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A CASE STUDY OF AMAR CHITRA KATHA VISIONARIES.
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Our present is based on our past. The evolution of cultures and societies, through the course
of history, has been dependent on beliefs and myths shaped by different ideological
institutions. What is the impact of these belief systems on everyday life of people as
individuals or groups? The narration of History through various modes of communication
has been an expression of different ideologies. It is fascinating how different modes of
representation of past, ranging from cave paintings to digital story narration, have Ǯcreatedǯ
history through their own lenses of ideologies.

One such visual text on history and tradition of ǮIndiaǯ is Amar Chitra Katha (ACK). ACK,
launched as series of picture-storybooks for children, narrates stories of religion, myths,
classics, and folk tales of Indian history. The visionary section portrays visionary Ǯiconsǯ and
Ǯleadersǯ who have marked important turnings in the history of the nation- India. Who are
the readers of this text? What are the learning derived by the readers? What are the
Ǯteachingsǯ in these texts? As a cultural comment on history, what is the Ǯpoliticsǯ of ACK?
How was it accepted in the new evolving post-colonial ǮIndianǯ society? This document tries
to explore these questions by analyzing the content in Ǯvisionary sectionǯ of ACK.
The document seeks to find the symbolic significance of the visual representation of
different historical figures and events in different time and space in history of India.VVVVVVVV

V V
ACKNOWLEDGEMENT
 CHAPTER 1
CU LT UR E A ND CR EAT IVE EXP R ESSION: HISTORY

The primary meaning of culture (from the Latin R
  stemming from R
, meaning "to
cultivate") is the cultivating of natural growth and by extension in recent times it has come
to mean the cultivating of human mind.(Thapar, Romilla, 1987; cultural transaction and
early, Oxford Press). DzCulture or civilization, taken in its wide ethnographic sense, is that
complex whole which includes knowledge, belief, art, morals, law, custom, and any other
capabilities and habits acquired by man as a member of societydz (Tylor, Edward Burnett
(1871);  
 
 , vol. 1, p. 1). Thus, these social paradigms shape attitudes and
behaviour over time and space; cultivating the ways of living in society. Culture therefore
refers to behaviour patterns socially acquired and socially transmitted by means of
symbols. Symbols signify ideologies which enable a society, group or class to experience,
define, interpret and make sense of its conditions of existence; making them a living
practice. (Hall, 1982; Culture and state).

Furthermore, culture in relation to tradition links the past to the present. It has therefore a
historical context which is as significant as the cultural form itself.

Definition of culture has evolved since early 16th century where it was synonymous to
civilization. Periods in History like Greek culture, Roman culture etc. are a confirmation to
those definitions.

But, with time, culture has itself cultivated into a broader form where it is seen and
practiced as an integrated phenomenon of political theory, literary and literary theory,
sociology, anthropology, philosophy, semiotics and original popular texts (novels, films,
television shows, cartoons, pop music). These ideas and molds structure the attitudes and
beliefs of a culture or subculture affecting and influencing gender, sexuality, race, ethnicity
and class (Goldwag, Arthur, 2007; -Isms and ȂOlogies, p-82, DzCulture Studiesdz; Vintage Pub.).
Cultures like Pop culture, Gothic culture, and Punk culture have been a large phenomenon
where culture shaping attributes flow from music tastes, similar visual media consumption,
similar ideologies communicated through media and are not restricted to traditions and
civilization/community only. Media has made man realize the power of expression and easy
accessibility to individual expression has made culture dynamic than ever.


 
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Middle Class, is one of the many readers of ACK who derive their notion of culture from
ideologies contained in ACK. It becomes important to understand what this Middle Class is
and what is its Ǯcultureǯ? This section seeks to define the Indian Middle Class, who remains
to be the consumer of ACK, and understand its culture.

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According to Leeela Fernandes, Indian Middle class finds its roots in colonial India. The
development of British colonial education policy which aimed at creating a Dzclass, Indian in
blood and colour, but English in tastes, in opinions, in morals, in intellectdz(Thomas
Macauley, Minute on Indian Education) that would aid in colonial administration, led to the
rise of the middle class. This middle class was characterized by three central aspects in the
colonial period. Firstly, access to English and modern forms of employment which
distinguished this class as emerging intelligentsia. Secondly, the power exercised by
political assertion of general interests of public. The newness of this class rested on political
claims of political representativeness that this group made within the realm of democratic
civic life. Finally, this claim of representation was continually accompanied by a project of
self-identification that was marked by a politics of distinction from both the colonial state
and more marginalized social groups.

English education provided the upper caste middle class with ways to consolidate their
socioeconomic position within the political economy of colonial rule. The British
recruitment policies for ICS were not merely based on educational skills but also on the
social status of an individual which needed to be Ǯrespectableǯ (Potter, 1996). The
consolidation of upper caste middle class created a distinguishable economic layer
constructed on existing caste system. In general, the formation of this class drew upon
members from the upper caste.

The complexity of religion, as accorded by Sangari (2001), in formation of this elite group
was based on access to urban jobs. The tier 1 Muslim and Hindu coming from presidencies
like Bengal and Bombay were seemingly homogeneous in their socio-economic status, but,
in areas where Muslims were slower than Hindus in conforming to the British structures,
they faced inequalities.

The educated middle class, post-independence, shared the cultural vision of modernity
rooted in the colonial rule (Leela Fernandes). The Nehruvian state-managed model of
development expanded the structural bodies shaped during colonial times. The conformity
to the welfarist commitments saw hegemonic emergence of this class of bourgeois
individuals. This new middle class identified with a liberalized culture and modernity saw a
seamless parity with egalitarian Vedic past. This class of literates fore-fronted the economic
development of Ǯnationǯ and demanded masculinisation of the self in place of special rights
granted by the state to disadvantaged sections of society on basis of caste, community and
sex. The modernity which this middle class seeks on behalf of the nation, ideologically
articulated as Ǯnational cultureǯ or Ǯunity-in-diversityǯ, strengthened during the 1960s and
70s to an indomitable strata. (Srinivas, 2010)

//V/0V

This segment tries to understand the cultural environment in which the middle class
articulated its political ideology as an emerging social group. What was the role of middle
class claims to cultural and public leadership? In time, when colonial strictures restricted
the Ǯindigenousǯ growth of this social group, it is important to understand the realm of
socioeconomic practices underlying the formation and political ascendancy of this elite.
What was the significance of the socioeconomic boundaries of these emerging elite?

The cultural politics of this class integrates in its articulation questions addressing to
socioeconomic location, access to employment and intersecting inequalities based on
occupation, caste, gender and religion. What were these questions that shaped the middle
class identities and practices in arenas such as social reform, cultural nationalism and public
sphere activity? From Macauleyǯs articulation of the middle class in his speech % 
. Rhow has the political identity of Indian middle class emerged unto the
% times? (Fernandes, 2007; Chatterjee, 1993).

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The earlier nineteenth century saw a rise of a new English-educated-British-serving

social group when new reforms of education, which criticized the indigenous oriental
system of education limiting it to a few institutions in cities like Delhi and Banaras,
religion, social status, gender, and nationality, were being laid (Madan, 1997).

The social uncertainty of the middle class in colonial India, due to structural constraints
of colonial political economy, created confusion of identity among the ruled class. It led
this class to articulate its own public interests and that of the subordinated social
groups in order to harvest a political identity structured through a reworking of cultural
identities such as religion and gender in an expanding public sphere (Fernandes, 2007;
Sangari, 2001; Sarkar, 2001).

The educational training and occupational hierarchies of middle class employment in

compliment with models of respectability and social status brought about a hegemonic
growth of this social group. This hegemonic representation of interests of the middle
class made the premise of identity of this intelligentsia. In public sphere, the elite
intelligentsia conformed to class based construction of citizenship. These civic-based
associational activities served in creation of civic nationalism which formed the basis of
political mobilization and urban civic politics of the middle class.

