While his flamboyance establishes Naranappa's dissipations as an identifiable and, at least to some, attractive modus vivendi in Samskara, his anti-brahminic ideological agenda locates his actions within a context, as an extreme reaction to a specific institutional arrangement, where a certain variety of brahminism
has established a stultifying and counterproductive hold over social and cultural expression.
In drawing out her argument, Rege criticises the dichotomy between the material and cultural which equates the material to environmental degradation and brahminism
to the cultural:
The powers of a new-age metropolitan Hindutva publicity, as is apparent here, thus lie not in proposing a stable subjective horizon of meaning, but in creating an informatic plane, a project of new age memory, where pulsating, de-enunciated mantras of Brahminism
can enter into diffuse and osmotic relations with metropolitan common sense, techno quizdom, and habit.
Though his American Renaissance contemporaries certainly dabbled in Orientalist images, Poe's own adoption of the arabesque illuminates his aesthetic fascination with decadence and decay, an interest that contrasted sharply with the Transcendentalists' sunny celebration of Persian roses and Indian Brahminism
is not the original religion of India but rather a religious and theological system that overlays and reorganizes older traditions of ritual practice and polytheistic worship.
It seems also to assert that "disinterested," truly "Indian" categories of analysis are not only "hidden" from view, but must be elicited by an agent alien to the "biases" of brahminism