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Why India should be scared
Less Minister
Nail in the Coffer
The Rupee Smiles
The Power of One

 
OTHER STORIES


Missing Notes
Out of The Box
Mending Fences
Back to The Front
Pay A Price
Seeking Space
Sons of Fortune
Temptress. Enchantress. Empress. Rekha
Running Scandal
Highbrow Hedonism
The Belated Awakening
Damned by Democracy

 
 
METRO TODAY

Diary of Events

 

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
 
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 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."

Index
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