
British built road overbridge near Tiruchi Fort station demolished
The British-era road overbridge above the broad gauge railway track near the Tiruchi Fort railway station was demolished by the Southern Railway Construction Organisation on Tuesday to build a new structure in its place.
The Southern Railway Construction Organisation had obtained prior permission from the Southern Railway headquarters at Chennai to carry out the demolition work. The new bridge will come up above the Tiruchi - Karur electrified railway section. A line block and a power block for 15 hours was obtained by the Southern Railway Construction Organisation from the Tiruchi Railway Division well in advance to execute the task.
The demolition work commenced in the morning as planned with a team of about 60 workers engaged in the task under the supervision of the Southern Railway Construction Organisation officials based at Tiruchi. The Divisional Railway Manager, Tiruchi M.S. Anbalagan inspected the work at the site.
Constructed over 150 years ago, the road overbridge was strengthened in 1971, railway sources said. The road overbridge was demolished by using the hydraulic breaker method and the huge debris was cleared from the site of work by using backhoe loaders and heavy tipper type vehicles. A separate team of workers were engaged for debris clearing work later.
The new bridge is being jointly constructed by the Southern Railway Construction Organisation and the Tiruchi Corporation. The Southern Railway Construction Organisation will build the new structure in the railway portion at a cost of ₹12 crore. The Tiruchi Corporation is to lay the approach road on either side of the new bridge. The sources further said the length of the two-lane new bridge would be 30 metres.
Several trains operating in the Tiruchi - Karur BG section were cancelled and a few others were partially cancelled, diverted and regulated enroute in view of the dismantling of the road overbridge work.
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Time of India
7 hours ago
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Indian Express
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Scroll.in
19 hours ago
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Lucknow to Stirling: Ghosts of 1857 in a Scottish Museum
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The empire was instrumental in Britain's rise as a modern nation state and, in the history of the British Empire, there are few events that left a mark as lasting as the Mutiny of 1857, as reflected in English fiction from Kipling to Zadie Smith. The 'Mutiny', in the shared histories of Britain and India, is today an enduring symbol of the horrors of colonialism for a contemporary Britain grappling with immigration from former colonies such as India. Sitting in a castle in Scotland, a small piece of mutiny-era Lucknow bears the weight of this shared history. A Scottish regiment Trophies of the British triumph over the Indian 'mutineers' occupy pride of place at the Regimental Museum of the Argyll and Sutherland Highlanders, deep inside one of the several grey stone buildings of the Stirling Castle in Scotland. The Highlanders were a Scottish regiment that became famous as 'The Thin Red Line' in 1854 during the Crimean War. Journalist WH Russell, who gave them this epithet, was also present in India as a correspondent of the Times during the latter stages of the Mutiny. The Highlanders were instrumental in the British campaigns during the Indian Uprising, playing a major role in the Siege of Lucknow, when the British Residency there and its British and Indian inhabitants were besieged for several months by the sepoys. The siege began in June 1857, British reinforcements arrived in September, but fighting continued till the Residency was finally evacuated in November 1857. The siege later inspired Alfred Tennyson's 1879 poem The Defence of Lucknow, which also features the Highlanders. The Regimental Museum of the Highlanders houses several exhibits from the siege as symbols of their military triumph. These include gallantry medals such as the Victoria Cross awarded for the 'Relief of Lucknow', memoirs by soldiers who survived, military uniforms, paintings of British attacks and weaponry such as bayonets and swords. One of the exhibits is a letter by the Scottish author Robert Louis Stevenson (who wrote Treasure Island and created Dr Jekyll and Mr Hyde) to Sergeant Forbes Mitchell expressing his sympathy and pride after reading the Sergeant's memoir on the Mutiny. The exhibits represent the power of British arms but are not beyond the troubling questions of the violence and exploitation experienced by the subjects of the Raj. How should an army acknowledge the effects and the implications of its actions? Can it commemorate its past in terms other than valour, sacrifice and an implied antipathy against the 'enemy'? Does it have an obligation to justify its actions, particularly when it fights for an empire – which, by its very nature, is an exploitative institution? In an age when war is consumed on prime-time television, how does an army, and more importantly, a society, make peace with war? In their 2018 book, East India Company at Home, 1757-1857, historians Margot Finn and Kate Smith argue that British material culture and even its built environment were profoundly influenced by objects and designs that originated in the colonies. This took place within a larger network of the exchange of people and objects in the wake of imperialism. The Stirling Castle reflects this due to its association with the English royal family, and can be considered a version of the English country house, which refers to mansions owned by aristocratic families in the English countryside. At the same time, the exhibits in the castle are material symbols of centuries of British political, military, cultural and commercial involvement through its empire in India. In Stirling, perhaps the most poignant of these symbols of the Uprising is a small piece of masonry from the Lucknow Residency kept beside a musket ball. While other objects such as uniforms, paintings and memoirs are attributed to individuals (the museum even has a flag seized from the 'rebels'), there is a haunting sense of emptiness, of the ruins of war, in that pale red fragment of a building (considerably faded with time) and the small black sphere, almost like a pebble, which represents many others like it that had killed hundreds of British and Indians alike. It is a fragment of Lucknow, a centre of Awadhi culture, which lives on behind a glass enclosure in a castle that was itself the site of centuries of bloody warfare between the Scots and the English. Sunset of the empire What conventional British history has termed the 'Sepoy Mutiny' has for long been known to Indians as the 'Indian Uprising' and even as an early struggle for independence. Another layer to this is that exhibits in Stirling are part of the collections of the British Army, situated in Scotland, which continues to debate if it wants independence from Britain. Museums across Britain are becoming increasingly conscious of the necessity of acknowledging uncomfortable aspects of British history such as slavery and imperialism. The Hunterian Museum, which is a part of the University of Glasgow, and the Kelvingrove Art Gallery and Museum, also in Glasgow, highlight the contribution of slavery and colonialism in the establishment of these institutions. No longer an empire on which the sun never sets, contemporary Britain (and the United Kingdom) finds itself having to acknowledge the violence that built the Raj at a time when 16% of the UK's population was born abroad. Even during the Mutiny, the Calcutta Review (a leading Anglo-Indian periodical) realised that the Siege of Lucknow would go down in history as a significant event, as much for the bloodshed as for its implications for the future of both Britain and India: 'when much that seems brightest to us has been blotted by time out of the book of history, the page which contains the defence of Lucknow will remain as clear as ever.' The author wishes to thank the Research Society for Victorian Periodicals for a travel grant, which allowed him to visit the UK. He also thanks Rod Mackenzie, the curator of the Argylls Museum, for permission to use the image of the exhibit.