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ART AND PHOTO CREDITS

front cover: © Paul Hanson. Used with his kind permission.

p 2: Mauss: public domain; Dumezil: Jacques Sassier © Éditions Gallimard. p 3: oleograph from the collection of Alf
Hiltebeitel. p 4: © Saint-Germain-en-Laye, National Archaeological Museum, © Directorate of Museums of France, 2006,
© Marie-Hélène Thiault. p 5: photograph from the collection of Alf Hiltebeitel.

p 16 fig.1: map created with public domain data sets. Used under the CC Attribution-Share Alike Unported License. p 16
fig. 2: Public Domain. p 17: Public Domain. p 18: Public Domain. p 21: © Balazs Gardi. Used under the Creative Com-
mons Attribution Non-Commercial No-Derivatives 2.0 License 2.0.

pp 31, 32, 33, 34, 35, 36, 37, 38: modified screen captures from Dil se (From the Heart). Directed by Mani Ratnam.
Produced by Bharat Shah, Mani Ratnam, Ram Gopal Varma, and Shekhar Kapur. Written by Tigmanshu Dhulia, Mani
Ratnam, and Sujatha. London: Eros International, 2000.

pp 49, 50, 52, 53: photographs taken from Singh, Bhawani. Travel Pictures: The Record of a European Tour. London:
Longmans, Green, and Co.: 1912. p 51: “The Lion Hunt of Maharao Umed Singh of Kota,” by Chateri Gumani, 1779. ©
Williams College Museum of Art.

p 61: © Syed Sadequain, “Bol.” p 63: Babri Mosque interior, before the demolition. © Sunil Bajpai, 1984. Used under the
GNU Free Documentation License. p 66: © Noor Ali Chagani, “Calligrafitti Wall.”

pp 71, 73, 75: © Mugdha Yeolekar.

p 82: Photo by Nancy Greig, Houston Museum of Natural Science. Used under the Fair Use guidelines of the U.S. Copy-
right Office. p 85: Photo by Bernard Gagnon. Used under the CC Attribution-Share Alike 3.0 Unported license.

p. 93: © Victoria and Albert Museum, London. Used under the Fair Use guidelines of the U.S. Copyright Office. p. 95: ©
Alan Levine. Used under the CC Attribution-NonCommercial-NoDerivs 2.0 license. p. 96: © Gianluca Vegetti. Used under
the CC Attribution-NonCommercial-NoDerivs 2.0 license.

back cover: © Paul Hanson. Used with his kind permission..

The South Asian Studies Association

SASA was founded to promote scholarly study of and public interest in South Asian civilizations and affairs;
to provide a public forum for the communication of research and scholarship on South Asia; to promote schol-
arship and networking opportunities for scholars of South Asia through electronic and other media; to assist
public and private cultural and educational agencies and institutions in the development and dissemination of
programs and teaching materials on South Asia; to facilitate exchange of information among persons and ac-
credited academic institutions interested in South Asian studies, to disseminate research results, and to further
educate the general public about South Asian affairs; and to build bridges of understanding linking the aca-
demic, entrepreneurial and diaspora communities. Further information may be found at www.sasia.org.

Dhanyavad

Friends warned me that the second year in the life of a journal is far more difficult than the first year. By then, they
told me, the novelty has worn off and the enthusiasm of the volunteers has waned, but the hard work of getting out a
journal still remains. After having cranked out this issue, I can both agree and disagree with them. The editing work
for this issue has been, if anything, even more difficult than it was last year. However, our editorial board, our Editor,
and our President have all taken on their burdens with their usual aplomb, and so I am happy
to carry my share of the burden.

I’m happy that we can feature the the work of several Russian scholars here. Exemplar is
a great vehicle for exposing those of us in the West to scholarship that had previously been
unavailable to us. We will be continuing with this project in future issues, creating more open
lines of communication and dissemination of our work.

Joe Pellegrino
Managing Editor

EXEMPLAR: THE JOURNAL OF SOUTH ASIAN STUDIES
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