Trade and Politics on the Coromandel Coast: Seventeenth and Early Eighteenth Centuries addresses the breakdown of the political structures within which the merchants operated, and the impact of the arrival of the Europeans, especially the English. In so doing, it explores the transitional nature of the seventeenth century and the ways in which the European trading companies, Indian states, and merchants interacted with each other.

Situated within the larger historical context of the trading world of the Coromandel Coast, this regional history challenges accepted notions about the place of merchants and the state, and through a detailed economic history, sheds new light on the political and transitional nature of the period. * (less)

Trade and Politics on the Coromandel Coast: Seventeenth and Early Eighteenth Centuries addresses the breakdown of the political structures within which the merchants operated, and the impact of the arrival of the Europeans, especially the English. In so doing, it explores the transitional nature of the seventeenth century and the ways in which the European trading companies, Indian states, and merchants interacted with each other.

Situated within the larger historical context of the trading world of the Coromandel Coast, this regional history challenges accepted notions about the place of merchants and the state, and through a detailed economic history, sheds new light on the political and transitional nature of the period. * (less)

This book is essentially the outcome of an International Symposium: October 1996, Venice, Italy. lncluding new investigative studies of both the traditional authentic shamanism and neo- shamanism, in diverse local situations: ranging from the frozen plains of Siberia to the jungles of Orissa, from the Himalayan valleys to the islands of Indonesia, the authors describe shamanic tranceflightsecstatic experience how a shaman envisions the true nature of the cosmos, beyond its trivial appearance and how, through his mysterious power, he can move among the dead men, spirits and gods.

An unbiased inquiry into the intriguing, yet heart-stirring, shamanic phenomena, it is certainly a work of absorbing interest to ethnologists, socialcultural anthropologists, shamanologists, historians of religion, and general readers alike. * (less)

This book is essentially the outcome of an International Symposium: October 1996, Venice, Italy. lncluding new investigative studies of both the traditional authentic shamanism and neo- shamanism, in diverse local situations: ranging from the frozen plains of Siberia to the jungles of Orissa, from the Himalayan valleys to the islands of Indonesia, the authors describe shamanic tranceflightsecstatic experience how a shaman envisions the true nature of the cosmos, beyond its trivial appearance and how, through his mysterious power, he can move among the dead men, spirits and gods.

An unbiased inquiry into the intriguing, yet heart-stirring, shamanic phenomena, it is certainly a work of absorbing interest to ethnologists, socialcultural anthropologists, shamanologists, historians of religion, and general readers alike. * (less)

Pandit, Vamanrao (1882-1941) was born with a marked talent for portrature, later honed by no less than two of the most celebrated artists of Europe, Philip de Laszlo and John Singer Sargent. Vamanrao has painted the well-known and well-heeled: Sir Dorab Tata, Sudhira Devi (Gayatri Devi's paternal aunt), Sir Cowasji Jehangir, Sir Ibrahim Rahimtoolah, Maharaja Sayajirao Geakwar, Maharaja Tukojirao Holkar and other 40 odd Maharajas, Ranas, Raos, Maharanas and Rajas from several princely states across India.

After his law education in London, Vamanrao moved to Vienna where Philip de Laszlo was already a recognised portraits in Europe. He spent four years with de Laszlo, travelling extensively throughout Europe visiting crowned heads of Europe and the aristocracy.

During this time, a friendship evolved between the two. De Laszlo made a suave portrait of the very handsome Vamanrao dressed as an Indian prince which was exhibited in 1907.

In 1097 Vamanrao moved back to London and joined the Royal Academy under Sargent. In his time in Europe, Vamanrao painted portraits of Lady Nina Corbet, Baron Arild Rosencrantz, the celebrated artist Otto Friedrick and the Countess of Bective among other aristocrats and nobility.

Vamanrao's style of portrature has the European academic approach and yet sports a distinct style - he used a muted colour palette and presented the jewels and pearls of his Indian sitters without overstating them. Says historian Sharada Dwivedi, who places Vamanrao's paintings 'an extremely high level' in the context of Indian art.

'There are many unsung artists. Vamanrao Pandit has been rediscovered now.

His portrature is as sensitive as, say, Raja Ravi Varma's or Dhurandhar's, although very different in style. He beautifully managed to get into the soul of the person.

* (less)

Pandit, Vamanrao (1882-1941) was born with a marked talent for portrature, later honed by no less than two of the most celebrated artists of Europe, Philip de Laszlo and John Singer Sargent. Vamanrao has painted the well-known and well-heeled: Sir Dorab Tata, Sudhira Devi (Gayatri Devi's paternal aunt), Sir Cowasji Jehangir, Sir Ibrahim Rahimtoolah, Maharaja Sayajirao Geakwar, Maharaja Tukojirao Holkar and other 40 odd Maharajas, Ranas, Raos, Maharanas and Rajas from several princely states across India.

After his law education in London, Vamanrao moved to Vienna where Philip de Laszlo was already a recognised portraits in Europe. He spent four years with de Laszlo, travelling extensively throughout Europe visiting crowned heads of Europe and the aristocracy.

