Journal articles: 'Mehtas'

1

MEHTA, AK. "MEHTAS LIGATURE FORCEPS FOR TONSILLECTOMY." Medical Journal Armed Forces India 58, no. 3 (July 2002): 283. http://dx.doi.org/10.1016/s0377-1237(02)80165-4.

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2

Bano, Afsana, and Nidhi Bhatnagar. "A PSYCHOANALYTICAL STUDY OF RAMA MEHTAS INSIDE THE HAVELI." International Journal of Advanced Research 9, no. 03 (March 31, 2021): 19–24. http://dx.doi.org/10.21474/ijar01/12548.

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This particular work will discuss the psychoanalytical view in the work of Rama Mehta. Psychoanalyses expand a theory of conscious, subconscious and unconscious that associates with the nature of human behavior. As it is noticed that all human behaviors are provoked by impel or instincts, which are the consequences of the neurological demonstrations of physical needs. Here the different characters are analyzed from a psychoanalytic point of view revealing the connections of their id, ego and superego and how it influences their actions in return.

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ATAKISHIYEV, NATIG M. "ON q-EXTENSIONS OF MEHTA'S EIGENVECTORS OF THE FINITE FOURIER TRANSFORM." International Journal of Modern Physics A 21, no. 23n24 (September 30, 2006): 4993–5006. http://dx.doi.org/10.1142/s0217751x06031673.

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Mehta has shown that eigenvectors [Formula: see text] of the finite Fourier transform with the matrix [Formula: see text], 0 ≤ j, k ≤ N-1, can be defined in terms of the classical Hermite functions [Formula: see text] as [Formula: see text], where [Formula: see text]. We argue that the finite Fourier transform [Formula: see text] does actually govern also some q-extensions of Mehta's eigenvectors [Formula: see text], associated with certain well-known orthogonal q-polynomial families. For the pairs of the continuous q-Hermite and q-1-Hermite polynomials, the Rogers–Szegő and Stieltjes–Wigert polynomials, and the discrete q-Hermite polynomials of types I and II such links are explicitly derived. In the limit when the base q → 1 these q-extensions coincide with Mehta's eigenvectors [Formula: see text], whereas in the continuous limit (i.e. when the parameter N → ∞) they correspond to the classical Fourier integral transforms between the above-mentioned pairs of q-polynomial families.

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4

Qureshi, Bilal. "Elsewhere." Film Quarterly 70, no. 4 (2017): 77–82. http://dx.doi.org/10.1525/fq.2017.70.4.77.

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FQ Columnist Bilal Qureshi reflects on Deepa Mehta's film Earth at an important moment in Indian and global history. Writing from New Delhi, he had the opportunity to speak to Mehta in person about her life and work, and that discussion is woven into this column. Since making Earth almost twenty years ago, Deepa Mehta has seen her stature grow to include film festival premieres, an Oscar nomination, and a platform as one of the rare women auteurs on the international stage. She has lived in Canada since the 1970s, but her most celebrated films are not about immigrant displacement or hyphenated identity. Rather, she has always told Indian stories. From the groundbreaking story of a lesbian relationship between two housewives in suffocating arranged marriages (Fire, 1996) to the forced exile of widows in orthodox Hindu scripture (Water, 2005), she has confronted uncomfortable social realities in Indian society. Although she has been labeled an anti-national and had sets burned and cinemas attacked by the religious right for insulting traditional values, she has taken the challenges in stride and continued making films.

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Paunksnis, Šarūnas. "The lost identity of Mother India: Rape, mutilation and a socio-political critique of Indian society." Acta Orientalia Vilnensia 11, no. 2 (January 1, 2010): 63–76. http://dx.doi.org/10.15388/aov.2010.3647.

