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Mao and visuality in twentieth-century India
Sanjukta Sunderason

fail to reach their political destinies. Plural sites and vectors constitute such visibilities; we must look not at spaces of ‘high art’ or in concrete aesthetic agenda, but across dispersed citations, affiliations and actions that might reveal an identifiable aesthetic resonance of Mao and Maoism in twentieth-century aesthetics in India. To navigate this rich yet diffused landscape, we have to rethink notions of margins and marginality, and turn to sites that are marginal to mainstream narratives – both of the nation-state and of national-modern art. What is

in Art, Global Maoism and the Chinese Cultural Revolution
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Griselda Pollock

with subjectivity, conscious, non-conscious and unconscious, I would explore the psychic-aesthetic resonance for a woman of the life-defining moment of the passing of her mother. When both parents have orphaned us, a chill wind blows over the once-a-child’s head, forcing us, the unprotected top generation, to anticipate death. Where does dying meet, if at all, with psychic defence mechanisms happening to confront the masculinist model of Oedipal killing that Anfam introduces via Harold Bloom to place Pollock as

in Killing Men & Dying Women