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© Association of Art Historians 2015. Internalizing colonial accusations of the effeminacy of the native male body, nineteenth-century Indian ideologues and reformers attempted to redeem the national body through a range of phallocentric body cultures. Anti-colonial art history, however, deliberately appropriated colonizing discourses of the effeminate native body to epistemologically challenge the hegemonic hyper-masculinity advocated by both the regulatory mechanisms of the British empire and a larger nationalist body culture in colonial India. The ingenious invention of a discursive intimacy between yoga and an aesthetics of demasculinization led to the strategic resignification of the male body in early Indian sculpture as both a sign and the site of an imagined national life. Through a close analysis of art writing and photography, art pedagogy and colonial archaeology, visual practices and sartorial cultures, the essay delineates the fin-de-siècle politics and aesthetics of demasculinization that had led to the establishment of anti-colonial Indian art historys disciplinary and methodological concerns.

From its establishment in 1887, the Jaipur Museum was a locus of contestation between its principal patron, the Indian state of Jaipur, and the British government. The examination of narratives of contestation alongside the museum's architecture and display reveals a localized nineteenth-century museological practice that strategically operated from within the bureaucracies of colonial governance, yet destabilized the imperial aspirations of colonial museology. While museums as instruments of modern knowledge making have been seen by scholars as a failure, "native" participation in the nineteenth-century exhibitionary order can also be read as an indigenous reframing of modern museology in the colony.

"This book surveys the intersections between water systems and the phenomenology of visual cultures in early modern, colonial, and contemporary South Asia from the 16th century to the present. Bringing together contributions by art and architecture historians, artists, architects, geographers, maritime historians, and environmental activists from India, Europe, and the United States, the volume situates water in an expansive relational domain. It covers disciplines as diverse as literary studies, environmental humanities, sustainable design, urban planning, and media studies. The chapters explore the ways in which material cultures of water generate technological and aesthetic acts of envisioning geographies and make an intervention within political, developmental, and cultural discourses. A critical interjection in the sociologies of water in the subcontinent, the book brings art history into conversation with current debates on climate change, and examines the artistic, architectural, engineering, religious, scientific, and environmental facets"--

Abstract
A rational, efficiency-based view of acquisitions implies that larger transactions generate greater gains for the acquirer and the seller. We test this prediction and find a positive relationship between acquirer abnormal returns and transaction size scaled by the acquirer size. This relationship holds for many classes of acquisitions, including asset purchases and mergers that target private firms. We find a similar relationship between total abnormal returns and relative transaction size. The results suggest that, in general, acquisitions help shift capital to more productive owners. Furthermore, we present evidence demonstrating that the average acquirer captures a significant portion of the total gains generated from an acquisition.