The Dzpublicdz identity of these westernized men was produced and communicated
through a range of Dznativedz newspapers, journals, presses, associations and societies in
cities like Lucknow, Bengal and western India. The invocation of new forms of social
respectability and moral regeneration, in order to distinguish itself from the traditional
and colonial elites, enabled the middle class to stake a public claim of leadership based
on assertions of moral superiority that were connected to the cultural dimensions of
modernization (Sangari, 2001; Sarkar, 2001).

The idea of modernization brought about a wide range of social reforms and public
discourses that indulged topics like temperance, consumption, the cultural implications
of education, and the appropriate roles of women in both the public and private
spheres. These reforms were a result of socioeconomic differentiation of the colonial
structures. Race-based discrimination in employment with limited finances of lower
middle class invoked a fundamental sense of anxiety within it, which it tried to manage
through a set of culturally based social reforms and moral regeneration based in social
distinctions such as gender and religion. In a study of the Bengali middle class, Sarkar
(2001) demonstrated the ways in which social scandals were inextricably linked to
anxieties about middle class identity and autonomy. The politicization of intimate issues
such as chastity, conjugality, and sexual transgression were widely debated in public
lower middle class vernacular sites such as popular theatre, sensational local media
reports, and public rumor and gossip. Such gendered politics of the intimate were
constitutive of the emerging public sphere of the middle class and were therefore a
central factor in creating the political identity of the middle class (Fernandes, 2007; p-
15).
The power of assertion and articulation which this social class possessed encouraged a
sense of opposition to the oppressive colonial rule through politicization of religious
identity overlapping with other social discourses of gender and class-based politics. The
identity formation of the middle class in colonial India consisted of a set of hierarchal
and cultural distinctions as a private Dzinnerdz culture which the group exercised through
a range of civic associational activities. This self association of the middle class to
publicǯs civic interests across castes and communities helped this class capture an
important position in the social environment as communicators of the general interest
of masses to the colonial rule. This interpretation resulted in Dzuniversaliseddz claims of
identity in both urban and rural societies. The notion of urban modernization created
differences of interest among the diverse communities based on cultural and
socioeconomic hierarchies. Citing an example, in 1870, a local ratepayersǯ movement of
lower middle class shopkeepers and small merchants In Bombay had emerged in
opposition to excessive tax charges. This opposition gained support of the English-
educated middle classes. However, this movement for fiscal relief changed into a
demand for representative government, which would strengthen this literate class
position in the society engaging masses of the lower strata to work within its
functioning (Dobbin, 1972, p-137).

The political representation asserted by the educated middle class based on its access to
education and the element of respectable status related to cultural differentiation
brought about an exclusionary vision of public interest and civic order. The notion of
development was constituted by class Ȃbased forms of socio-spatial segregation which
has been an intrinsic component of the political identity of this class. These
socioeconomic structures of colonial modernity rather moved away from the
westernized models of modernity. Rather, they were continually created through a
modernized reworking of existing social hierarchies of caste, religion, and gender.

Social and religious reforms marked the nineteenth century with rise of socio-religious
institutions like Brahmo Sabha and Brahmo Samaj which were founded as a means of
eradicating erroneous religious beliefs and degenerate social practices among the
 Hindus. The upliftment of Hindu women was one of the major concers of works of Raja
Ram Moahan and his successors. In 1875, Arya Samaj was founded by Dayananda
Sarasvati with emphasis on Ǯrational examinationǯ and rejection of religious and
spiritual leaders. Arya Samaj delivered two key ideas, characterstic of religious
fundamentalism- canonical authority, and reform of an allegedly corrupt way of life. The
idea of Ǯpowerǯ was constructed within the realm of functioning of Arya Samaj and not
as its goal. Arya Samaj remained away from the Indian Politics and became a practice
amongst its believers. But, early twentieth century saw the rise of an ideology named
ǮHindutvaǯ which was leveraged by Hindu Mahasabha in its political discourse and its
rise.

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The social reform movements of the late 19th century gave way to more radical forms of
nationalism with the dawn of the 20th century. In 1923, while undergoing a prison
sentence at Ratnagiri, Vinayak Damodar Savarkar wrote a book entitled ǮEssentials of
Hindutvaǯ outlining the construct of Hinduness, claiming to be closer to cultural
nationalism than religion. Votaries of Hindutva advocated the idea of India as a  
/, and the Hindu identity going beyond religion to encompass all those who
consider India ('+ or undivided India) to be their Fatherland ( # )
as well as their Holy Land (  # ). The conditions to be fulfilled, for one to be
called a Hindu, clearly excluded Muslims and Christians from the ambit of the definition
since according to their religious dogma, their Holy Land could not be '+"
Thus not far below the surface of a cultural definition, lay the communal roots of
Hindutva.

While espousing the values of Hindu reformists of the previous century, the rise of
Hindutva came with an agenda against the purported appeasement of Muslims by the
Indian National Congress. According to  

, an Indian Muslim faced an
inherent conflict because his identity as a Muslim precluded his loyalties towards the
 /. As such, special provisions for the Muslims of India went against the
avowed aim of the Hindutva brigade to protect the interest of Hindus as defined by their
ideologue. That the ownership of geographically defined Akhand Bharat lies with the
Hindus was another claim supported by going back into history to question the idea of
the Aryans as invaders or migrating tribes. The Hindutva ideology claims that the
Aryans were indigenous to India and since the Hindus are descendants of the Aryans,
they are the rightful owners of Akhand Bharat. This contortion of history to suit
ideological purposes has long been a part of Hindutva propaganda.

In 1925, K.B.Hedgewar founded the Rashtriya Swayamsevak Sangh (RSS) with the
intention of creating a cadre of dedicated, disciplined Hindus without the character
flaws that he believed were the root of all the problems faced by the Hindus in the
country. It was to be a cadre-based organization with shakhas (branches) in towns and
villages.

The idea of ǮMuslim appeasementǯ finds its origin in the ideology of Hidutva and its
subsequent interpretations by various ideologues. This culminated tragically in the
assassination of Mahatma Gandhi by a member of the RSS leading to a popular backlash
that led to a ban that would be lifted in 1949 on the condition that the organization
adopt a constitution.
 
 
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DzCreativity occurs in every field of human endeavor. Whenever people express original
ideas, they are being creativedz (Kurtz, 1987; Visual Imagination, p-126). The psychological
need to express an experience, feeling or story within the shared culture leads to different
modes of expression. Visual creativity and artistic expression have been the oldest forms of
expression which can be seen in cave paintings.

Art is the manifestation of one's expression, created using skill and imagination, for the
purpose of communicating / sharing with others. In its broad sense, Art encompasses all
forms of expression created by human activity including but not limited to visual (painting,
sculpture, printmaking, camera and computer arts, architecture), literature, auditory
(music). Art also encompasses, in its completeness, the ability, the process and the product.
In ability, art means the capacity to express in a way that is aesthetic and that stirs us, or in
other terms, creativity. Art also denotes the very act of drawing, painting, designing etc.,
with the scope of this definition ever expanding as more and more materials and methods
are innovatively employed to bring forth the creativity in a physical manifestation. In this,
art covers the process. The end product of the ability combined with process, which we see
/ hear / experience, i.e. a painting, a statue, a note of music, or even a desktop wallpaper, is
also known as art.