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Vytautas Magnus UniversityThe article discusses a film by Deepa Mehta, a filmmaker who is a part of the so-called Indian Parallel Cinema, and a critic of Indian culture and society. The main argument of the article is that in the landmark film Earth, Mehta portrays a character to personify the idea of Mother India. Mehta’s vision of Mother India is rendered psychoanalytically as being raped by her sons—something that had started during the partition of India and continues till our times. The article introduces and re-thinks categories of Indianness, rape, alienness, which are vital to our understanding of contemporary Indian culture and society. One of the main operating categories of the article is identity—what it means in our modern times, and what it means to lose it—something that happened in 1947 during the partition, and is still continuing. The article also stands in opposition to the traditional understanding of the Mother—in contemporary times, as it is argued, Mother is not cherished by her Sons, instead, she is raped and mutilated, as a consequence of ontological insecurity and desire for identity.

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6

Team, Editorial. "Editors and Reviewers Acknowledgement, 2(1), January-June, 2018." Journal of Medical Research and Innovation 2, no. 1 (January 16, 2018): e000110. http://dx.doi.org/10.15419/jmri.110.

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The Journal of Medical Research and Innovation would like to thank each and every one who has helped us to review and edit the articles. As a small token of appreciation, we would like to mention the names of all the editors and reviewers in random order here who have edited or reviewed the articles for the January-June, 2018 issue. The list will be updated as when more reviewers review the articles. Editors 1) Varshil Mehta2) Shakti Goel3) Surya Parajuli4) Nikhil Nalluri5) Vitaliy Bezsheiko Reviewers 1) Shakti Goel 2) Assad Mughal 3) Harsha Makwana 4) Megha Patel 5) Ishpreet Biji 6) Surya Parajuli 7) Varshil Mehta 8) Heera KC 9) Prem Bhattarai 10) Tushar Kunder 11) Akshay Avula 12) Mykola Khaitovych 13) K Bedmutha 14) Mayank Jain 15) Joseph Bell 16) Vitaliy Bezsheiko 17) Ahmad Farrokhi 18) Shaunak Ajinkya 19) N. Kumar

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7

Pillai, Deepa, and Leena B. Dam. "From baby boomer to millennials: the changing flavor of entrepreneurial traits." Emerald Emerging Markets Case Studies 9, no. 1 (January 29, 2019): 1–19. http://dx.doi.org/10.1108/eemcs-07-2017-0186.

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Learning outcomes The learning outcomes are as follows: decision-making in the areas of business plan, business strategy, financial management, profit planning and marketing, learning from outer business environment, succession planning for first-generation entrepreneur and choosing appropriate source of financing and drivers for diversification. Case overview/synopsis Immersed in sipping green tea in his capacious office lounge, the octogenarian Arjun Mehta introspected on the trials and tribulations of his journey as an entrepreneur, the voyage which started four decades ago. From 1976 to 2018, the business has now traversed three generations. Starting with Spice Mart (Sole Proprietor) to Hindware and Lament Construction (partnership firms) to Starlite Homes Pvt. Ltd. (corporate entity), Mr Mehta witnessed transformation and restructuring in organization with every new generation which characterized the evolution of family business. Handholding children to take up the reins of Spice Mart was not a calculated choice. Yet it is remarkable to study the growth in organizational structure of the regional family business. As a self-made entrepreneur, morals, ethics and value system are vital ingredients steering the organic growth story. Third-generation Mehta’s are enterprising, aspiring and visionary. With the incorporation of a corporate entity, they convinced themselves to bring inorganic growth in their business. Arjun Mehta gleamed with pride as Spice Mart partakes an organized structure which had lost prominence with the second-generation entrepreneurs. But he is equally hammered with juxtaposed thoughts. He contemplates whether the integration of retail business with real estate corroborates sustainable innovation. Will independent businesses create the brand’s footprints perpetually? Should the millennial confine business natively or should they grow internationally and become a conglomerate? Complexity academic level The case can be exclusively taught to masters and executive education class of students pursuing entrepreneurship and business management courses. The case will supplement understanding of theories of entrepreneurship and dimensions of family businesses in emerging economies. Supplementary materials Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject code CSS 3: Entrepreneurship.

