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                  <text>Artha Journal of Social Sciences</text>
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                <text>Sunder, Sumithra</text>
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                <text>Public spaces and institutions have often been linked when it comes to art practice in Bangalore. Whether it was the large-scale earthworks or the appropriation of heritage spaces taken on by artists, the spaces occupied by the public and the public art institutions have had a strong impact on the ways art gets produced in the city. There is also an additional element of reclaiming public spaces that is the struggle of most cities today.
Since February this year, the artist community of Bangalore has protested against the move made by the government to 'hand over' the Venkatappa Art Gallery to a private entity. This has spurred a lot of conversations about public spaces and public resources in the city, specifically, in relation to art. Art history and the 'teaching of art' have often been celebrated as an achievement of European scholarship. It is true that a number of institutions set up to teach art in India are a colonial legacy, but what emerged post-independence is a culture of rejecting European aesthetics and trying to form a national one if it were. And in our era of post-modern/post-colonial awareness, there is a fluidity in the conduct of the institutions and in the understanding of public spaces that have contributed to the aesthetic of the contemporary artist. In the light of the recent events, this paper will examine the ways in which the art gallery and later the freeform collectives serve as educational spaces for students and subsequently, explore the implications of the lack of such spaces in the practice of art in contemporary times.
Art Education in post-independence India reflected the uniquely Indianized, modern art-making. However, this modernist or 'formal' concept of art teaching and learning, prevalent during the prior era, still prevails in the majority of art schools in the country. Here, Modernist and formal are terms used with reference to the way art is made. A formal approach to painting would be in pure painting techniques that used oil/watercolour/acrylic paint on Canvas/paper. It also refers to form in the painting where there may be an abstract or figurative subject painted but it remains in the form of a painting, unlike contemporary art where the work of art is no longer restricted to a medium. It is important for us to note at this juncture that while the city that is now known as a font of conceptual and performance-based work, still retains institutions, such as the art schools that teach a modernist aesthetic. Therefore, one could safely assume that the spaces that exist outside of the art school feed into the art teaching-learning for students. That is to say, the culture that developed since the establishment of the early art schools, fostered an environment of experimentation. This kind of art practice led to the dematerialized artworks and research-led initiatives that have become a part of contemporary art in Bangalore.
The art school, the way we know it is a product of a colonial legacy and a nationalist need to 'encourage' all forms of education. But is there a school that can exist without an idea, or an inheritance? An ethics of knowledge is the foundation of any school in its essential definition as a gathering place but the complexity of what that knowledge should be, how its production is configured and unfolds, who translates it across the bridges of generations and time, whether its structure is rigid or limpid in its willingness to change, whether it is resistant to external mandates or longs for the imprimatur of an outside authority, and what status and success signify for its teachers and graduates—all of these define the place of gathering, its ethical complexion, its reasons for being, and what learning means there (Madoff, 2009). It would also be good to note here that the 20th century saw significant changes in terms of artistic practice. One significant change in the these years is a 'flattening' of genres/styles/discipline. Keeping this in mind, then one can ask, how do the art schools qualify teaching the traditional practices of painting, sculpture, print-making and such as 'visual art' and nothing else? How has it become, that the residencies and collectives that spring out of art school or exist outside of the art school have become incubators of what is contemporary?
In Bangalore, there has been no dearth of alternative institutional and art making spaces. Of these, the contemporary art galleries set up in the 50's and 60's were important to the construction of the contemporary aesthetic that is a signature of Bangalore-based artists and students. This aesthetic is seen in the large number of performance works as well as the collaborations and collective formations that produce art. The Venkatappa Art Gallery, due to its eminence as an art space for young artists as well as a museum commemorating a modern Master, becomes a nodal point in the construction of contemporary art history of Bangalore.