Art is revealing. It is a very powerful medium that stirs people. An artist uses his art as a
tool to express the truth as he sees it. This truth can be said to be subjective because the
expression and the truth which is being expressed are mostly very personal to the artist.
1VV20VVVV

Comics in context to ǮIndiaǯ, capture an art environment regarded as ancient, exotic and
priceless, as the Indian art which takes its expression from religious groundings; temple
sculptures, cave paintings, fabric paintings all having religious orientation of some sorts
(Siegel, 1987). As descriptively put by Archer in Ǯ
R R'
  " Comics in general, are the narrative forms of story aided with visuals or
Ǯjuxtapose imagesǯ as described by Scott McCloud. The readers of these narratives are
mostly children in their growing ages, growing adults, who seek learning cum
entertainment from the world created via comics with their visual power. In India, this form
of story narration came into indigenous production, both content-wise and context-wise, in
late 1960s.

Earlier, imported comics were available as syndicated newspaper strips. The comic maret in
India came into existence after Indian Book House dtarted publishing Amar Chitra Katha.
These were indigeneous accounts of history illustrated as comics. There was another comic
series started by Children Book Trust (CBT) also started comics on similar lines which
talked about a more liberal modernity, but, failed to catch the readers attention. Thus, Amar
Chitra Katha phenomenon was prevelant for more than two decades an still occupies many
readers in India and abroad.

2VV5V
In 1967 Anant Pai, a young journalist from Bombay, launched a series of picture-storybooks
for children. Titled Amar Chitra Katha ( Immortal Picture Stories), the series Ǯretoldǯ Indian
myths, history, classics, legends and folk tales.

By mid-1970s, ACK had become a household name. Indeed, ACK was often the only
childrenǯs reading material that a middle-class family would actually buy (Sreenivas, Deepa,
2010; Sculpting a middle class, p-1).

ACKǯs call for re-engagement with tradition and the attempt to rebuild a sense of confidence
and pride through a visual reflexive glance into the glorious past inserts itself as an organic
teacher of ethic of bourgeois individualism. In fact, one may well characterize ACK, with its
accent on a moral rejuvenation of the youth by reconnecting them with their roots, as a
powerful initiative of Ǯregressive modernisationǯ, critically invested in politics of
refashioning the nation. Stuart Hall (1988) describes this character of Thatcherism of
England. This attempt by ACK to refashion history, which is presented as a series of
vignettes of the heroism and charisma of great men and (a few) women, as a cultural project
shaped the minds of children growing up in 1980s and 1990s.

With newer and more accessible communication platforms reaching the middle-class, ACK
series have been launched on Cartoon Network and certain local game developers are
coming out with ACK characters as the protagonists in these competitive video games
online.

Thus, it becomes more and more important to study the nuances of this reincarnated
version of the immortal tales.

The back cover of Amar Chitra Katha comic communicates the following quote:

      
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History has seen evolution of many ideas and creation of many new ideologies. The artists
or creative expressionists manifest this through their varied styles over time, cultivating
new forms of art and expression.

The subjectivity of an art piece depends on the artist and the form. Art genres like Abstract
expressionism which came into existence with Jackson Pollockǯs paintings which have
abstract emotional immediacy and often psychedelic.

(Goldwag, 2007; -Isms and Ȃologies, p-

92)

The notion of importance of sense-making has had a particular appeal for communication
theorists who stress upon the active process of interpretation, and thus reject the equation
of Ǯcontentǯ and meaning.

Saussureǯs in his studies signifies expression and content as substance and form. An
expression is read or interpreted through the signifiers of form of expression which depend
on the elements of form.

An art piece as a sign derives its meaning from the differences between signifiers; these
differences are of two kinds: syntagmatic (concerning positioning) and paradigmatic
(concerning substitution) (Saussure, 1983).
Christian Metz offered elaborate syntagmatic categories for narrative film (Metz, 1974, ch-
5). For Metz these sentences were analogous to sentences in verbal language, and he argued
that there were eight key filmic syntagms which were based on ways of ordering narrative
space and time.

·V The autonomous shot (e.g. establishment shot, insert)

·V The parallel syntagms (montage of motifs)

·V The bracketing syntagms (montage of brief shots)

·V The descriptive syntagms (sequence describing one moment)

·V The altering syntagms (two sequences alternating)

·V The scene (shots implying temporal continuity)

·V The episodic sequence (organized discontinuity of shots)

·V The ordinary sequence (temporal with some compression)

There are other theorists who read visual narrative in space and time depending on their
continuity and discontinuity.

·V Synchronic/syntopic (one place, one time; one shot)

·V Diachronic/syntopic (same place sequence over time)

·V Synchronic/diatopic (different places at same time)

·V Diachronic/diatopic (shots related only by theme)

(Hodge, Tripp, 1986)

Pragmatic analysis involves comparing and contrasting each of the signifiers present in the
text with absent signifiers which in similar circumstances might have been chosen, and
considering the significance of choices made (Saussure 1983, 122; Saussure 1974, 123).

Four basic transformations as noted by Barthes (1967)

·V `
  


 

1.V substitution;

2.V transposition;

·V     


 

1.V addition;

2.V deletion.

These four basic transformational processes were noted as features of perception and recall
(Noth, 1990).

These studies and analysis over decades have tried to eradicate any biases regarding
politics, society, gender, race, class, and caste in the ethnographic sense.




A form of narration which uses visuals from different time and/or space plots them with
text into a story. These imaginative expressions of individual ideas and perspectives,
engages the reader in its mythical charm and curiosity.

20  1/V

The basic art styles have been defined as realistic and cartoony, with a huge middle ground
for which the term liberal has been coined.

·V The cartoony style is one which 21tilizes comic effects and a variation of line widths
as a means of expression. Characters here tend to have rounded, simplified
anatomy. Will Eisner is a noted exponent of this style.

·V The realistic style, also referred to as the adventure style is the one developed for
use within the adventure strips of the 1930s. They required a less cartoony look,
focusing more on realistic anatomy and shapes, and used the illustrations found in
pulp magazines as a basis. This style was primarily used in the superhero style
comics.

Scott McCloud also notes that in several traditions, there is a tendency to have the main
characters drawn rather simplistic and cartoony, while the backgrounds and environment
are depicted realistically. This helps the reader to focus his/her attention on the main
character of the comic.

20V16V

One of the members of the comic family shares one feature in common with all the others
but ant two share common features. Comics may not be quite the right name for some of the
cousins and step-children in this family but it is the most suitable name for our purposes.

The following are the different types of comics:

·V A 020V6 is a sequence of drawings that tells a story.

·V A 020 78 is a magazine or a book of narrative artwork, dialogue and

descriptive prose.
 ·V A 360 / is a type of comic book with a lengthy and complex storyline
similar to those of novels, and often aimed at mature audiences.

·V 3/ 6/ 0 is an individual frame, or single drawing, in the multiple-

panel sequence of a comic strip or comic book. A panel consists of one drawing that
depicts a single moment.

·V Î/ 020 do not have any words or text supporting the pictures.

·V An 2 0 is a short, hand-drawn (or made with computers to look

similar to something hand-drawn) film for the cinema, television or computer
screen, featuring some kind of story or plot.

(Varnum ; Gibbons, 1992; Language of Comics, ch-1)


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Making sense of contemporary commercial culture is a task that is confusing and

overwhelming enough that an entire academic discipline (cultural studies) has dedicated
itself to investigating the process of how culture is understood and appropriated by groups
and individuals (Carey, 1989; Grossberg, 1993; Hall, 1980; Williams, 1989).
It is not a broad leap to suggest that, as a culture, we are immersed in a textual world that
can be easily compared on many levels to the world of comic art. Even when specific
characters from well-known comic strips or books are not used to sell products and/or
invite attention, principles of message presentation bear a tremendous similarity to comic
art. Consumer product packages, corporate logos, popular magazines, DVD/videocassette
covers, posters, billboards, news channels and websites frequently employ caricature as
well as the word/image interplay that is so basic to the language of comics (McCloud, 1993).
In this regard, writers and readers of comic art have been negotiating ambiguous and
fragmented texts long before culture at large became a playground for context-free signs.