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8

Sharma, Bimala. "Men from the Lenses of Deepa Mehta in Fire and Water." Journal of Balkumari College 9, no. 1 (July 14, 2020): 13–19. http://dx.doi.org/10.3126/jbkc.v9i1.30062.

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Movie in this era has become one of the dominant modes of disseminating perceptions. Women and their issues are vital themes of women centric movies. Stereotypically, these movies display women and their position in patriarchal society. Displaying women and their issues in women centric movies is rationally expected but how men are displayed in such movies has not been given much consideration. Customarily men in such movies are presented negative which have negative impact on their audiences too. This article sets its attention on how men are seen from the lenses of women and shown in women-oriented movies. Deepa Mehta is selected to analyze how she has seen men through her lenses and represented them in Fire and Water. Qualitative research methodology is adopted where Deepa Mehta's Fire (1996) and Water (2005) are the primary data and other resources based on it are secondary. Fire is the story of two lesbian women and Water is about widowhood. Characters like Ashok, Jatin, Mundu, in Fire and Seth, Sadananda and Narayan in Water are studied and found that they are presented as the agents of the patriarchal society. Men are exhibited with all the set masculine traits as strong, brave, bold, intelligent, assertive, aggressive, savior, ruler, educated, handsome, smart, dynamic, powerful who can construct the society as they want. Sexually obsessed men in the movies represent the existing Indian patriarchal society. Abusing woman verbally, physically, mentally and sexually is considered as men's privilege. This justifies that Mehta is unable to deconstruct the notion of masculinity as presented by men directors. She also falls in the trap prescribed by patriarchy and for this she has to present men with all positive and masculine traits and women with negative feminine traits. This kind of representation of men has a large impact on the mass because of unintentional imitation.

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9

Purnell, G. W. "Observations of wave velocity and attenuation in two‐phase media." GEOPHYSICS 51, no. 12 (December 1986): 2193–99. http://dx.doi.org/10.1190/1.1442072.

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The velocity and attenuation of a wave transmitted through a two‐phase material are functions of the material’s composition. In physical model experiments, I used suspensions of grains in a silicone rubber matrix to reduce or avoid uncertainties about framework elastic constants, porosity, and permeability that result from using fluid‐saturated grain frameworks. I varied the composition to produce materials that are useful in physical seismic modeling. In the tested suspensions, ultrasonic P-wave velocity, velocity dispersion, and attenuation all increase with grain concentration and frequency. I compared seven published mathematical models for wave propagation in two‐phase media. One given by Mehta most closely agrees with the P-wave velocities I observed. The agreement is sufficiently close to merit use of Mehta’s model in the design of physical model materials. The observed P-wave attenuation generally increases approximately linearly with frequency. This approximate linearity leads to reliable constant-Q estimates, ranging from 187 to 16 for grain concentrations from 0 to 0.49. I conclude that relative motion between the grains and the rubber matrix contributes most of the observed attenuation at lower concentrations, whereas scattering losses become much more important at higher concentrations and frequencies.

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10

Pinkney, Moira, Nick Edwards, and Hanza Mehta. "Kusum Mehta." BMJ 335, no. 7626 (November 1, 2007): 943.3–943. http://dx.doi.org/10.1136/bmj.39364.727002.be.

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11

Mehta, Dinesh. "Dinesh Mehta — India." disP - The Planning Review 51, no. 4 (October 2, 2015): 28–29. http://dx.doi.org/10.1080/02513625.2015.1134935.

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12

Mehta, J. "Khushru Mancherji Mehta." BMJ 349, dec05 16 (December 5, 2014): g7471. http://dx.doi.org/10.1136/bmj.g7471.

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13

ON, OLUSOLA O. A. "Reply to Mehta." Clinical Orthopaedics and Related Research &NA;, no. 220 (July 1987): 310???311. http://dx.doi.org/10.1097/00003086-198707000-00048.