During this time, a friendship evolved between the two. De Laszlo made a suave portrait of the very handsome Vamanrao dressed as an Indian prince which was exhibited in 1907.

In 1097 Vamanrao moved back to London and joined the Royal Academy under Sargent. In his time in Europe, Vamanrao painted portraits of Lady Nina Corbet, Baron Arild Rosencrantz, the celebrated artist Otto Friedrick and the Countess of Bective among other aristocrats and nobility.

Vamanrao's style of portrature has the European academic approach and yet sports a distinct style - he used a muted colour palette and presented the jewels and pearls of his Indian sitters without overstating them. Says historian Sharada Dwivedi, who places Vamanrao's paintings 'an extremely high level' in the context of Indian art.

'There are many unsung artists. Vamanrao Pandit has been rediscovered now.

His portrature is as sensitive as, say, Raja Ravi Varma's or Dhurandhar's, although very different in style. He beautifully managed to get into the soul of the person.

* (less)

Pandit, Vamanrao (1882-1941) was born with a marked talent for portrature, later honed by no less than two of the most celebrated artists of Europe, Philip de Laszlo and John Singer Sargent. Vamanrao has painted the well-known and well-heeled: Sir Dorab Tata, Sudhira Devi (Gayatri Devi's paternal aunt), Sir Cowasji Jehangir, Sir Ibrahim Rahimtoolah, Maharaja Sayajirao Geakwar, Maharaja Tukojirao Holkar and other 40 odd Maharajas, Ranas, Raos, Maharanas and Rajas from several princely states across India.

After his law education in London, Vamanrao moved to Vienna where Philip de Laszlo was already a recognised portraits in Europe. He spent four years with de Laszlo, travelling extensively throughout Europe visiting crowned heads of Europe and the aristocracy.

During this time, a friendship evolved between the two. De Laszlo made a suave portrait of the very handsome Vamanrao dressed as an Indian prince which was exhibited in 1907.

In 1097 Vamanrao moved back to London and joined the Royal Academy under Sargent. In his time in Europe, Vamanrao painted portraits of Lady Nina Corbet, Baron Arild Rosencrantz, the celebrated artist Otto Friedrick and the Countess of Bective among other aristocrats and nobility.

Vamanrao's style of portrature has the European academic approach and yet sports a distinct style - he used a muted colour palette and presented the jewels and pearls of his Indian sitters without overstating them. Says historian Sharada Dwivedi, who places Vamanrao's paintings 'an extremely high level' in the context of Indian art.

'There are many unsung artists. Vamanrao Pandit has been rediscovered now.

His portrature is as sensitive as, say, Raja Ravi Varma's or Dhurandhar's, although very different in style. He beautifully managed to get into the soul of the person.

* (less)

Pandit, Vamanrao (1882-1941) was born with a marked talent for portrature, later honed by no less than two of the most celebrated artists of Europe, Philip de Laszlo and John Singer Sargent. Vamanrao has painted the well-known and well-heeled: Sir Dorab Tata, Sudhira Devi (Gayatri Devi's paternal aunt), Sir Cowasji Jehangir, Sir Ibrahim Rahimtoolah, Maharaja Sayajirao Geakwar, Maharaja Tukojirao Holkar and other 40 odd Maharajas, Ranas, Raos, Maharanas and Rajas from several princely states across India.

After his law education in London, Vamanrao moved to Vienna where Philip de Laszlo was already a recognised portraits in Europe. He spent four years with de Laszlo, travelling extensively throughout Europe visiting crowned heads of Europe and the aristocracy.

During this time, a friendship evolved between the two. De Laszlo made a suave portrait of the very handsome Vamanrao dressed as an Indian prince which was exhibited in 1907.

In 1097 Vamanrao moved back to London and joined the Royal Academy under Sargent. In his time in Europe, Vamanrao painted portraits of Lady Nina Corbet, Baron Arild Rosencrantz, the celebrated artist Otto Friedrick and the Countess of Bective among other aristocrats and nobility.

Vamanrao's style of portrature has the European academic approach and yet sports a distinct style - he used a muted colour palette and presented the jewels and pearls of his Indian sitters without overstating them. Says historian Sharada Dwivedi, who places Vamanrao's paintings 'an extremely high level' in the context of Indian art.

'There are many unsung artists. Vamanrao Pandit has been rediscovered now.

His portrature is as sensitive as, say, Raja Ravi Varma's or Dhurandhar's, although very different in style. He beautifully managed to get into the soul of the person.

* (less)

To enable the best use of information technology in the health sector, urgent action needs to be taken. The causes for concern stem from two major factors, Firstly, when the question is asked whether the principles of data protection are being respected in the health information sector, it is impossible to give a definite answer.

Secondly, the participants at the working conference, from their personal non-systematic observations shared the opinion that in the fast majority of cases the principles and recommendations have not properly been implemented. Experience from the field shows that in the health sector the people involved are often indifferent and in some cases reluctant to ensure the implementation of data protection measure.

Both the indifference and possible even some of the reluctance may arise from the general lack of awareness about the issues involved. This makes the implementation of the required organizational measures difficult (less)