Gerbang India (Mumbai): Perbedaan antara revisi

N. Kamala, profesor di [[Universitas Jawaharlal Nehru]],<ref>{{Cite web |url=https://www.jnu.ac.in/content/nkamala |title=N. Kamala |website=jnu.ac.in |publisher=Jawaharlal Nehru University |access-date=19 September 2019}}</ref> menyebut gerbang ini sebagai sebuah "permata di mahkota" dan sebuah "simbol penaklukan dan kolonisasi".{{sfn|SimonSt-Pierre|2000|p=245|loc=chpt. 13}}{{efn-ua|group=note|Kamala (2000) writes, "Through the Gateway, the imperial traveller could perceive in his mind's eye the vision of a subject-nation, a nation constructed and processed in and for his gaze. As Tejaswini Niranjana points out, one of the professed aims of English education was to give the colonized, "along with the English language, models of national culture" (1992, 107),{{sfn|Tejaswini Niranjana|1992|p=107}} the stated objectives being to "give a liberal English education to the middle and upper classes, in order that we may furnish them with both the materials and models for the formation of a national literature" (Trevelyan 1838, 175).{{sfn|Charles Edward Trevelyan|1838|p=175}} While various notions of India—indeed, various Indias—may have pre-existed British colonization, this one monolithic nation, India, was constructed only in English translation. The Gateway of India looked outward, welcoming the colonizer, a symbol and facilitator of appropriation, but it also looked inward, bringing a people together (and driving them apart) as they dutifully defined their nation in the curiously perceived neutrality of the English language."{{sfn|SimonSt-Pierre|2000|p=245|loc=chpt. 13}}}} Monumen ini memperingati warisan pemerintahan kolonial Britania; yakni kunjungan pertama seorang raja Britania ke India dan penggunaannya sebagai titik masuk bagi personel kolonial terkemuka ke India Britania.{{sfn|SimonSt-Pierre|2000|p=245}} Saat ini gerbang tersebut identik dengan kota Mumbai.<ref name = "deccan" /><ref name="Kulkarni"/>{{efn-ua|group=note|The gateway has also been featured in films shot in or with stories based in Mumbai. Ranjani Mazumdar (2010), referring to the 1989 Indian film ''[[Parinda]]'', writes, "In a city where the rich and poor live cheek by jowl, where disenchantment is the experience of the majority, Mumbai Noir has become synonymous with urban decay, crime, claustrophobia, and an assortment of characters marked by some sort of death wish...Karan is soon sucked into a vortex of violence in a narrative that consciously uses Mumbai's familiar locations like the Gateway of India, the Babulnath Temple, the fountains and various abandoned factories...Urban space is not just the backdrop but a central character in the film and the use of the Gateway of India to stage a bloody climax paved the way for a new imagination of violence."{{sfn|Helio San Miguel|2012|loc= chpt. on 'Mumbai Noir'}}<br/>There is also a 1957 Indian film titled ''Gateway of India'' featuring the monument, starring [[Madhubala]] and [[Om Prakash]].{{sfn|Deepa Gahlot2015|loc=chpt. on 'Gateway of India (1957)'}}}} Sejak pembangunannya, gerbang ini tetap merupakan salah satu di antara bangunan pertama yang terlihat oleh pengunjung yang tiba di Bombay melalui laut.{{sfn|Chatterji, Monojit|1997|pp=233-234}}{{efn-ua|group=note|Tindall (1992) writes, "If Bombay is, as some think, an Indian city with a Western façade, then the Gateway and the Taj{{efn-ua|group=note|Referring to the [[The Taj Mahal Palace Hotel|Taj Mahal Palace Hotel]] located opposite the gateway, both visible together from the sea.}} are this façade in spite of their determinedly oriental opulence."{{sfn|Gillian Tindall|1992|p=12}} While Dupée (2008) writes, "The city's dramatical imperial arch graced the harbor's approach, lending substance to the characterization that Bombay was the "gateway" or "front door" to the subcontinent, not unlike, according to one author, the [[Arc de Triomphe]]'s as entryway into the city of [[Paris]]...The arch of honey-colored basalt was not completed until 1924, but once erected it became for travellers the city's dominant architectural icon. The Taj Mahal Hotel, situated nearby, also faced the harbour, commanding a stunning view of the sea and, dependent upon the traveller's aesthetic tastes, lending an imposing grandeur to the city's image."{{sfn|Dupée, Jeffrey N.|2008|p=114}} Yet Monojit (1997) notes, "Visible from way out at sea, it was the first sight of normality in what was to be an alien land...Today, the Gateway is a favourite promenade spot for thousands of Bomabyites...the Gateway that once symbolised Imperial rule still symbolises the city's closeness to the West, its contact with the outside world."{{sfn|Chatterji, Monojit|1997|p=233}}}}

 

 

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