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14

KRISTENSEN, KRISTIAN D. "Reply to Mehta." Clinical Orthopaedics and Related Research &NA;, no. 220 (July 1987): 311. http://dx.doi.org/10.1097/00003086-198707000-00049.

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15

Cruz, Tarso Do Amaral de Souza. "Bombaim: cidade máxima - ética da autoconstrução na era urbana." SOLETRAS, no. 38 (October 3, 2019): 388–406. http://dx.doi.org/10.12957/soletras.2019.43385.

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O presente texto tem por objetivo explorar alguns dos pontos centrais da obra Bombaim: cidade máxima, do escritor indiano Suketu Mehta, a fim de explicitar como Mehta, por meio de sua exploração da cidade de Bombaim e dos personagens ‘extremos’ que nela vivem, confecciona uma nova identidade para a cidade que trazia na memória e, a reboque, reconfigura o entendimento sobre sua própria identidade de escritor/artista imigrante. Uma das características mais emblemáticas de Bombaim: cidade máxima é precisamente a imbricação promovida por Mehta entre a narrativa que constrói a respeito da cidade de Bombaim e sua própria história pessoal. Ou seja, Bombaim: cidade máxima tem uma natureza híbrida que mescla aspectos autobiográficos com descrições sobre a cidade, em uma narrativa simbiótica na qual as representações da cidade e as do próprio Mehta são mutuamente influentes e interpenetráveis. Sendo assim, na obra de Mehta, a cidade se mostra configurada como o local por excelência para a investigação intelectual e, devido ao caráter marcadamente autobiográfico da narrativa de Mehta, o local por excelência, também, para a autoinvestigação.

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16

Mehta, Geeta. "Ajita Mehta Memorial Oration." Journal of Patient Safety & Infection Control 3, no. 2 (May 2015): 29. http://dx.doi.org/10.1016/j.jpsic.2015.10.002.

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17

Schubert, Charlotte. "Turning point: Nehal Mehta." Nature 488, no. 7411 (August 2012): 421. http://dx.doi.org/10.1038/nj7411-421a.

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18

Holborn, Elizabeth Ivanoff. "Mehli Mehta, Violinistic Conductor." American String Teacher 43, no. 3 (August 1993): 78–80. http://dx.doi.org/10.1177/000313139304300327.

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19

Armand, Philippe, Haesook T. Kim, Corey S. Cutler, Vincent T. Ho, John Koreth, Edwin P. Alyea, Ann S. LaCasce, et al. "Reply to J. Mehta." Journal of Clinical Oncology 27, no. 28 (October 1, 2009): e139-e140. http://dx.doi.org/10.1200/jco.2009.23.9806.

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Barlogie, Bart, Elias J. Anaissie, Frits van Rhee, John D. Shaughnessy, Nathan Petty, Jackie Szymonifka, Antje Hoering, and John Crowley. "Reply to J. Mehta." Journal of Clinical Oncology 29, no. 5 (February 10, 2011): e125-e126. http://dx.doi.org/10.1200/jco.2010.32.5019.

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21

Chynoweth, Carly. "MAKING CHOICES: MINA MEHTA." Business Strategy Review 25, no. 3 (September 2014): 57. http://dx.doi.org/10.1111/j.1467-8616.2014.01097.x.

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Rajkumar, S. V., and T. E. Witzig. "Reply to Dr Mehta." Leukemia 17, no. 11 (August 14, 2003): 2238. http://dx.doi.org/10.1038/sj.leu.2403119.

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23

Kaur, Kulwinder, and Anjali Pandey. "ART OF TYEB MEHTA." International Journal of Research -GRANTHAALAYAH 9, no. 3 (April 14, 2021): 347–52. http://dx.doi.org/10.29121/granthaalayah.v9.i3.2021.3783.

