| Summary: | 碩士 === 國立中山大學 === 外國語文學系研究所 === 100 === In 2001, after more than sixty years of independence, India came to be coined into the acronym, BRIC, recognizing India for her emerging economic development status. Liberalization of India’s economy since 1991 from stringent state control has resulted in the opening up its markets to world participation in the form of lowered trade barriers, and invitation of foreign direct investments. Such changes in the economy have stirred up both external and internal imaginations of a globalized India no longer focused exclusively on her films, television, and literatures, but as an intricately woven entity of conglomerate spheres involving economics, demographics, histories, political science, and so on. This is to inspect the composites of each arena through historical surveys and position each arena’s globality with their respective locality to suggest what they produced for the world, in addition to how globalization produced them. In doing so, the popular culture of the Indian cinema(s) and the Indian television are analyzed as dialogues between Indian nation state and the global rest, striving to differ from the unidirectional discourse of cultural imperialism/hegemony by the general West in the process of globalization. Extensive examples are drawn to map the contours of a globalized India, as well as other social issues are also addressed by introducing Arundhati Roy－who has written extensively on various subjects linked to globalization－for a comprehensive picture of the issues the nation is currently embroiled in in its encounter with globalization. Drawing on Arundhati Roy’s criticism of corporate globalization, the suggestion of a morally and socially responsible globalization is evoked for an alternative global imagination to belonging.
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