Indian Institute of Technology Hyderabad (IITH) is a premier institute of science and technology established in 2008. IITH has been consistently ranked in the&nbsp;<a href="https://iith.ac.in/reports/" rel="noopener noreferrer">top 10 institutes</a>&nbsp;in India for Engineering&nbsp;<a href="https://www.nirfindia.org/2021/EngineeringRanking.html" rel="noopener noreferrer" target="_blank">according to NIRF</a>&nbsp;making it one of the most coveted schools for science and technology in the country.

IITH offers&nbsp;<a href="https://iith.ac.in/academics/under-graduate/">undergraduate programs</a>&nbsp;in all the classical engineering disciplines, applied sciences, design, as well as several modern interdisciplinary areas. Students are given a flexibility to explore a broad set of areas, and potentially pursue a minor or double major in a discipline that is not their own. Students who wish to seek a deeper understanding of their own discipline are strongly encouraged to get involved in cutting-edge research with the help of a faculty to mentor them, and earn an Honors in their own field.

The very foundation of IIT Hyderabad is based on&nbsp;<a href="https://iith.ac.in/research/">research and innovation</a>. The vibrant research culture is evident from the number of patents and publications that IITH produces consistently every year. IITH offers&nbsp;<a href="https://iith.ac.in/academics/programmes-offered/">graduate programs</a>&nbsp;at both a masters, and a doctoral level, in several diverse areas. There are separate programs for technology, design, science, and liberal arts. The&nbsp;<a href="https://iith.ac.in/academics/post-graduate/">MTech program</a>&nbsp;is offered in various modes and durations to cater to the ever-growing need of postgraduate level professionals in the country.

IITH encourages and supports&nbsp;<a href="https://iic-iith.netlify.app/index.html" rel="noopener noreferrer" target="_blank">innovation and entrepreneurship</a>&nbsp;at every stage. The minor program in entrepreneurship is open to all students of IITH, and many of the courses are offered by industrialists who are entrepreneurs themselves. There are various&nbsp;<a href="https://iith.ac.in/research/centres-incubators/">innovation centers and incubators</a>&nbsp;that promote entrepreneurship and help mentor young innovators. IITH has been very successful in building tie-ups with leading academic institutions around the globe.

IITH enjoys a very special relationship with Japanese universities and industries that goes beyond academic and research collaborations. In fact, some of the iconic buildings in IITH campus will carry the signature of Japanese architecture.

IITH creates a unique holistic ecosystem for education that offers interactive learning, a very flexible academic structure, cutting-edge research, strong industry collaboration, and entrepreneurship. This is an environment which enables students and faculty to translate their dreams into realities.

IIT Hyderabad

Department of Liberal Arts

ANQ - Quarterly Journal of Short Articles Notes and Reviews

“Potatosoap”: Moly in James Joyce’s Ulysses

World University root node

Notes and Queries

The Jinling Patriots of J. H. Prynne's Kazoo Dreamboats

This article examines Mark Z. Danielewski’s House of Leaves (2000), a gothic novel that augments its postmodernist credentials by preemptively imagining and representing the theoretical gaze that would otherwise have been directed on itself. The article suggests that despite the novel’s intense performance of self-reflexivity, it demonstrates a traumatic suppression of its own immediate historical conditions, particularly its temporal proximity to the events of the First Gulf War. This article thus reads the text’s telling silences and its thematization of uncanny spatial violations as indexing a minimally acknowledged guilt over the war in Iraq. The novel’s slippages in self-awareness not only point to an avoidance of its own scotomized history but also foreground the shifting boundaries and dispersed locations of textual self-consciousness. © 2021 Regents of the University of Colorado

English Language Notes

The war that never happened: Horror and History in Mark Z. Danielewski’s house of leaves

The solidarity between socially marginalized groups in India is often compromised, directly or indirectly, by their own internecine complicity with structures and histories of systematic social violence. We look at this problem through a close analysis of the graphic novel Bhimayana, which brings together key events from the life of B. R. Ambedkar - the architect of the Indian Constitution who was born into the "untouchable"Mahar caste - and the artwork of the Gond tribal artists Durgabai and Subhash Vyam. While there is considerable affinity in terms of socioeconomic disadvantages between the tribes and the lower castes of India, these affinities are strained by contradictions that problematize the principle of solidarity. We argue that the intrusion of complicity and guilt into performances of solidarity finally serves to strengthen the political empowerment of these groups by making it possible to acknowledge their implication in the history of social harm. Copyright © The Association for Asian Studies, Inc. 2020.

