Bøger i Cultures of History serien

Though the history of the German railway system is often associated with the transportation of Jews to labor and death camps, Todd Presner looks instead to the completion of the first German railway lines and their role in remapping the cultural geography and intellectual history of Germany's Jews. Treating the German railway as both an iconic symbol of modernity and a crucial social, technological, and political force, Presner advances a groundbreaking interpretation of the ways in which mobility is inextricably linked to German and Jewish visions of modernity. Moving beyond the tired model of a failed German-Jewish dialogue, Presner emphasizes the mutual entanglement of the very categories of German and Jewish and the many sites of contact and exchange that occurred between German and Jewish thinkers.Turning to philosophy, literature, and the history of technology, and drawing on transnational cultural and diaspora studies, Presner charts the influence of increased mobility on interactions between Germans and Jews. He considers such major figures as Kafka, Heidegger, Arendt, Freud, Sebald, Hegel, and Heine, reading poetry next to philosophy, architecture next to literature, and railway maps next to cultural history. Rather than a conventional, linear history that culminates in the tragedy of the Holocaust, Presner produces a cultural mapping that articulates a much more complex story of the hopes and catastrophes of mobile modernity. By focusing on the spaces of encounter emblematically represented by the overdetermined triangulation of Germans, Jews, and trains, he introduces a new genealogy for the study of European and German-Jewish modernity.

A reassessment of conventional South Asian historiography from a subaltern perspective and a unique look at how conceptions of history and community clash. This incisive study explores the Meo community through their oral literature, revealing sophisticated modes of collective memory and self-government while telling a story that radically diverges from most accepted Indian histories.

Explores how a popular Islamic media form - the cassette sermon - has profoundly transformed the political geography of the Middle East. Focusing on Cairo's popular neighborhoods, this book highlights the pivotal role these tapes play in an expanding arena of Islamic argumentation and debate - what the author calls an "Islamic counterpublic."

The decades between 1970 and the end of the twentieth century saw the disciplines of history and anthropology draw closer together, with historians paying more attention to social and cultural factors and the significance of everyday experience in the study of the past. The people, rather than elite actors, became the focus of their inquiry, and anthropological insights into agriculture, kinship, ritual, and folk customs enabled historians to develop richer and more representative narratives. The intersection of these two disciplines also helped scholars reframe the legacies of empire and the roots of colonial knowledge.In this collection of essays and lectures, history's turn from high politics and formal intellectual history toward ordinary lives and cultural rhythms is vividly reflected in a scholar's intellectual journey to India. Nicholas B. Dirks recounts his early study of kingship in India, the rise of the caste system, the emergence of English imperial interest in controlling markets and India's political regimes, and the development of a crisis in sovereignty that led to an extraordinary nationalist struggle. He shares his personal encounters with archives that provided the sources and boundaries for research on these subjects, ultimately revealing the limits of colonial knowledge and single disciplinary perspectives. Drawing parallels to the way American universities balance the liberal arts and specialized research today, Dirks, who has occupied senior administrative positions and now leads the University of California at Berkeley, encourages scholars to continue to apply multiple approaches to their research and build a more global and ethical archive.

Partha Chatterjee, a pioneering theorist known for his disciplinary range, builds on his theory of "e;political society"e; and reinforces its salience to contemporary political debate. Dexterously incorporating the concerns of South Asian studies, postcolonialism, the social sciences, and the humanities, Chatterjee broadly critiques the past three hundred years of western political theory to ask, Can democracy be brought into being, or even fought for, in the image of Western democracy as it exists today? Using the example of postcolonial societies and their political evolution, particularly communities within India, Chatterjee undermines the certainty of liberal democratic theory in favor of a realist view of its achievements and limitations. Rather than push an alternative theory, Chatterjee works solely within the realm of critique, proving political difference is not always evidence of philosophical and cultural backwardness outside of the West. Resisting all prejudices and preformed judgments, he deploys his trademark, genre-bending, provocative analysis to upend the assumptions of postcolonial studies, comparative history, and the common claims of contemporary politics.