The Gallery, as seen by the artist community, is an inclusive and democratic space which can be hired at low costs by young artists and those from the provinces, and also excellent for non-commercial and experimental art projects, festivals, workshops, seminars, talks and meetings. Most of the artists who are part of the Venkatappa Art Gallery forum have had their first solo shows in the gallery. Through the years, there have been group shows, collective projects, eight state Kala Melas, retrospective of RM Hadpad, The Khoj International Artists Residency, The International Live Art Festival, Co-Lab and Ananya Drishya artist talks, and in more recent times, the IFA Public Art presentations, to name a few activities. These events have been open to the public and have been well attended. Students from local art schools, as well as those from other cities in the State, have been known to present/display here following the completion of their studies. Presenting one‘s artwork in the gallery is almost like a rite of passage and therefore has evidenced work of a number of prominent artists.</text>
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                <text>https://journals.christuniversity.in/index.php/artha/article/view/801</text>
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                <text>https://journals.christuniversity.in/index.php/artha/article/view/801/562</text>
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                <text>Copyright (c) 2016 Artha - Journal of Social Sciences</text>
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                <text>Artha Journal of Social Sciences; Vol. 15 No. 3 (2016): Artha Journal of Social Sciences; 67-80</text>
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                <text>Modern</text>
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                <text>Venkatappa Art Gallery</text>
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                <text>When Modern meets Contemporary: Venkatappa Art Gallery and Informal Art Education in Bangalore</text>
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                <text>Mark Bonjour, Mini</text>
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                <text>Films on Indian themes made by western filmmakers have often been ridden with stereotypes and clichés. The wave of Raj films that came out of British and American production companies in the years since India‟s independence have largely been nostalgia-driven, and they almost invariably end up exoticising the region. However, with regard to films made by the nonHollywood film company named Merchant-Ivory Productions, audiences had come to expect more sophisticated and nuanced treatments of themes drawn from Indian history. This paper examines one of their films, The Deceivers, which deals with the twin themes of Thuggee and Sati. The discussion of the film is set against the broader context of the literature and cinema spawned by Western interest in the Raj era. While it is certainly more aesthetically sophisticated than the Hollywood type of Raj films, The Deceivers nevertheless falls short of engaging with the complexities of 19th century India in any meaningful way and is especially blind to the tendency of colonial propaganda to criminalise entire ethnic groups. Such attempts at cross-cultural representation are nevertheless valuable from a pedagogic point of view in the specific context of postcolonial approaches in the humanities classrooms in our colleges.</text>
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                <text>https://journals.christuniversity.in/index.php/artha/article/view/798</text>
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                <text>10.12724/ajss.38.2</text>
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                <text>Centre for Publications, CHRIST (Deemed to be University), Bangalore</text>
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                <text>https://journals.christuniversity.in/index.php/artha/article/view/798/558</text>
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                <text>Copyright (c) 2016 Artha - Journal of Social Sciences</text>
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                <text>Artha Journal of Social Sciences; Vol. 15 No. 3 (2016): Artha Journal of Social Sciences; 21-40</text>
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                <text>0000-0000</text>
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                <text>Colonial</text>
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                <text>Empire</text>
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                <text>Gender</text>
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                <text>Sati</text>
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                <text>Stereotypes</text>
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                <text>Thuggee</text>
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                <text>Thuggee and Sati Revisited: The Persistence of the Colonial Gaze in the Merchant Ivory Film the Deceivers</text>
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                <text>Rassendren, Etienne</text>
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                <text>There has been much rigorous questioning about the idea and practice of colonialism in current reflections on colonialism and post/coloniality. Except for some serious intellectual examination over the inter-relations between gender and colonisation in Spivak‟s work on subalternity and gender, not much has been articulated about imperial desire and colonial sexualities. Moreover, there has been no signifying exploration of the distinction between imperialism and colonialism particularly as the difference is situated in desire. This paper attempts to locate the difference between imperial and colonial as they overlap in imperial desire. I also wish to expose its continuity in contemporary representations of colony, particularly in film and conclude by making comments on pedagogic practices in the current English studies classroom. In so doing, I intend to situate the politics, both cultural and sexual, within the current representational politics of post/coloniality.  </text>
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                <text>https://journals.christuniversity.in/index.php/artha/article/view/797</text>
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                <text>10.12724/ajss.38.1</text>
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                <text>eng</text>
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                <text>Centre for Publications, CHRIST (Deemed to be University), Bangalore</text>
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                <text>https://journals.christuniversity.in/index.php/artha/article/view/797/560</text>
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                <text>Copyright (c) 2016 Artha - Journal of Social Sciences</text>
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                <text>Artha Journal of Social Sciences; Vol. 15 No. 3 (2016): Artha Journal of Social Sciences; 1-20</text>
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                <text>0000-0000</text>
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                <text>Imperial</text>
