The Doomsday Confusion: Mayan Calendar and Understanding the Misunderstood

By: Jahnavi Mukul, Manya Srivastava, Omkar Mishra, Rishi Ragesh  Introduction  The above stills are from a ceremony in 2012 in Tikal, which is an ancient Mayan city in northern Guatemala. The ceremony was meant to mark the end of a 5,125-year cycle in the Mayan calendar.2 By looking at this picture, this essay aims to …

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Theatres of Justice: Process, Spectatorship, and Aesthetic Legitimacy

Image 1: Gram Nyayalaya in session. Source: https://knowlaw.in/index.php/2021/08/11/gram-nyayalaya-jerry-built-justice/   Image 2: Dispute over the Status and Use of the Waters of the Silala (Chile v. Bolivia) – Public hearings – First Round. Source: https://www.icj-cij.org/en/multimedia/6245a27a045e580af31b0b4c . Courtesy of the ICJ. All rights reserved. By: Mohit Kumar, Swati Aadtiya, and Yookta Ahuja Ed Morgan notes how in analysing …

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Unstocking Football in Conflict Zones

By: Abhijeet Narayanan, Srishti Sikka, Shauryavardhan Sharma and Brishti Bose  Introduction  The image we’ve chosen is an animated representation of two kids playing football in a conflict zone. The artist illustrates the ruins through absurdly tilted buildings and fault lines on the ground. The children are seen in tattered clothes, playing football with melancholic expressions …

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“Jass, not Jazz”: Music, Heteronormativity, and International Relations

By: Advika Pandey, Anushka Jain and Sharan Kaur Hunjan The discipline of international relations is heavily influenced by norms of heteronormativity, which are co-opted differently by various cultures to garner acceptability in the international diaspora. Our showcase titled “Jass, Not Jazz” comes from the initial spelling of jazz ‘jass’ which Ward and Burns suggest was …

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Re(living) Pain Through Remnants: Witnessing Stories of Violence in Taiwan Through Burnt Camphor

Re(living) Pain Through Remnants: Witnessing Stories of Violence in Taiwan Through Burnt Camphor By: Arnav Gurnani, Suyasha Shakya, Anannya Sharma, Ariba Introduction The photographs depict the burning of crushed camphor, arranged as an outline of the word ‘PAIN,’ and its aftermath which shows that the only thing that remains is the sooty residue. Here, camphor …

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