In his milestone work, Understanding Comics (1993), Scott McCloud defines comics as
DzJuxtaposed pictorial and other images in deliberate sequence, intended to convey
information and/or to produce an aesthetic response in the viewer (p. 9). As a medium that
utilizes combinations and exaggerations of words and pictures to tell a story, comic art is
unique. Theorists such as Carrier (2000), Harvey (1996) and Eisner (1996) have pointed
out the importance of the mutually dependent relationship that exists between word and
image in the comic text. Barthes (1977) conceptualizes this word/image relationship in
terms of Dzrelaydz (p. 41) wherein words and images complement one another to permit a
heightened sense of accessibility to the story itself.

It is in )   Rthat the established frontier between the verbal and the iconic
is called into question, as Groensteen (2007) determines the confrontation between the two
an Ǯimpasseǯ (p. 8). The division of
 Rand Rmodes of expression, or Ǯthe storyǯ
and Ǯthe imageǯ, is considered a  R
antagonism, an abstraction of the Ǯdistinction
between space and timeǯ (p. 8). The Ǯapparent irreducibilityǯ of the R R #' R
R
between the temporal span of the story and the spatial span of the image is resolved, in
Groensteen, through a dialectical movement towards a unary point of Ǯcoexistenceǯ (p. 9).
Utilizing the language of Hegelian  # , this Ǯdialectic interactionǯ between the
discontinuous and intermittent comic book fragments produces a movement of Ǯsynthesisǯ
towards a unary  ( 
 R(pp. 114, 87); and it is the formal techniques of
this comic book  # that serve as the Ǯfoundation of the mediumǯ (p. 9). This return
to the reductive process of  # offers a logical point of $Rto the forthcoming
conception of time and space; a configuration oriented towards Deleuzian

R 
rather than  ( 
 R; a conception which will offer a potential de-
territorialization or reconfiguration of time and space and  the medium of comics.

261V0/VV0220)7V/01VV/V

Can we read visuals as literacy? In this age of image-saturated media, are images as
powerful as the written and spoken word? The majority of answers one might hear would
be Dzyes.dz With the advent of the printing press, photography, and new technologies, images
have saturated the marketplace more, now than any time in our history: DzFor the Ǯmessageǯ
of any medium or technology is the change of scale or pace or pattern that it introduces into
human affairsdz (McLuhan, 1966, p. 24). As media changes, so does the way we communicate.

Scholars in communication, the visual arts, graphic design, and cultural studies (just to
name a few) have embraced the image as a rhetorically significant form of discourse. The
logic is simple. It stands to reason that since oral discourse has rules for production and
analysis of effective discourse, and the written word has a grammar and syntax for
production and analysis, then images have their own grammar for production and analysis.
This logic can be seen at play while examining the visual arts. Image production (whether
they are static or moving) can truly be an emotional process; any image is an extension of
the emotional state of the producer: pathos. In DzDefining Visual Rhetoricsdz, Hill and Helmers
(2004), explore this relatively new field, establishing that an image has both the capability
and power to engage audiences in the same contextualized atmosphere as the spoken or
written words. Images challenge the viewer to look at the world through a new lens. This is
not as easily done with the written or spoken word. The written word can be shut and
forgotten or countered with more words, thus negating their initial impact. The oral word is
not tangible and can be argued with other utterances. Images, on the other hand, cannot be
easily forgotten. Images are a construct of technology and life, and are stored in our
conscious (and unconscious) brains for longer periods of time. Humans moreover think in
images, not as much in words or sounds. It is only through images that a viewer (equivalent
to the reader) allows himself or herself to look through the eyes of its creator and
experience their thoughts, feelings, and perceptions. With the popularity of this new
interest in images, a third era of literacy has emerged: visual literacy. In 1973, Donis Dondis
put forth DzA Primer of Visual Literacydz in an attempt to foster discussion and understanding
surrounding how visuals communicate. He was reluctant to offer a definition of visual
literacy, however he inevitably provided the grammar through which images can be
understood: style, color, technique, composition, and so forth. From that point, visual
culture scholars have bantered about the importance of visual literacy: Dza very complex
practice which demands more than just everyday practices: it requires specific skills in the
processes of seeing and reading, the relationship between representation and reality, and
the ways in which visual experiences are also moments of communicationdz (Schirato and
Webb, 2004, p. 57). Put more succinctly, visual literacy is the ability to read, produce, and
understand communication via images.

Thus, the 20th century has given birth to visual rhetoric, a new literacy that combines all the
best qualities of rhetoric into one, and the 21st century is seeing it expand to mediums
beyond what was initially conceived. Today, in order to function in professional and
personal spheres, a person must be competent in three literacies: reading, writing, and
images. Comics are unique; they are an amalgam of these three areas and function like very
few other media. In a sense, they are the quintessential postmodern communication device
for these various spheres.
 
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The methodology chosen is qualitative and exploratory, wherein the case study method will
be employed.

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In qualitative research, analysis is the process by which data is used to identify themes,
construct hypotheses, and support these themes and hypotheses. Unlike in quantitative
research, in qualitative research the researcher does not seek to prove a hypothesis;
instead, the aim is to show that the hypothesis is plausible. Although it seems logical for
data analysis to come at the end of the research, it is really an ongoing process starting from
the time that fieldwork begins. Ideas are constructed, modified, and rejected throughout the
investigation. However, it is at the end of the fieldwork phase that the researcher
concentrates most on analyzing the findings (Bouma & Atkinson, 1997).

Qualitative research offers a deeper and more subjective approach to social science
research than quantitative approach. Although many of the rules are similar, for example,
that careful preparation and wide reading are needed before approaching subjects, there
are substantial differences. Thus, in qualitative research, hypotheses are usually developed
as the investigation develops and not before the investigation. Also some of the data may be
quantified, but the analysis is qualitative. (Bouma & Atkinson, 1997:206).


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The case study method is one of the research techniques that are commonly referred to as
qualitative research. A case study uses as many data sources as possible to investigate
systematically an individual, group, organization, or event. They are conducted when a
researcher desires to understand or explain a phenomenon. Apart from mainstream social
science, the case study method is frequently used in various disciplines like medicine,
anthropology, clinical psychology, management science, and history (Wimmer & Dominick,
1983). DzOn a more formal level, Yin defines a case study as an empirical inquiry that uses
multiple sources of evidence to investigate a contemporary phenomenon within its real-life
context in which the boundaries between the phenomenon and its context are not clearly
evident. This definition highlights how a case study differs from other research strategies.
For example, an experiment separates phenomenon from real-life context. The laboratory
environment controls the context. The survey technique tries to define the phenomenon
under study narrowly enough to limit the number of variables to be examined. Case study
research includes both single and multiple cases. Comparative case study research,
frequently used in political science, is an example of the multiple case study techniquedz
(cited in Wimmer & Dominick, 1983:156).

DzThe case study method is not synonymous with participant observation (where a
researcher enters a group and takes part in its activities). In the first place, as Yin correctly
points out, participant observation does not always result in case studies. Second, case
studies may not necessarily include direct observations as a source of evidence. In fact, it is
perfectly feasible for a researcher to do an exemplary case study by using just the telephone
and the library. In short, the case study method may not be recommended in all research
situations. It does represent, however, another valuable addition to the researcher's stock of
available toolsdz (Wimmer & Dominick, 1983:156).

3VVV1V V

DzThe case study method is most valuable when the researcher wants to obtain a wealth of
information about the research topic. Case studies provide tremendous detail. Many times
researchers want such detail when they don't know exactly what they are looking for. The
case study is particularly advantageous to the researcher who is trying to find clues and
ideas for further research. This is not to suggest, however, that case studies be used only at
the exploratory stage of research. The method can also be used to gather descriptive and
explanatory data. The case study technique can suggest why something has occurred. For
example, in many cities in the mid-1980s, cable companies asked to be released from
certain promises made when negotiating for a franchise. To learn why this occurred, a
multiple case study approach examining several cities could have been used. Other research
techniques, such as the survey, might not be able to get at all the possible reasons behind
this phenomenon.Ideally, case studies should be used in combination with theory to achieve
maximum understandingdz (Wimmer & Dominick, 1983:156).