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English : Most of the paintings of internationally renowned painter and sculptor Tyeb Mehta, honored with Kalidas and Padma Bhushan, have been influenced by many incidents in the childhood, Edward Munsch and Kokoshka had a great influence on Tyeb, born in Kheda, Gujarat, in his art style from time to time. But change is seen. In the initial paintings, the expression has been given space, in the medium level pictures, the expression of the space has been replaced by the bifurcated two- dimensional picture and the empty space, the diagonal took its place in the final pictures, under which started drawing pictures in triangles. With festivals, Kali, etc., he was counted among the most expensive artists of India. During his lifetime, he produced very few artifacts and died in 2009. Apart from the sculptor, he was also a film maker. Hindi : कालिदास और पद्म भूषण से सम्मानित अंतरराष्ट्रीय स्तर के प्रसिद्ध चित्रकार और मूर्तिकार तैयब मेहता के चित्रों में से अधिकांश बचपन में कई घटनाओं से प्रभावित रहे हैं, एडवर्ड मुंस और कोकश्का ने अपनी कला में गुजरात के खेड़ा में पैदा हुए तैयब पर काफी प्रभाव डाला था। समय-समय पर शैली। लेकिन बदलाव देखा जाता है। प्रारंभिक चित्रों में, अभिव्यक्ति को स्थान दिया गया है, मध्यम स्तर के चित्रों में, अंतरिक्ष की अभिव्यक्ति को द्विभाजित दो-आयामी चित्र और खाली स्थान से बदल दिया गया है, विकर्ण ने अंतिम चित्रों में अपना स्थान लिया, जिसके तहत त्रिकोणों में चित्र बनाना शुरू किया। त्योहारों, काली आदि के साथ, उन्हें भारत के सबसे महंगे कलाकारों में गिना जाता था। अपने जीवनकाल के दौरान, उन्होंने बहुत कम कलाकृतियों का निर्माण किया और 2009 में उनकी मृत्यु हो गई। मूर्तिकार के अलावा, वह एक फिल्म निर्माता भी थे।

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24

Kumar Aggarwal, Rashmi. "Law and Practice relating to Special Economic Zones Hitender Mehta Hitender Mehta." Paradigm 12, no. 1 (January 2008): 109–10. http://dx.doi.org/10.1177/0971890720080115.

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25

Friedman, J. "Response to Mitul Mehta's Letter." Neuropsychopharmacology 27, no. 5 (November 2002): 881. http://dx.doi.org/10.1016/s0893-133x(02)00360-3.

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26

Eungu Lee. "Indian Woman in Deepa Mehta’s." Journal of South Asian Studies 18, no. 3 (March 2013): 193–212. http://dx.doi.org/10.21587/jsas.2013.18.3.008.

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Eungu Lee. "Indian Women in Deepa Mehta’s." Journal of South Asian Studies 19, no. 3 (February 2014): 99–120. http://dx.doi.org/10.21587/jsas.2014.19.3.005.

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28

Mehta, Bella. "Demonstrating pharmacists' value: This is the time and tide to work together." Journal of the American Pharmacists Association 47, no. 1 (January 2007): 12–14. http://dx.doi.org/10.1331/1544-3191.47.1.12.mehta.

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29

Tara Mendola. "Reply to Brinda J. Mehta." College Literature 37, no. 1 (2010): 228–30. http://dx.doi.org/10.1353/lit.0.0096.

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30

Mehtar, Shaheen. "Dr. Ajita Mehta Memorial Oration." Journal of Patient Safety & Infection Control 2, no. 1 (March 2014): 2. http://dx.doi.org/10.1016/j.jpsic.2014.05.003.

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31

Nydegger, Urs E. "Reply to mehta and burroughs." British Journal of Haematology 114, no. 4 (September 2001): 954–62. http://dx.doi.org/10.1046/j.1365-2141.2001.03006-8.x.

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32

Etingof, Pavel, and Alexander Kirillov. "On Cherednik-Macdonald-Mehta identities." Electronic Research Announcements of the American Mathematical Society 4, no. 7 (June 11, 1998): 43–47. http://dx.doi.org/10.1090/s1079-6762-98-00045-6.

