Bøker i Metamorphoses of the Political: Multidisciplinary Approaches-serien

This book focuses on exclusivist Indian nationalism, and identifies its distinction from inclusivist nationalism. It highlights shifts in 'another Indian nationalism' over the last two centuries as the geopolitical context has transitioned from the Pax Britannica to the Pax Americana and its war on terror.

We live in cities whose borders have always been subject to expansion. What does such transformation of rural spaces mean for cities and vice-versa? This book looks at the spatial transformation of villages brought into the Delhi's urban fray in the 1950s. As these villages transform physically; their residents, an agrarian-pastoralist community - the Jats - also transform into dabblers in real estate. A study of two villages - Munirka and Shahpur Jat - both in the heart of bustling urban economies of Delhi, reveal that it is 'rent' that could define this suburbanisation. 'Bhaichara', once a form of land ownership in colonial times, transforms into an affective claim of belonging, and managing urban property in the face of a steady onslaught from the 'city'. Properties of Rent is a study of how vernacular form of capitalism and its various affects shape up in opposition to both state, finance capital and the city in contemporary urban Delhi.

This new history of partition and South Asian cinema is narrated through the careers of emigre film personnel, as well as through the distinctive genres and ancillary ventures that accompanied the aftershocks of partition. Moving beyond arguments about social contingency and political intent, the book suggests that the creative energies, production and subsequent circulation of popular cinema can offer fresh insights into partition. Pointing to regional connections across national boundaries, this book asserts that the cinemas of India and Pakistan must be explored in tandem to uncover the legacy of partition for the culture industries of the region, one that is not hewn out of national erasures. The leitmotifs of emigre personnel, gossip and satire in film print culture, the partisan repertoire of a theatre company, the film genres of the Muslim social, romantic comedies and charba (remakes), and the unruly film archives of postcolonial nation-states, when accessed through the lens of a divisive decolonization, reveal the parallaxes and confabulations of the 'national' on both sides.

This volume examines the phenomenon of contemporary Hindu nationalism or 'new Hindutva' that is presently the dominant ideological and political-electoral formation in India. There is a rich body of work on Hindu nationalism, but its main focus is on an earlier moment of insurgent movement politics in the 1980s and 1990s. In contrast, new Hindutva is a governmental formation that converges with wider global currents and enjoys mainstream acceptance. To understand these new political forms and their implications for democratic futures, a fresh set of reflections is in order. This book approaches contemporary Hindutva as an example of a democratic authoritarianism or an authoritarian populism, a politics that simultaneously advances and violates ideas and practices of popular and constitutional democracy.

The Dravida Munnetra Kazhagam (DMK) has been singular in heralding and establishing a firm regional polity among the Indian states after the Indian Union was inaugurated as a republic. Academic scholarship has often treated the DMK as a Tamil nationalist or ethno-nationalist formation without conceptual clarity or critical insight. Rule of the Commoner demonstrates with persuasive evidence that the DMK appealed to a federalist and not nationalist imagination. The DMK's combining of the non-Brahmin Dravidian identity and allegiance to Tamil language led to a counter hegemonic formation of the plebes and left populism. Drawing on Ernesto Laclau, the book argues that the DMK achieved the construction of a people as Dravidian-Tamil, with Tamil being the empty signifier of the social whole, Brahmin vs. non-Brahmin divide functioning as the internal frontier leading to the formations of the political. It elaborates the conceptual scheme under the three rubrics of Ideation, Imagination and Mobilization.

The book studies the social production of motion in a capitalist urban context. In the city of capital, motion refers to a fetish. The bourgeois order posits motion as a metaphor for energy, positivity, and progress - a norm - and obstruction (motion's dialectical opposite) as delinquency. The book uncovers the social tectonics of spatial mobilization and thus demystifies motion. Who and what set spaces on the move? How did various classes of city dwellers activate, experience, and negotiate it? Streets in Motion develops an approach to urban history by theorizing and historicizing the 'street' as an apparatus of city-making and subject formation. It works at two registers - a local history of Calcutta in colonial and post-colonial periods, and a theorizing of the logistical and political-cultural centrality of the street within this rubric. It is argued that the street is politics in as much as politics is the production of space.