DzThe case study method also affords the researcher the ability to deal with a wide spectrum
of evidence. Documents, historical artefacts, systematic interviews, direct observations, and
even traditional surveys can all be incorporated into a case study. In fact, the more data
sources that can be brought to bear in a case, the more likely it is that the study will be
validdz (Wimmer & Dominick, 1983:156,157).

3VVV1V V

DzThere are three main criticisms. The first has to do with a general lack of scientific rigor in
many case studies. Yin points out that too many times, the case study investigator has been
sloppy, and has allowed equivocal evidence or biased views to influence the findings and
conclusions. It is easy to do a sloppy case study; rigorous case studies require a good deal of
time and effort Dz(Wimmer & Dominick, 1983:157).

DzThe second criticism is that the case study is not easily open to generalization. If the main
goal of the researcher is to make statistically based normative statements about the
frequency of occurrence of a phenomenon in a defined population, some other method may
be more appropriate. This is not to say that the results of all case studies are idiosyncratic
and unique In fact, if generalizing theoretic propositions is the main goal, the case study
method is perfectly suited to the taskdz (Wimmer & Dominick, 1983:157).

DzFinally, like participant observation, case studies are likely to be time consuming and may
occasionally produce massive quantities of data that are hard to summarize. Consequently,
fellow researchers are forced to wait years for the results of the research, which too often
are poorly presented. Some authors, however, are experimenting with non-traditional
methods of reporting to overcome this last criticismdz (Wimmer & Dominick, 1983:157).

However, in spite of all the limitations, the case study method offers immense possibilities
especially because of its flexibility. It allows the possibility to get deep into a specific
subject. The subjective element does creep into the study but then in the case study method,
one generalizes on the cases rather than on the representative population.



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The Visionary section of Amar Chitra Katha narrated the vision of the contemporary post
colonial era in India, which remain the ideologies of present day socioeconomic and cultural
politics. In particular, there are five comics chosen, as the premises for the findings, which
this document explores. The comics chosen are:

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Edited by Anant Pai, Swami Chinmayanada is the story of Balu, an upper-caste Hindu
Brahmin, who grows onto become one of the known modern spiritual leaders, who,
even after his death, remains present as an inspiration for the young adults of today.

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 Born as a Mahar (lower-caste) Hindu, BR Ambedkar was and still remains Babasaheb
for Dalits of today and even the modern day individual. His works for the upliftment of
lower-caste and his humanitarian demands, which are even reflected in The Indian
Constitution, saw in him one of the most eminent social reformers and nation-builders
of the Post-Independent era. Editor of the comic remains Anant Pai.

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Albanian by origin, Mother Teresa spent her whole life in Kolkata, India serving the
needful section of society with her enduring love and compassion for the human race.
Her works as a teacher, social figure, away from politics picture the realism of the
condition prevalent in India in the 1970s-1990s. Mother Teresa is edited by Reena
Ittyerah Puri

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A selfless Gandhian in belief, Jayprakash was an aggressive political figure of the
Independent struggle and Post-Independence struggle. His criticism of the right-wing
ideology and his demand for ǮTotal Revolutionǯ make Jayprakash narayan, The ǮBabujiǯ
for students and many marginalized communities in India. Editor- Anant Pai.

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Born in a Brahmin Kashmiri family, Jawahar Lal Nehru went on to become the first
Prime Minister of India. The comic narrates the early days of Nehru as a young
revolutionary, a socialist. Nehru remains an ideologue of modernity. It is edited by
Anant Pai.
 
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Amar Chitra Kathaǯs ǮSwami Chinmayananda: Modern Life meets Ancient Wisdomǯ describes
Swami Chinmayananda, as, DzNurtured on modern learning and ancient wisdom as a child, he
taught himself to mediate even as he dreamed of dinner, skipped out of family visits to the
temple but spent hours in solitary prayer, and campaigned for Indiaǯs freedom while aiming
for a masterǯs degree in English literature. ǮChinmayaǯ means true knowledge, and it is what
Swami Chinmayananda taught the world.dz

VV

It was the end of a warm summerǯs day, in 1916, in Erakulum, Kerela. The day witnessed the
Ǯauspiciousǯ birth of a boy (Swami Chinmaynanda) in Menon family. The parents, Kuttan
Menon and Manku refer to horoscope with their family priest who replies DzLet e see the
position of the stars. 26th mehsam 1091 of the ¦  era. At 7:30 the star Pushya
ascending in   V "Hm! Auspicious birth indeed!dz

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On the fourth day after the childǯs birth, the Menon family coduct the Ǯ '
 'or the naming ceremony under the presence of saint Chattambi Swamigal.


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Balakrishna, in his adolescence years grew under the influence of Swami Chattambi,
who visited the Menon family often. Swami Chattambi and little Bala used to have
conversations which mystified his mother.

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Swami Chattambi introduced him to world of letters with ǮOm!ǯ and this relationship of
Swami Chattambi and Bala remained as memory of peace and love with him, all his life.

After the birth of Balaǯs second sister, Balaǯs mother died and the children started
growing up under their aunt ǮKochu Ammaǯ, who looked after the kids with love and
affection. Alongwith hi 7 other cousins, Bala grew up attending and participating in
family rituals like evening prayers, visits to temple. The 10 year old boy, to keep him
alert, started inventing games about gods lined up on the wall and stumbled upon an
idea of trying to remember ǮShivaǯs figureǯ with closed eyes after concentrating on the
photograph of Shiva hung on the wall. After remembering the whole picture, Bala was
thrilled at his achievement of discovery of this meditation technique.

Young Bala started going school at age of five. In school, Balan did quite well. He used to
spend his other time, playing with his cousins and helping his sisters with their
homework. But, young Bala had a mischievous side and found a great friend in Shankara
Narayana with whom he discussed about ǮLifeǯ and nature.
 Throughout his childhood, Bala had a mind of his own and his curiousity made him
question and learn things around him. At an early age of 12, he rejected temple worship
and believed god was everywhere. His belief in god and specially in ǮShivaǯ his favourite
childhood god was very concrete and he used to chant his name before sleeping. His
love for Sanskrit and literature, in general, drifted his attention away from Science in
which he barely passed. Seeing this, his father enrolled him in Thomas College to study
arts, where he spent his early teenage. College life in Thrissur made Balan a flamboyant
young man.

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His childhood habit of questioning everything grew with age.

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Balan went to Lucknow to pursue post-graduation in Literature and Law from

Lucknow.There he took special interest in works of Shelley and George Bernard Shaw.
The same period was the period when problems were looming large on the national
scene. Mahatma Gandhi had launched the Ouit India Movement in 1942. Balan with his
friends joined the struggle and with his intellectual capital he was seen as a threat to the
British Raj. He was type-casted as ǮMadrasiǯ being from South India. The news for his
arrest reached Balan and he was on the move for the next two years of his life. During
his tramp days, Balan found a job in the office of the British Military Intelligence
Communication Centre. He worked there for eight months and saved some money, to
again join the Quit india movement. Balan was immediately noticed and was put in jail
 with other freeedom fighters. In jail, Balanǯs health deteriorated and the jail threw him
out in that condition. Balan was rescued by a Christian lady, who was reminded of her
Son in the Indian Troops in Europe. Balan recovered to his cause and went to Baroda to
his cousin. In Baroda, he started writing articles for newspapers expressing the common
manǯs problem. After a few months, Balan returned to Lucknow and completed his
Masterǯs degree. He started officially writing for Ǯ0

newspaper started by
Jawahar Lal Nehru. While living with his uncle, V.K. Govind he developed curiousity into
scriptures and one day set out to interview Sanyasiǯs in Rishikesh. In Rishikesh he met
Swami Sivananda and was impressed by his philosophy of life- serve, love, purify,
meditate, realize and be free. It ws this point in his life where he started developing a
genuine interest for philosophy aided by teachings of Swami Sivananda. After his friend
Shroffǯs death in 1948, Balan settled in Rishikesh in Swami Sivanandaǯs ashram. There
he was initiated as a sanyasi and started working as a journalist in the ashram.