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33

Levine, Deborah, and Teas S. Mehta. "Drs Levine and Mehta respond." Radiology 208, no. 1 (July 1998): 272. http://dx.doi.org/10.1148/radiology.208.1.272.

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34

Dey, Amit. "Nehal N. Mehta MD MSCE." European Heart Journal 39, no. 13 (April 1, 2018): 1050–53. http://dx.doi.org/10.1093/eurheartj/ehy031.

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Khandelwal, Pramod, and Syed Reza Salis Naqvi. "Mehta Soya: A Promotional Conundrum." Vikalpa: The Journal for Decision Makers 38, no. 1 (January 2013): 104–12. http://dx.doi.org/10.1177/0256090920130108.

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Khandelwal, Pramod, and Syed Reza Salis Naqvi. "Mehta Soya: A Promotional Conundrum." Vikalpa: The Journal for Decision Makers 38, no. 1 (January 2013): 113–18. http://dx.doi.org/10.1177/0256090920130109.

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37

MEHTA, AK. "MEHTA'S MODIFICATION OF NASAL DRESSING FORCEPS." Medical Journal Armed Forces India 55, no. 2 (April 1999): 176. http://dx.doi.org/10.1016/s0377-1237(17)30291-5.

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38

Bose, Brinda. "The Desiring Subject: Female Pleasures and Feminist Resistance in Deepa Mehta's Fire." Indian Journal of Gender Studies 7, no. 2 (September 2000): 249–62. http://dx.doi.org/10.1177/097152150000700207.

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Analysing Deepa Mehta's recent controversial film Fire, which portrays lesbian love between two sisters-in-law, both of them slighted in marriage by their respective partners, as a recourse against and resistance to patriarchal oppression, we find Mehta's portrayal guilty of watering down the politics of lesbian desire—as sexual preference within a larger sphere of sexual choices. Moreover, Mehta's location as an Indo-Canadian filmmaker must also be taken into account when judging Fire's gender politics. In recent Canadian cinema, a considerable emphasis is placed on the sexual agency of female protagonists, both as bearers of the 'look' (famously ascribed by Laura Mulvey to male viewers alone), as well as free choosers of sexual lifestyles. In Fire, however, by contrast, the protagonists' love and escape are matters of necessity, both seem ingly still driven by the male (non-) desiring gaze.

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Khandhar, Diren Ashok, and Manimangai Mani. "The Role of Culture and Society in the Development of Plot in Tanushree Podder’s Escape from Harem and Gita Mehta’s A River Sutra: A Feminist Reading." International Letters of Social and Humanistic Sciences 56 (July 2015): 44–49. http://dx.doi.org/10.18052/www.scipress.com/ilshs.56.44.

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Culture and Society are often the main gist of most novels. These two factors often influence and control the characters, thus helping in the development of the plot. A plot, as defined by Egan (1978), is used to indicate an outline of events and serves as a skeleton in a literary piece. In other words, it is a tool in making sure the main incidents or scenarios are presented in a particular order to establish a clear understanding of what is being written. Culture and society plays the essence in a novel as it constructs these main ideas in engaging the interest of a reader and also extends the intended message of the particular writer. This paper looks into how culture and society helps in developing the plots of the selected novels using the feminist approach. Tanushree Podder’s, Escape from Harem (2013) and Gita Mehta’s A River Sutra (1993) amazingly are both set in India. Podder and Mehta have inserted the perception society had over women and how male supremacy was glorified in many aspects. The essence of feminist approach was very much present in these two novels. According to Tyson (2006), feminism concerns the ways in which literature undermines the economic, political, social and psychological oppression on women. Though the setting of both novels fall in different eras but the theme of female oppression remains the same. The patriarchal society uses culture and religion as a tool to control women and oppress them. Both authors have shown how the women in the 17th century and in the 20th century face the same kind of judgment from the society and men in general.