This is a book about the newness of old things. It concerns an oratorical revolution, a transformation of oratorical style linked to larger transformations in society at large. It explores the aesthetics of Tamil oratory and its vital relationship to one of the key institutions of modern society: democracy. Therefore this book also bears on the centrality of language to the modern human condition.Though Tamil oratory is a relatively new practice in south India, the Dravidian (or Tamil nationalist) style employs archaic forms of Tamil that suggest an ancient mode of speech. Beginning with the advent of mass democratic politics in the 1940s, a new generation of politician adopted this style, known as "e;fine,"e; or "e;beautiful Tamil"e; (centamil), for its distinct literary virtuosity, poesy, and alluring evocation of a pure Tamil past. Bernard Bate explores the centamil phenomenon, arguing that the genre's spectacular literacy and use of ceremonial procession, urban political ritual, and posters, praise poetry are critical components in the production of a singularly Tamil mode of political modernity: a Dravidian neoclassicism. From his perspective, the centamil revolution and Dravidian neoclassicism suggest that modernity is not the mere successor of tradition but the production of tradition, and that this production is a primary modality of modernity, a new newness-albeit a newness of old things.

Lines of the Nation radically recasts the history of the Indian railways, which have long been regarded as vectors of modernity and economic prosperity. From the design of carriages to the architecture of stations, employment hierarchies, and the construction of employee housing, Laura Bear explores the new public spaces and social relationships created by the railway bureaucracy. She then traces their influence on the formation of contemporary Indian nationalism, personal sentiments, and popular memory. Her probing study challenges entrenched beliefs concerning the institutions of modernity and capitalism by showing that these rework older idioms of social distinction and are legitimized by forms of intimate, affective politics. Drawing on historical and ethnographic research in the company town at Kharagpur and at the Eastern Railway headquarters in Kolkata (Calcutta), Bear focuses on how political and domestic practices among workers became entangled with the moralities and archival technologies of the railway bureaucracy and illuminates the impact of this history today. The bureaucracy has played a pivotal role in the creation of idioms of family history, kinship, and ethics, and its special categorization of Anglo-Indian workers still resonates. Anglo-Indians were formed as a separate railway caste by Raj-era racial employment and housing policies, and other railway workers continue to see them as remnants of the colonial past and as a polluting influence. The experiences of Anglo-Indians, who are at the core of the ethnography, reveal the consequences of attempts to make political communities legitimate in family lines and sentiments. Their situation also compels us to rethink the importance of documentary practices and nationalism to all family histories and senses of relatedness. This interdisciplinary anthropological history throws new light not only on the imperial and national past of South Asia but also on the moral life of present technologies and economic institutions.

The "e;Maratha period"e; of the seventeenth and eighteenth centuries, when an independent Maratha state successfully resisted the Mughals, is a defining era in the history of the region of Maharashtra in western India. In this book, Prachi Deshpande considers the importance of this period for a variety of political projects including anticolonial/Hindu nationalism and the non-Brahman movement, as well as popular debates throughout the nineteenth and twentieth centuries concerning the meaning of tradition, culture, and the experience of colonialism and modernity. Sampling from a rich body of literary and cultural sources, Deshpande highlights shifts in history writing in early modern and modern India and the deep connections between historical and literary narratives. She traces the reproduction of the Maratha period in various genres and public arenas, its incorporation into regional political symbolism, and its centrality to the making of a modern Marathi regional consciousness. She also shows how historical memory provided a space for Indians to negotiate among their national, religious, and regional identities, pointing to history's deeper potential in shaping politics within thoroughly diverse societies.A truly unique study, Creative Pasts examines the practices of historiography and popular memory within a particular colonial context, and illuminates the impact of colonialism on colonized societies and cultures. Furthermore, it shows how modern history and historical memory are jointly created through the interplay of cultural activities, power structures, and political rhetoric.

