The ontology of time and space has always been a subject of materialist prospectus bearing a halo effect of ‘modernity’ and ‘progress’. The enquiry into the sign of modern is a mechanical category of production where substantial copies of ‘progress’ have religiously been equated with a break from the past. This breaking away from the centre (soul) is, of course, associated with a desire for the non-native design. Simultaneously, the past becomes historicized as primitive dangers while the present/‘modern’ morphs into a non-past spectacular diffusion. Satyajit Ray reloads his artillery of the cerebral one last time in his masterpiece titled, Agantuk (The Stranger), where he pits the idea of a spectral past having an agency to redo the class binary against the totalitarian time(s) in a modern urban space which prides itself on the abuse of power-as-civility. Ray introduces a nuclear family of three (a married couple and their son) where the protagonist, Manmohan Mitra, returns as an archived data in the body of a forgotten relative. His entry into the house ruptures the canny knots of the ‘home’ where the director exposes limits of the modernized time. This paper tries to analyze how Ray uses the motif of ‘travel’ in its cinematic cloth to critique the ingestion of global progress as nothing but an accumulation of fallen spectacles that commodify both a subject who is consuming the object-in-time (progress) and also the object that is all the time getting alienated from its own subjective merit. Mitra becomes the mouthpiece of the director for conveying the paradoxes of time-as-capital in the burgeoning of speculative modernity.

中文翻译：

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在雷的《阿甘图克》中定位人道时间的功效：超越物体的旅行

时空本体论一直是唯物主义招股书的主题，带有“现代性”和“进步”的光环效应。对现代符号的探究是一种机械的生产范畴，其中大量的“进步”副本在宗教上被等同于与过去的决裂。当然，这种脱离中心（灵魂）的做法与对非本土设计的渴望有关。同时，过去被历史化为原始危险，而现在/“现代”则演变为非过去的壮观扩散。Satyajit Ray 最后一次在他的杰作《Agantuk (The Stranger)》中重新装填了他的大脑大炮，他将幽灵过去的想法与现代城市空间中的极权主义时代相抗衡，该机构以滥用权力作为公民而自豪。雷介绍了一个三口之家（一对已婚夫妇和他们的儿子），主角曼莫汉·米特拉（Manmohan Mitra）作为一个被遗忘的亲戚身体中的存档数据返回。他的进入打破了“家”的精明结，导演暴露了现代化时间的限制。本文试图分析雷如何在其电影布上使用“旅行”的主题来批评对全球进步的吸收，只不过是一种堕落眼镜的积累，将消费对象的主体商品化（进步）以及一直与自己的主观优点疏远的对象。