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40

AKSU, Cahit. "Mehter Müziği." Journal of Turkish Research Institute, no. 10 (January 1, 1998): 43. http://dx.doi.org/10.14222/turkiyat177.

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41

Harousseau, J. L. "J. Mehta, S. Singhal (eds). Myeloma." Annals of Oncology 14, no. 11 (November 2003): 1693. http://dx.doi.org/10.1093/annonc/mdg451.

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Yau, Horng-Tzer. "The Wigner-Dyson-Gaudin-Mehta Conjecture." Notices of the International Congress of Chinese Mathematicians 1, no. 1 (2013): 10–13. http://dx.doi.org/10.4310/iccm.2013.v1.n1.a4.

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Hugh, Judith, John Hanson, Maggie Cheang, Torsten Nielsen, Charles Perou, Charles Dumontet, John Reed, et al. "Reply to R.S. Mehta et al." Journal of Clinical Oncology 27, no. 18 (June 20, 2009): 3068–69. http://dx.doi.org/10.1200/jco.2009.23.0607.

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Mehta, Atul C., Amit Banga, and James K. Stoller. "Rebuttal From Dr Mehta et al." Chest 147, no. 1 (January 2015): 17–18. http://dx.doi.org/10.1378/chest.14-2236.

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Hung, H. M. James, Sue-Jane Wang, and Peiling Yang. "Rejoinder to Dr. Cyrus R. Mehta." Journal of Biopharmaceutical Statistics 26, no. 2 (October 15, 2015): 405. http://dx.doi.org/10.1080/10543406.2015.1099542.

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Huang, Jiayi, Clifford G. Robinson, and Shahed N. Badiyan. "In Reply to Gondi and Mehta." International Journal of Radiation Oncology*Biology*Physics 91, no. 2 (February 2015): 454–55. http://dx.doi.org/10.1016/j.ijrobp.2014.10.018.

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Brent, Richard P., Christian Krattenthaler, and Ole Warnaar. "Discrete analogues of Macdonald–Mehta integrals." Journal of Combinatorial Theory, Series A 144 (November 2016): 80–138. http://dx.doi.org/10.1016/j.jcta.2016.06.005.

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MEHTA, AK. "MEHTA'S PERIOSTEAL ELEVATOR-A NEW SURGICAL INSTRUMENT." Medical Journal Armed Forces India 55, no. 2 (April 1999): 175–76. http://dx.doi.org/10.1016/s0377-1237(17)30290-3.

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Sharma, Bimala. "Resistance of Widows in Deepa Mehta's Water." Literary Studies 33 (March 31, 2020): 12–19. http://dx.doi.org/10.3126/litstud.v33i0.38031.

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Zitzewitz, Karin. "Turning to the Goddess: Anachronism, Secularity, and the Late Style of Tyeb Mehta and K. G. Subramanyan." ARTMargins 3, no. 3 (October 2014): 45–67. http://dx.doi.org/10.1162/artm_a_00092.

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Abstract:

At nearly the same late-1980s moment, two of the most important artists of India's twentieth century, Tyeb Mehta (1925–2009) and K. G. Subramanyan (b. 1924), turned to the goddess as a subject for painting. Although Mehta and Subramanyan represented different strands of Indian modernism, they had both hitherto largely limited themselves to secular subject matter. This essay accounts for the significance of their goddess turn by discussing it as an example of late style, as theorized by Edward Said. It finds in these paintings the intransigence, anachronism, and negative intervention championed by Said, but also a critique of the secularism that he argued was the root of late style. Mehta and Subramanyan's intervention came at a crucial moment in Indian art history, as modernism began to be undermined by a rising group of narrative painters supported by the critic Geeta Kapur. The older artists’ embrace of the religious image sits uneasily in Kapur's influential narration of post-colonial Indian art history.

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Journal articles on the topic 'Mehtas'

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