Nation-states often shape the boundaries of historical enquiry, and thus silence the very histories that have sutured nations to territorial states. "e;India"e; and "e;Pakistan"e; were drawn onto maps in the midst of Partition's genocidal violence and one of the largest displacements of people in the twentieth century. Yet this historical specificity of decolonization on the very making of a nationalized cartography of modern South Asia has largely gone unexamined. In this remarkable study based on more than two years of ethnographic and archival research, Vazira Fazila-Yacoobali Zamindar argues that the combined interventions of the two postcolonial states were enormously important in shaping these massive displacements. She examines the long, contentious, and ambivalent process of drawing political boundaries and making distinct nation-states in the midst of this historic chaos.Zamindar crosses political and conceptual boundaries to bring together oral histories with north Indian Muslim families divided between the two cities of Delhi and Karachi with extensive archival research in previously unexamined Urdu newspapers and government records of India and Pakistan. She juxtaposes the experiences of ordinary people against the bureaucratic interventions of both postcolonial states to manage and control refugees and administer refugee property. As a result, she reveals the surprising history of the making of the western Indo-Pak border, one of the most highly surveillanced in the world, which came to be instituted in response to this refugee crisis, in order to construct national difference where it was the most blurred.In particular, Zamindar examines the "e;Muslim question"e; at the heart of Partition. From the margins and silences of national histories, she draws out the resistance, bewilderment, and marginalization of north Indian Muslims as they came to be pushed out and divided by both emergent nation-states. It is here that Zamindar asks us to stretch our understanding of "e;Partition violence"e; to include this long, and in some sense ongoing, bureaucratic violence of postcolonial nationhood, and to place Partition at the heart of a twentieth century of border-making and nation-state formation.

Art history as it is largely practiced in Asia as well as in the West is a western invention. In India, works of art-sculptures, monuments, paintings-were first viewed under colonial rule as archaeological antiquities, later as architectural relics, and by the mid-20th century as works of art within an elaborate art-historical classification. Tied to these views were narratives in which the works figured, respectively, as sources from which to recover India's history, markers of a lost, antique civilization, and symbols of a nation's unique aesthetic, reflecting the progression from colonialism to nationalism. The nationalist canon continues to dominate the image of Indian art in India and abroad, and yet its uncritical acceptance of the discipline's western orthodoxies remains unquestioned, the original motives and means of creation unexplored. The book examines the role of art and art history from both an insider and outsider point of view, always revealing how the demands of nationalism have shaped the concept and meaning of art in India. The author shows how western custodianship of Indian "e;antiquities"e; structured a historical interpretation of art; how indigenous Bengali scholarship in the late 19th and early 20th centuries attempted to bring Indian art into the nationalist sphere; how the importance of art as a representation of national culture crystallized in the period after Independence; and how cultural and religious clashes in modern India have resulted in conflicting "e;histories"e; and interpretations of Indian art. In particular, the author uses the depiction of Hindu goddesses to elicit conflicting scenarios of condemnation and celebration, both of which have at their core the threat and lure of the female form, which has been constructed and narrativized in art history. Monuments, Objects, Histories is a critical survey of the practices of archaeology, art history, and museums in nineteenth- and twentieth-century India. The essays gathered here look at the processes of the production of lost pasts in modern India: pasts that come to be imagined around a growing corpus of monuments, archaeological relics, and art objects. They map the scholarly and institutional authority that emerged around such structures and artifacts, making of them not only the chosen objects of art and archaeology but also the prime signifiers of the nation's civilization and antiquity. The close imbrication of the "e;colonial"e; and the "e;national"e; in the making of India's archaeological and art historical pasts and their combined legacy for the postcolonial present form one of the key themes of the book. Monuments, Objects, Histories offers both an insider's and an outsider's perspective on the growth of these scholarly fields and their institutional apparatus, analyzing the ways they have constituted and recast their objects of study. The book moves from a period that saw the consolidation of western expertise and custodianship of India's "e;antiquities,"e; to the projection over the twentieth century of varying regional, nativist, and national claims around the country's architectural and artistic inheritance, into a current period that has pitched these objects and fields within a highly contentious politics of nationhood. Monuments, Objects, Histories traces the framing of an official national canon of Indian art through these different periods, showing how the workings of disciplines and institutions have been tied to the pervasive authority of the nation. At the same time, it addresses the radical reconfiguration in recent times of the meaning and scope of the "e;national,"e; leading to the kinds of exclusions and chauvinisms that lie at the root of the current endangerment of these disciplines and the monuments and art objects they encompass.

Includes contribution by: Lila Abu Lughod; Diana Keown Allan; Haim Bresheeth; Rochelle Davis; Samera Esmeir; Isabelle Humphries; Lena Jayyusi; Laleh Khalili; Omar Al-Qattan; Ahmad H Sa'di; Rosemary Sayigh; and, Susan Slyomovics.

"Palestine, 1948, and the Claims of Memory" uses blurbs.