Journal of Asian Studies

Between Solidarity and Complicity: The Politics of Representation in Bhimayana

The Indian graphic novel’s investment in the written word makes it a politically and socially ambiguous representational enterprise. The continued prevalence of illiteracy in India, especially among members of disadvantaged social groups, restricts access to the written word. The visual arts, on the other hand, are generally perceived as much more accessible. This asymmetry of access and its social implications, we suggest, are particularly relevant to the work of Orijit Sen (1963-), who is the first Indian graphic novelist to incorporate in his works journalistic reportage, social commentary and a concern for history. Through close readings of two of his works -The River of Stories and “Hair Burns Like Grass” -we explore the ways in which the thematization of speech-based cultures puts significant pressure on the alliance of word and image in the graphic novel form. The River of Stories, which is based on the debates around a government acquisition of ancestral tribal lands, represents an indigenous oral culture in conflict with a hybrid Indian modernity. In “Hair Burns Like Grass,” Sen again accesses a space governed by speech rather than writing, this time through the work of the poet-saint Kabir. Here, as in the earlier text, the graphic novel must renegotiate its investment in the written word: This leads to highly-wrought, if ultimately ironic, fantasies of the image overcoming script. © 2019 Taylor & Francis.

Word and Image

Word, image, and alienated literacies in the graphic novels of Orijit Sen

This paper studies the concept of complicity through the work of two Cambridge School poets, J.H. Prynne and Peter Riley. The acknowledgement of complicity in social, political, and economic injustices has been central for poets influenced by J.H. Prynne, and the resulting poetry, often difficult and alienating, nevertheless seeks to give lyric expression to the historical burden of being at the dispensing end of global violence. Peter Riley’s work, on the other hand, implies an ethical position that also includes a real possibility of opting out of exploitative and violent historical tendencies: complicity here is emphatically within the ambit of volition. Through readings of Prynne’s ‘Refuse Collection’–which was written in response to the torture at Abu Ghraib–and Riley’s Alstonefield: A Poem and Excavations, this paper argues that the differences between these positions are more a matter of emphasis than of kind. © 2017 Informa UK Limited, trading as Taylor & Francis Group.

Textual Practice

Complicity and Cambridge poetry

Gertrude Stein (1874–1946) composed her ‘verbal still lifes’ in Tender Buttons in explicit dialogue with the Post-Impressionist – particularly Cubist – uses of the still life. The utter obviousness and universal givenness of its referents have made it the genre least requiring exegesis or special attention. This leanness best explains the fascination it exerted upon the Modernists: devoid of subjective intrusions and emptied of traditional symbolic associations, it was best suited to express the ‘pure’ and fundamental components of visual composition. But even in its most abstract and formalist moments, the still life continues to harbour the disruptive plenitude of the non-human as that which provides the ground for the appearance of the human. I argue that Stein's Tender Buttons designates the still life as a space for alternative and possible forms of being human. Rather than being deliberately nonsensical or opposed to subjectivity as such, Tender Buttons remains cognizant of the inevitability of a subject whose every act of interpretation and inscription also constitutes self-interpretation and self-inscription. At the same time, it explores the possibility that the realm of things – rendered objects by the positing of the subject – might in fact offer the most congenial space for the recuperation of what is not yet or no longer human. Still lifes tend to accommodate both strangeness and familiarity in equal measure. The objects depicted are types rather than unique individuals, and their commonness makes them easy to replicate and possess. © 2012 David Gallagher editorial matter and selection.