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After his return, Bala wrote a letter to his father as instructed by Swami Sivananda
about his intent to become a Ǯsanyasiǯ.

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Swami Tapovan. Swami Tapovan guided the growing inquisitiveness inside
Chinmayananda and asked him to go on a tour of India. He wandered India for 7 months
in austere conditions. On his return, he was a changed man and he decided to
communicate teachings of Sanskrit Vedas. He started organizing Jnanana Yajnas where
he taught the masses and gave lectures. In Kerela, his followers started ǮChinmaya
Missionǯ and in 1989, the Chinmaya International Foundation was set up. He gave many
speeches around the globe with a vision:

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On August 3, 1993 at San Diego, California, Swamiji left his mortal frame and attained
Mahasamadhi.

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the words of ACKǯs comic%Babashaeb Ambedkar: He Dared To fightǯ iconising the works
of Dr. B.R. Ambedkar.

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Ramji Sakpal, a Subedar in the army, was blessed by one of his uncleǯs, who was a sanyasi,
for having a son. The blessing of Ramjiǯs uncle bestowed on them and Ramji was to become
a father.

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Starting his education at the age of five, in his initial days lost his long ailing mother. In
school, he realised the difference of behavior towards him by the students and school
because of his caste "was a lower caste in Hindu religion. Untouchability
was a normal religious practice in those times, of which Bhim became a victim. One day,
 Bhim asked her sister ǮWhat makes us different?ǯ and Sister, with tears in her eyes,
replies ǮI donǯt know. Thatǯs the way it has always been.ǯ This answered was
unsatisfactorily accepted by Bhim.

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In the meanwhile, Ramji, Bhimǯs father, remarried. This created unrest in Bhimǯs life for
a few days. After a while, Bhim indulged himself into studies and impressed his teacher.
Ramji, with his family came to Bombay for Bhimǯs education where he religiously
studied. But, untouchability still acted like friction between him and his studies.

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This ceremony gave Bhim, the title of Rao (Rao is an honorific, used in Maharashtra).

Within a few days after the ceremony, Bhim Raoǯs father arranged his marriage with
Rambai. Bhim Rao, after the marriage, continued with his learning owing to Manaraja
Gaekwadǯs grant of a 25 rupee monthly scholarship, and passed his B.A in 1912. Bhim
took a job in the Baroda State Services. Fifteen days into his job, Bhim received letter
informing about his fatherǯs ill health, which forced him to return to Bombay.

Bhim Raoǯs father passed away on 2nd February, 1913.

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After the incident, Bhim Rao went to New York, where, in two years he completed his
M.A Degree and got his Ph.D. the next year. He proceeded to London, but, was called
back by the Dewan of Baroda. In Baroda, his lower caste trait dint allow him to find a
proper anyplace. He left for Bombay, where he took a job as a lecturer in Sydenhem
College in November 1918.

In Bombay, Bhim Rao lived frugally with his pious wife, saving for his further studies in
London.
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In London, spending mostly all of his time in British Museum Library, Dr. Bhim Rao
became became a Barrister and a scholar in Economics.

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In the mean while, Dr. Ambedkar got nominated in the Bombay Legislative Council. He
also found %+''#starting free hostels, Schools and libraries. He
kept working with his association for the uplift of untouchable community. He was met
with caste Hindu mite on both religious and social fronts.

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Dr. Ambedkar, unhappy with the Poona Pact suffered a personal tragedy.

His Wife, Rambai, passed away in 1935.

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Dr. Ambedkar got appointed as the chairman of the committee to draft the Ǯ 
"After completing the draft, he was admitted to hospital due to his ill health.
There he met Dr. Sharda Kabir and married her in April 1948. Later that year on
November 4, 1948, he presented the draft which, the Constituent Assembly adopted, on
November 26, 1949. He devoted his last years to Buddhism and on Decembr 6, 1956 he
breathed his last, in his Delhi Residence. His body was taken to Bombay where in Dadar
cemetery his funeral processed.

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In that year, Nikola and Drana, an Albanian couple, gave birth to a girl child, Agnes.
Agnes grew as a thoughtful child, with respect and faith towards the church, in contrast
to her mischievous and lethargic siblings. Her poor neighboursǯ condition influenced her
thinking as and raised a empathy in her child heart.

At an age of 8, she lost her father.

 After the incident, Anges started devoting time to the needful.

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With that decision, Agnes came to Calcutta, India after learning English for two months
in Ireland. In 1931, Agnes took her first vows as a sister and took %)as her
new name. She actively involved herself in teaching the poor community slum children
and women.

In 1937, Sister Teresa took her vows as %)A!
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Mother Teresa now cleft the missionary and started living with the poor and needful.
During a massacre in Bengal, 1942 Mother Teresa healed a lot of wounds in her nursing
dispensary. After Independence, Mother Teresa opened %   and started
teaching children. By 1960, Mother Teresa had opened homes all over the country. That
year, Pandit Jawahar Lal Nehru, then, Pime Minister of India visited her in Delhi. She
was given Padma Shri after and homes for a few years. Years passed by and Mother
Teresa gained more love from the society. In 1997, Mother became very ill.
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In 1983, The Telegraph, Calcutta (now Kolkata) published an interview with Anant Pai.
Anant Pai takes history as- DzHistory is never correct, it is a jumble of names of people and
place and dates. Thus, the statement negates the plausibility of any flaws in History as its
premises is myth which engages the reader, mostly children of the Indian middle class, into
the world of enduring heroic chronic evolution of the figures.

Thus, Amar Chitra Katha Ȃ )       becomes a questionable quote in

association with Amar Chitra Katha as it creates a paradoxical environment for reader who
seeks learning about his/her history. The creation of roots or the growth of the story tree,
transparently tries to fill any voids or questions in readers mind as inevitable in
construction of that myth. Thus the narration follows a pedagogic path instead, thus,
neglecting the data accounts.

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Amar Chitra Katha, with its first page and first panel, instills the role of destiny with the
Ǯauspicious-nessǯ of the birth which sort of brings with him (mostly a male birth) an
aura of greatness which the newly born boy (sometimes girl) child brings with his
Ǯbirthǯ. The influence of religious-spiritual men or the sanyasis also inculcates the
importance of a core belief system tying together the Ǯfamilyǯ.
The egalitarian value system of the vedic past is prominent in shaping the family which
is patriarchal and hegemonic in aspirations. The societal insecurities are shown to be
fought with the enduring heroism of the background family members. The Ǯways of
livingǯ represented in Amar Chitra Katha irrespective of the caste, class creates a setting
for bourgeois individualism constructed on the sacrifices and endurance in order to
attain Ǯrespectabilityǯ.

Amar Chitra Kathaǯs narrative of Jawaharlal Nehruǯs childhood in %>

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 inserts itself into that consensual meeting ground between the catholicity of
Nehruǯs background and his Ǯsecularǯ training and the cultural nationalist rhetoric of
modernity. Religion here plays great role as it interweaves the twin axes of materialism
and spirituality in context of urbanized Indian Middle class on a global arena. The
representation of festivals in Nehruǯs narrative includes many communities based on
religious and caste traits. Such complexities of pious non-threatening ideologies,
overshadows the appreciation of Ǯotherǯ communities which they are deprived of in
their representation. 