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                <text>Desire</text>
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                <text>Imperial Desire and its Implications for Contemporary Representation of Colony</text>
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                <text>Private Participation in Higher Education: The Social Dilamma</text>
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                <text>Tiwari, N D</text>
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                <text>Several attempts have been made in India for regeneration and afforestation by forming cooperatives, women groups, community organisations of village level by government and non-government agencies. There are several success stories.</text>
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                <text>https://journals.christuniversity.in/index.php/artha/article/view/789</text>
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                <text>Copyright (c) 2016 Artha - Journal of Social Sciences</text>
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                <text>Artha Journal of Social Sciences; Vol. 4 No. 1 (2005): Artha Journal of Social Sciences; 43-52</text>
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                <text>Understanding Participation in Forestry Development</text>
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                <text>Sabapathy, Tara</text>
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                <text>Teachers are the saviours of a nation. They dispel darkness and bring light into everyone's life; they remove ignorance and spread knowledge. They steer the nation towards success and prosperity. Their role in national development is unquestionable. A nation therefore requires teachers to be totally committed and dedicated to their profession. Occupational commitment of teachers is a crucial input for school efficiency and they are held responsible for the academic performance of their students. Colaralli and Bishop (1990) opine that occupational commitment might be an important precursor of exemplary work performance. Wallace (1995) concluded that employees who are strongly committed to their occupation might be more likely to set a higher standard of performance quality and be more willing to work hard to achieve this standard than those with weak commitment. This study examines the relationship between occupational commitment of IX standard teachers and their work ethics, job involvement and perceived organizational support. The study further focuses on whether significant differences in the independent variables would account for significant differences in the dependent variable occupational commitment of teachers. The study was conducted on a sample of 120 IX standard teachers giving due representation to gender and type of school management. Four tools were administered of&amp;nbsp;which three were adapted and standardized by the investigator. The data was analysed using correlation and t-test. The results revealed that there was a highly significant and positive correlation between occupational commitment and work ethics, occupational commitment and job involvement and occupational commitment and perceived organizational support. The t-test analysis revealed that teachers who had higher levels of work ethics, job involvement and perceived organizational support had higher levels of occupational commitment. The study conclusively reveals that teachers require to possess a high level of work ethics and job involvement to be committed. The study further pinpoints that perceived organizational support is vital for increasing occupational commitment of teachers. Educational organizations therefore need to value the contribution of teachers and care about their well-being. The teaching profession is a humane one and it requires its teachers to be treated with humaneness. Basic material rewards such as pay and promotion and social rewards such as approval and recognition would go a long way in enhancing the occupational commitment of teachers.</text>
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                <text>https://journals.christuniversity.in/index.php/artha/article/view/788</text>
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                <text>10.12724/ajss 6.3</text>
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                <text>Centre for Publications, CHRIST (Deemed to be University), Bangalore</text>
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                <text>https://journals.christuniversity.in/index.php/artha/article/view/788/765</text>
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                <text>Copyright (c) 2016 Artha - Journal of Social Sciences</text>
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                <text>Artha Journal of Social Sciences; Vol. 4 No. 1 (2005): Artha Journal of Social Sciences; 30-42</text>
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                <text>Identifying Correlates of Occupational Commitment of Teachers</text>
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                <text>D'Souza, Lancy</text>
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              <elementText elementTextId="4706">
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                <text>This study reports the influence of shyness on self-concept and academic achievement in high school children. In the present study Crozier's (1995) shyness scale, Singh's (1986) self-concept scale and academic achievement of the students were employed to find out the influence of shyness. 240 high school students served as subjects. Results revealed that as the shyness level increased self-concept of
the students decreased linearly. Shyness is found to affect academic achievement negatively and significantly. Also, remedial measures for shyness/social phobia and further management have been discussed.
Key Words: Shyness, Social Phobia, Self concept, Academic Scores &amp;amp; High school students.</text>
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                <text>https://journals.christuniversity.in/index.php/artha/article/view/787</text>
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                <text>10.12724/ajss.6.2</text>
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                <text>Centre for Publications, CHRIST (Deemed to be University), Bangalore</text>
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                <text>https://journals.christuniversity.in/index.php/artha/article/view/787/764</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4714">
                <text>Copyright (c) 2016 Artha - Journal of Social Sciences</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="48">
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                <text>Artha Journal of Social Sciences; Vol. 4 No. 1 (2005): Artha Journal of Social Sciences; 23-29</text>
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                <text>0000-0000</text>
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            <name>Title</name>
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                <text>Shyness / Social Phobia: INFLUENCE ON SELF-CONCEPT AND ACADEMIC ACHIEVEMENT IN HIGH  SCHOOL STUDENTS. SUGGESTED REMEDIAL MEASURES</text>
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