूटर पे उतारे ही ब्राऊज़र में ही देखना चाहतें हैं तो यह उप्योगी है। 3. आई ई व्यू (IE View) - जैसा कि आप अब तक समझ ही गये होंगे कि हिन्दी ईन्टर्नेंट एक्सप्लो रर के ब्राऊज़रों मे ही शुद्ध दिखती है, और कई जालपृष्ठ आप आई ई मे खोलना चाहें तो फयर-फ़ॉक्स से सीधा कड़ी को आई ई मे खोल सकतें हैं बिना यू आर एल कॉपी करे। पर ध्यान दें, इसका ज्यादा उपयो ग ना करें वरना फयर-फॉक्स को इस्तेमाल का फायदा ही क्या? 4. वन क्लिक वेदर (1-ClickWeather) - अपने ब्रऊज़र पे ही मौसम की ताज़ा जानकारी पाईये। 5. याहू फ़ोटो अपलोड टूल (Yahoo! Photos Easy Upload Tool) - अगर आप याहू! पे तस्वीरें अपलॉड करतें है तो ये लाभकर हो सकता है। 6. कस्टमाईज़ गूगल (Customize Google) - अगर चाहें तो गूगल में विज्ञापन इत्यादि को प्रति बंधित कर सकते हैं। 7. ग्रीज़ मंकी (Greasemonkey) - ये सुविधा कई अन्य सुविधाओं का द्वार है। ग्रीज़ मंकी कई स्क्रिप्ट चलाने में मदद करता है जो कि कई वेबसाईटों मे सुविधा के फीचर और प्रारूप आपकी पसंद के अनुसार ढाल सकतीं हैं। 8. गूगल सेफ़ ब्राऊज़िंग (Google Safe Browsing) - फिशिंग के हमले से बचनें का शौक हो तो इसका उपयोग करें। 9. टैब मिक्स प्लस (Tab Mix Plus) - यह बहुत ही महत्वपूर्ण सुविधा है जिससे आप टैब्स के कई सैटिंग्स बदल सकते हैं और अपने अनुभव को और भी आसान बना सकतें हैं। उदाहरणतः टैब बदलनें के लिये टैब पे माऊस रख देना भर, और पेज़ के लोड होने की प्रोग्रेस दिखना। 10. ऑल-इन-वन गेस्चर्स (All-in-One Gestures) - और यह है ताज मे सितारा, शहंशाहों का शहंशाह, माऊस गेस्चर्स। अब ब्राऊज़ करने के कामों, जैसे टैब खोलना-बंद करना, कड़ी को नई खिड़की या नई टैब पे खोलना, पीछे और आगे जाना, री-लोड या खिड़की छोटा (मिनिमाईज़) करना, कोड, कूकीज़ देखना, और भी जाने क्या-क्या सब कलई की एक लचक से संभव। 11. डॉऊन देम ऑल (DownThemAll!) - अगर किसी पन्ने से कई कड़ीयाँ एक साथ डाऊनलॉड करनी तो अब हर किसी पे एक-एक कर क्लिक करनें की ज़रूरत नही। ये खुद-बखुद ही कड़ियाँ चुन लेगा आपके लिये। 12. आई ई टैब (IE Tab) - आई ई व्यू की तरह ही आई ई टैब भी किसी भी पन्ने को हिन्दी में दर्शाता है पर इसमे आप फयर-फॉक्स के टैब में ही ईन्टर्नेट एक्सप्लोरर खोल सकते हैं और अतिरिक्त खि ड़की खोलने की आवश्यक्ता नही। 13. गूगल नोटबुक (Google Notebook) - यदि गूगल नोटबुक के उपयोग्कर्ता हैं तो किसी भी पन्ने से सीधे सेलेक्ट कर नोटबुक में लिख सकतें हैं। 14. पर्फोर्मेंसिंग (Performancing) - ये सुविधा ब्लॉगिंग के शौकीनों के लिये काफी उपयोगी है, किसी भी पन्ने से सीधे अपनें किसी भी ब्लॉग पे लेख लिख सकतें हैं। आप इन एड-ऑन को इंस्टाल करने के लिये यहाँ जाकर दिये गये नाम से खोजें। यहाँ भी जाईये, बहुत से अतिउपयोगी एड-ऑन की सूची बना रखी है। From ravikant at sarai.net Wed Aug 30 18:49:33 2006 From: ravikant at sarai.net (Ravikant) Date: Wed, 30 Aug 2006 18:49:33 +0530 Subject: [Deewan] Aditya Behl's talk at sarai Message-ID: <200608301849.33826.ravikant@sarai.net> dilli ke saathiyo, kripaya zaroor aayen! Ravikant ---------- Aditya Behl will speak at SARAI-CSDS on 1st September at 5 pm on the DABISTAN-MAZAHIB, the Mughal Encylcpaedia of Religion of the 1650s. There will also be a discussion on medieval Sufi poetry in Hindavi, also known as Sufi Premakhyans notably Madhu Malti by Manjhan, Jayasi's Padmavat and Qutban's Mrigavati. Currently, the chair of South Asian Studies Department at the University of Pennisylvania, Philadelphia, Professor Behl's work ranges from medieval Sufi and Bhakti poetry and romances, to early modern Urdu and Hindi literature and literary culture. From raviratlami at gmail.com Thu Aug 31 10:18:38 2006 From: raviratlami at gmail.com (Ravishankar Shrivastava) Date: Thu, 31 Aug 2006 10:18:38 +0530 Subject: [Deewan] =?utf-8?b?W0Z3ZDog4KSP4KSVIOCkqOCkr+CkviDgpKzgpY3gpLI=?= =?utf-8?b?4KS+4KSXIOCklOCksF0=?= Message-ID: <44F66A26.8030800@gmail.com> ब्लॉगर पर हिन्दी भाषा का प्रथम, संपूर्ण उपन्यास. http://jrsoni2.blogspot.com प्रस्तुतकर्ताओं को सादर नमन्. -------- Original Message -------- Subject: एक नया ब्लाग और Date: Thu, 31 Aug 2006 01:42:39 +0530 From: bhuvneswar rath To: raviratlami at gmail.com रवि भइया, आज तो रटारट पानी गिरत हे जी । आपके डाहर घलोक गिरत होही । एक ठिन आउ बनायें हवं । देखहू आउ बताहू । आने आउ नित्ता बनाये बर आउ का करना चाही । जम्मों ला मया कहिबे गा । http://jrsoni2.blogspot.com -- संपादक सृजनगाथा www.srijangatha.com From ravikant at sarai.net Thu Aug 31 16:56:43 2006 From: ravikant at sarai.net (Ravikant) Date: Thu, 31 Aug 2006 16:56:43 +0530 Subject: [Deewan] =?utf-8?b?W0Z3ZDog4KSP4KSVIOCkqOCkr+CkviDgpKzgpY3gpLI=?= =?utf-8?b?4KS+4KSXIOCklOCksF0=?= In-Reply-To: <44F66A26.8030800@gmail.com> References: <44F66A26.8030800@gmail.com> Message-ID: <200608311656.43751.ravikant@sarai.net> शुक्रिया रवि, लेकिन मैं इसे ठीक से पढ़ क्यों नहीं पा रहा हूँ? सृजनगाथा भी कुछ तुड़ा-मुड़ा आ रहा है. न ही मैं इसमें से नक़ल कर पा रहा हूँ. पाठ खाँचे से बाहर जा रहा है. रविकान्त गुरुवार 31 अगस्त 2006 10:18 को, Ravishankar Shrivastava ने लिखा था: > ब्लॉगर पर हिन्दी भाषा का प्रथम, संपूर्ण उपन्यास. > > http://jrsoni2.blogspot.com > > प्रस्तुतकर्ताओं को सादर नमन्. > > > -------- Original Message -------- > Subject: एक नया ब्लाग और > Date: Thu, 31 Aug 2006 01:42:39 +0530 > From: bhuvneswar rath > To: raviratlami at gmail.com > > रवि भइया, > > आज तो रटारट पानी गिरत हे जी । आपके डाहर घलोक गिरत होही । > > एक ठिन आउ बनायें हवं । > > देखहू आउ बताहू । आने आउ नित्ता बनाये बर आउ का करना चाही । > > जम्मों ला मया कहिबे गा । > > http://jrsoni2.blogspot.com