In Babasaheb Ambedkar, the emergence of a Dalit family in contrast with

Chinmayanandaǯs family, sees a passive, enduring commitment to attain modernity and
respect similar to Chinmayanandaǯs upper-caste family. Babasahebǯs father, Ramji being
a dalit makes great sacrifices to get little Bhim educated. There is a sense of exemplary
modernity which, for its attainment, requires a lot of sacrifices. The sheer normalcy of
caste Hinduism in those times is passively endured by Bhim, during all courses of his
life. His family too is passive to any oppression by caste Hindus. The vocabulary used in
Amar Chitra Katha expands into philosophical, religious and ideological texts narrating
the engaging stories of heroism, courage and sacrifice which the little Bhim is shown to
have taken while growing up. The subjectivity of words like destiny, depressed
community, righteousness illustrated through acts of sacrifice and endurance to attain a
respectable position in the society, creates an ideal Hindu world based on sacrifices.
This hegemonic structure of religion and its influence on the visionaries as children is
evident in ACKǯs   . In comparing the narratives of Chinmayananda and
B.R. Ambedkar, there is similarity in context with family value system. Both were
subjected to religious reading of Hindu scriptures, the women in the house were always
in fore-front during the childǯs growing up ages trying to instill faith in god in them.

Both the visionaries did not stick to Ǯidol-worshipǯ but the leadership which both
exercised aimed at an modern way of living based on the rich historical teachings of
Vedas and Sanskrit scriptures. A modernity in practicing the old traditions which do not
hinder with the rogress of the individual and thus, adding Ǯrespectabilityǯ to the family.

The role of family in strengthening the Ǯnationǯ by exercising Ǯmodernityǯ is a common

trend in ACK discourses. For instance,

13
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Swami Chinmaynandaǯs rise as Ǯreligious guruǯ, who condemned ritualistic religion, and
discrimination based on caste and gender was based on his institutional brahminical
notions of all these races. He, through his work tried to show, modernity and spirituality
go hand in hand in construction of an ideal individual rooted in his traditions of family,
love and sacrifice, yet modern in his outlook. He took Sanskrit scriptures and translated
them in English to teach the English-speaking middle class youth, the sense of
spirituality of Body, mind and soul. The other
priests protested this but the arrogance of
Swami Chinmayanandaǯs vision of a global
 Hindu middle-class equipped with learning in literature and religion. Swami
Chinmayananda in spite of being a sanyasi, was constantly making trips to USA and
Europe spreading the message DzThe family is a unit, and a community is the home. We
rebuild a future where the younger generation has a better sense of compassion, of love,
of concern, of involvement in social welfare, and not only oneǯs personal profit or
personal growth.dz Thus, this articulation of the interests of masses propagates an
ideology of construction of a hegemonic class of educated individuals working towards
the development of a Ǯnationǯ.

In narration of idea of vision, there is a certain emphasis on ideological constraint adhering

to nation-building and community-building. The expression of Swami Chinmayanandaǯs
vision of building a modernized middle class family on a global arena, which he felt could be
not be constructed without rich spiritual legacy of Hinduism and India. On the other hand,
ǮACKǯs Jayprakash Narayanǯ, ignorantly shortens the individuality of JP Narayan, during
political-retirement days. In his retirement days, JP opposed the right wing parties on
consolidation of community. He said )R##!RR
 
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Such accounts of history create an unsettled explanation of the narration and become
redundant with structures indulging individual sensitiveness.


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Amar Chitra Kathaǯs narration of Indiaǯs cultural history, aimed at producing the rooted
Ǯindigenousǯ societal individual with vision of modernity, retells history in a pedagogic
fashion, which demands certain power to its characters. The character build up in ACK
comics is premised upon a brahminical Ǯideologicalǯ world with a cultural heritage of its own
traditions, of which Anant Pai has mentioned directly or indirectly in his public appearances
in media and in Amar Chitra Katha comics.

The importance of this expression lies in the influence of certain helping verbs used in
constructing a statement for episodic characters in ACK. These chronological statements
which connect a certain discontinuity in history, are often outcomes of lack of critical
attention to the discrimination inherent in many texts. Citing from, % +##
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The second panel is directly an account of Bhim and his cousins being informed, by their
aunt, of their fatherǯs intent of remarriage.

These episodic character which appear in an important phase of life of the protagonist
character, have no mention of their influence and role in building a vision. These characters
are, in their portrayal, ideal representation of stereotypical socio-cultural institutions like
father, mother, sister(s), and friends with different religious-caste background. The
individuality of these characters is often lost in trying to fill certain institutional myths,
which are structural in their construct, surrounding the life of the iconised. The stricture
narration of the text, in accordance with institutional structures, often cuts down the
historical magnitude of the character overshadowed. In a very crucial point in Indiaǯs
struggle for Independence, Amar Chitra Katha cuts down the role of Gandhiji to a mangable
plot within the framework of %
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In fact, through the whole narration, there are voices of certain caste hindus, rational in
their portrayal, which senisitises the plot. This sensitization of imagination is restricted to
the ideological structures of nation-building, family-building, and state-building. The
limitation of such institutions is, it produces Ǯ !  and %   based on caste,
class, gender, religion and cultural belongings.
 Figure(pg-19, panel-4)

Another exemplary set of synchronic / diatopic incidences narrated in %  

   reduce these additional characters to objects of institutional traits,
pedagogic in motifs.

Figure(pg- 8-9, panel Ȃ 8, 1-2)

The occurrence of these parallel syntagms adds personality to the Ǯindividualǯ, in building a
more mythical, mysterious, and lively Ǯiconǯ. These building plots of story expand the
magnitude of the protagonist character and widen the mythical environment away from the
vision.

ACK, episodically depicts the character of   which is representative of any
dacoit pictured in the film %
 ,;-"The figure of naxalite merges with that of dacoit,
both shadows from the margin, symbolize unrest which lacks critical representation left to
the curiosity of the reader. The binding of similar marginalized communities together is
expressive of nation-family metaphor, often restricting the subaltern potential of
subterranean social movements to revolts.
 
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VV 


V
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Amar Chitra Katha iconises figures and names of history representative of many
socioeconomic and cultural traits like religion, class, gender, and region. In its narrative,
Amar Chitra Katha characters are sketched through a patriarchal lens, adhering to the
modern development of certain socioeconomic and cultural institutions.

The ideological framework behind the evolution of ACK characters reflects hegemonic
cultural politics in this refashioned narration of history. As mentioned earlier, the grammar
of the narrative text creates a sense of Ǯmoralǯ rejuvenation for the readers by connecting
them to their roots. The portrayal of masculinity of bourgeois individuals working towards
a modern nation-building has been a common phenomenon within the analysed texts.



V

Amar Chitra Kathaǯs Men, the

heroes of historical stories of India
inspire the readers for a change in
their attitude and behavior
towards the indigenous cultural
heritage of the nation- india. These
teachings of modernity grounded in religious roots are a basic emphasis of ACK icons.

V300VV&V

The emphasis laid on the role of destiny, sets a sense of inquisitiveness in a Amar Chitra
Katha reader with its first page across almost all the ACK icons especially ǮACK Visionariesǯ.
This, from the very beginning sets the protagonist character, as in case of ǮJayprakash
Narayanǯ or ǮSwami Chinmayanandaǯ or ǮBabasaheb Ambedkarǯ and many more, different
from common as inspirational figures for readers. As documented in ACKǯs % 
  little Balu, according to an astrologer, is born in Ǯ/!J(an auspicious
astronomical location of stars), hearing which, a sense of pride gets instilled in parents.V

/VV 3V&023VVV V
The visual depiction of protagonist characters in ACK is centralized around the
individualistic gaze in an aura of religious influence and idea of pan-Indian modernity. The
mythical charm of this gaze separates the individual from his peer. The similarity in
construction of frames across icons of the visionary theme can be seen during the childhood
phase of life of the protagonist. Jayprash Naraynǯs depiction as a

child, uninterested in
toys, always looking for something and raising questions in mind, in ACK is one such
occurrence. These questions are
grounded on religious and moral
inquisitiveness rather than a
thought passing by stumbled upon.

