As
land hassles stem the flow of NRI investment in Punjab, the Government
takes steps to ease the legal woes of expatriates.
WEB
ONLY FEATURES
The
rampant misuse of the Dalit Act in Uttar Pradesh has a larger malaise behind
it, writes India Today's Subhash Mishra UNDUE
ADVANTAGE
INDIA
TODAY CONCLAVE
The
Conclave concludes on a high note. Al Gore, Stanley Fischer and other world
leaders listen and are heard. Catch up on the highlights. Take
me to Conclave now
CARE
TODAY
INDIA
TODAY HINDI
CURRENT
ISSUE MAY 05, 2003
BOOKS
The Belated Awakening
How pragmatism replaced idealism
in India's engagement with the world
By Amitabh Mattoo
At
a time when Indian parliamentarians cannot find words in the English dictionary
to express their ninda at the US-led war in Iraq, it may be distinctly
out of place to write about India's new pragmatic foreign policy. C. Raja
Mohan's Crossing the Rubicon is not, however, about moments of legislative
cacophony and confusion. Instead, Mohan argues, there are radical fresh
trends, visible over the last decade or so, that are now shaping India's
engagement with the outside world. And these new features, as the title
suggests, display the same chutzpah that history witnessed when Julius
Caesar crossed the Rubicon in 49 B.C.
CROSSING THE RUBICON: THE SHAPING OF INDIA'S
NEW FOREIGN POLICY By C. Raja Mohan Viking Price: Rs 450 Pages: 321
What are the characteristics of India's "journey
from the uncertainties of the early 1990s to a more self-assured diplomatic
posture" by the turn of the century? According to Mohan, five great transitions
took place in the '90s that the philosophically inclined could describe
as an epistemological rupture in India's foreign policy. First, there
was a move away from the national consensus on building a socialist society
to a new agreement on constructing a capitalist order. The second dramatic
shift, not surprisingly, was the fresh emphasis on economics. The shedding
of Third Worldism and the assertion of national self-interest was the
third major change. Related to the rejection of India's role as the permanent
dissenter was the giving up of the anti-western mode of thinking, which
had become a touchstone of India's international relations. It was a "return
to the West".
Finally, of course, was the real tectonic shift
that forms the central basis for Crossing the Rubicon: the movement from
idealism to pragmatism. Mohan argues that idealism defined India's foreign
policy because of the experience of the freedom movement. Successive generations
of the country's
RETURN TO THE WEST: A.B. Vajpayee with US President
Bush (left)
elite internalised this idealism, which had to
be unlearned as the country confronted the brutal and anarchic world order
of the '90s. India had to shed its ideological baggage and move from its
past emphasis on the "power of argument" to a new stress on the "argument
of power".
But are these changes as irrevocable as Caesar's
crossing centuries ago? On that score, Mohan is more guarded. He recognises
the challenges from within, which he presents as the struggle for the
soul of India, symbolised by the "war of ideas" between N.R. Narayana
Murthy of Infosys and K.S. Sudershan of the RSS. And, of course, it is
quite clear whose side Mohan will take in this battle.
NEW RELEASES
ART OF INDIA: PREHISTORY TO THE PRESENT
Ed by Frederick M. Asher Encyclopaedia Britannica Price: Rs
2,700 Pages: 501
Art Across Ages For the general reader as well as the specialist, this is a valuable
companion to the visual heritage of India, stretching from 3000 B.C.
to the present. It not only gives a historical overview of the evolution
of Indian art in a chronological order-covering the periods of ancient
kingdoms and the imperial state, the Mughal era and colonialism and
nationalism-but also treats different genres like architecture, sculpture,
painting, photography, gardens, epigraphy, numismatics, textiles and
crafts in detail. The last section deals with places and people that
have contributed to subcontinental art. The text, by a formidable
array of scholars, is supported by a large selection of pictures.
But, as Frederick M. Asher says in his Preface, "This volume is intended
as more than a picture book. It's a book about art. So what is said
and how it is said-even what is selected and what is omitted-are critical
to the reader's perception."