Accounts of such traditional influences, be it B.R

Ambedkarǯs learning of religious epics like
# and /   with his family or
Jayprapraksh Narayanǯs deep belief in +
(
4 indicate depiction of religious and
socioeconomic ideologies.

Amar Chitra Katha emphasizes, in its narration, the importance of education focused around
languages like English, Sanskrit. The understanding of Sanskrit Vedantic scritures in English
brings alive an Ǯindigenous modernityǯ in the growing child depictive as a leader of the
English educated radical middle class, hegemonic in outlook.
The influence of education continues to shape the ideology of the icon under construction in
his teenage years. The parallel quest to national roots maintains the unrest and curiosity in
the character and takes him to foreign. The individual educated Indian, masculine in its
portrayal, stands against the oppressive ruling state in an intellectual fight of morals. A deep
understanding of Ǯrightǯ brings out the protagonist as an icon- masculine in his portrayal,
educated in his civic appearance, understanding the society, patriotic towards his
motherland- a middle class icon, an individual in every individual. The merit in terms of
education and enduring hard work for a Ǯnationalǯ cause is mapped into the individuality of
the adult protagonist. The sense of achievement with personal struggle and hardship,
unconditioned of caste, religion and gender, remains the concrete personality trait of the
protagonist. These myths surrounded by politics of cultural representation, often,
articulated on religious and socioeconomic grammar. The open-modern outlook of the
educated individual protagonist, often aware of the different cultural communities,
protective towards its own, finds a bourgeois association with the reader.

2V/VV< /VV-=V

After acquiring education, the protagonist puts his learning to the cause of national
development. The masculine unrest of the protagonist carves into broad shoulders with
responsibility revolution and a humble gaze teaching the young literate Indians in India and
abroad.
To quote an example in this regard, ACKs %+##  #' emerges as the true
national leader who recognizes Gandhijiǯs vision of national unity (left untold) and role of
communities in the development of that national character. As his unique and unyielding
selfhood unravels, there is a moral consolidation of the category of citizenship to exclusion
of all the other categories (caste, community or gender), making him a leader in society.
+##  #' is reinscribed into those hegemonic articulations which the dalit
youth of today has to wrestle with and negotiate at every point in a competitive and
privatized nation-space.

Figure(pg-30, panel-1-2) BR

ACKs > '0 emerges as an patriarch in his association with the struggle of
Ǯ$
ǯ. JP Narayanǯs humble presence as a father figure while accepting the surrender of
dacoits brings out the authoritative humility of the character, standing alongside his wife.

JP Figure

In the last years of his life, icon emerges as a father figure for the modern Indian with his
ideology rooted in religious, cultural and traditional routes. The vision laden upon the
strength of institutions and moral groundings makes the icon more mythical and idolizes
his image in the readersǯ mind.

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Amar Chitra Katha, portrays Indian women as an allegory of the modern times, her
individuality overshadowed by her religious devotion to patriarch institutions and
relations. The woman is depicted as an object, whose role is restricted within the
framework of socioeconomic structures. The Ǯpiousǯ and Ǯpureǯ intent of woman of serving
to manǯs struggle for Ǯmodernity and righteousnessǯ and her background role in raising a
family remains to be the common goal for most of the women portrayed in Amar Chitra
Katha. The women of Amar Chitra Katha appear in episodic roles in a manǯs struggle for just
and modern life.

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The first appearance of a woman in ACK has generally been the mother. Right from the
first page, the protagonistǯs mother, in his childhood remains a great influence. The
religious humility of her personality and almost every word of hers comes as a mere
reply to the men and children of the family, makes the ACK mother, an epitome of
sacrifice and sufferings for the success of men. In ACKs %+##  #' little
Bhimǯs mother is always worried about her sonǯs studies and it remains her top-most
priority to get him an education, even if the cost is starvation. In accordance with the
destined greatness, it is the mother who introduces the child to religious and traditional
Ǯvaluesǯ of the family.

Figure BR

In some instances, if the mother passes away, then another motherly figure is given the
responsibility of raising the children in an environment which balances traditional-
modern ways of living. The patriarchal family structure remains the dominant narrative
of Amar Chitra Katha. An important incident is depicted in     
childhood days Ȃ

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Figure(pg-3, panel-6)

In case of )even when she is growing up, her mother figure is deliberately
put aside the juxtaposed image of her childhood to manifest the nun status of the girl.
From the very beginning, Agnes (Mother Teresa) is firm believer of the church who
grows on to serve the needful sections of the society with Ǯmotherlyǯ love and affection.

Figure(pg-2, panel-4)

Thus, woman, as mother, always takes a sacrificial role for the success of the individual
and the patriarchal family. One of the interesting points to be viewed is that, mother is
always sketched around the presence of man or children. The individuality of mother,
even though she sacrifices for her own loved-ones, is deprived by the male dominated
narration of the story.

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Citing an episode form ACKs ǮSwami Chinmayanandaǯ where young Bala helps his
younger sister in arithematics, makes it clear from this instance in the comic, that their
our certain feminine traits which a family girl transparently trades with her own
individuality, all most unquestioned, for the greater good of family.

Figure (SC)

A girl, from the beginning has to take care of her looks, as the mother looks after her
complexion and takes care of the feminine demeanor in terms of loks and appearance.
Neatly combed, with an innocent humility on her face, girl (sister) is generally present
in traditional practices within the framework of traditional middle class family.

The role of the sisters in background can be traced, as, little Bhimǯs elder sister
burdened with family role of raising children or Baluǯs   as wife of an English
 educated middle class Indian which is subtly indicative in the back drop of the
narration.

Figure(BR, sis)

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The wife is most conveniently ignored, as a home weaver, by Amar Chitra Katha. The
sacrificial persona hidden behind passivity of her Husbandǯs approval, comes as a
figurative depiction in home without a voice of her own. Always obedient to her
husbandǯs wishes, she is Ǯhappyǯ according to Amar Chitra Katha.

In ACKs > '0 JPǯs wife is present In the frames adding to the fatherly
figure of JP in the community. She is perinialy present everywhere JP goes but, doesnǯt
extend her support in battles of national struggle and human dignity. Her passive
participation in vital historical events just makes her an odd appearance in regards of
struggle and femininity of the character sketch is representative of the authority of
husband, Jayprakash.

The portrayal of women, as wife, is also crucial in regards of remarriages. Many

historical figures have been remarried. BR Ambedkar happens to be one. The crucial
point here is, even BR Ambedkarǯs father re-married, which created a torment in his life
as Bhim. The incidence of remarriage, compelled him to try and run away from house,
but due to financial constraints of his family, he resolute to morally earn money. BR
Ambedkar, after her wifeǯs death when he fell ill, met Dr. Sharda Kabir and they married.
The personality of Doctor (educated and independent) lacks critical narration and tells
nothing about her role. Later in the comic, she is seen in just one frame with BR
Ambedkar embracing Buddhism.
As, has been a normal trend in Amar Chitra Katha, the women is subjected to a patriarchal
expression of history, overshadowing the individuality of the human being, as one of the
closest associations of the icon, who is devoted all the attention in his appearance both
visually and intellectually. Personality of women is restricted to religious and traditional
realms within the family (the home) and sometimes the society (community relations). The
contrasting portrayal of gender personalities through the hegemonic-chauvinistic
ideological lens deprives the women of Amar Chitra Katha, the deserved attention in their
portrayal.