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M.S.S. Pandian (1958 2014) was an eminent historian of South Indian politics, caste, culture, and cinema. His writings offer distinctively Tamil insights on these areas. In this book his chief focus is Tamil political culture for roughly thirty years since 1985. His success lies in bringing a historical understanding to bear on what he called the strangeness of Tamil Nadu . A key figure in Pandian s thinking was E.V. Ramasamy Periyar . Pandian argues that Periyar s ideals and strategies long remained popular among Tamil progressives, but that their survival became difficult because of radical changes in pan-Indian political culture. To show these changes, this book is organised chronologically as well as along thematic sections that reflect the themes of Periyar s Dravidian ideology: linguistic identity, state politics, religion, and caste. Periyar s ideas, Pandian argues, can still provide productive standards for critical analysis of politics in India. But because they are not widely known or appreciated outside Tamil Nadu, they represent the strangeness of Tamil politics instead of being adapted as progressive in the country as a whole.
'A Must For [Anyone] Who Wants To Understand Tamil Nadu Politics' New Indian Express Tamil Nadu Is A State Very Different From The Rest Of India, Both Culturally And Historically. It Has Retained A Fundamentally Separate Identity For Itself In Language And Caste Structure, And This Is Most Evident In Its Politics. Cut-Outs, Caste And Cine Stars: The Word Of Tamil Politics Tells A Political Story That Has All The Elements Of A Blockbuster Film, Where Ironies And Larger-Than-Life Characters Abound: Periyar, A Kannada-Speaker, Who Introduced The Notions Of Tamil Self-Respect And Regional Pride, Yet Dismissed Tamil As 'A Barbaric Language'; The Matinee Idol Mgr, A Malayalee Born In Sri Lanka, Who Became Tamil Nadu'S Most Popular Mass Leader; The Dravidian Movement Which, By Its Own Ideology, Should Have Helped The Dalits But Has Instead Supported Only The Upwardly Mobile Middle Groups; And Parties That Rose To Power By Propagating Anti-Hindi And Anti-Brahmin Sentiments But Have Now Allied Themselves With The Bjp. It Is Fitting That This Reel-Like Scenario Is Presently Dominated By The Electoral Politics Of Karunanidhi And Jayalalithaa, One A Scriptwriter And The Other A Former Actress. Well-Known Writer And Journalist Vaasanthi Has Observed The Dramatis Personae In This Epic Drama At Close Quarters For A Decade. Now Updated With An Additional Chapter On The War Of Succession Cut-Outs, Caste And Cine Stars Offers An Objective And Insightful View Of A Political World That Is Both Fascinating And Perplexing.
A conceptually framed narrative of how the construction of a people as Dravidian-Tamil was achieved by the DMK between 1949-1967.
The nation sinks deep into mourning as news of former Prime Minister Rani Shah's assassination arrives. Intelligence agencies, opposition leaders, the army top brass, her closest relatives - all seem to be shifting in their chairs even as special investigative teams gear up to file a report.Conspiracy theories abound for there were many who stood to gain if she pulled out of the imminent elections. The needle of suspicion points most immediately to Madam Shah's close confidante Nazneen Khan, who was seen sitting right beside her in the convoy and, oddly, escaped the bomb blast unscathed.Sabyn Javeri's tale of intense friendship between two ambitious women unfolds in a country steeped in fanaticism and patriarchy. Set against a backdrop of intrigue and political machinations, this is a novel about love, loyalty, obsession and deception. Nobody Killed Her is dark noir meets pacy courtroom drama. An electrifying debut you will rave about to everyone you meet.
Deals with the nature, origin and sociology of patriarchy. Reviewing the sources available, it discusses the historical contexts which have nurtured patriarchal societies. Finally it applies these ideas to Indian history and sociology and examines how caste has interacted synergistically with patriarchy in India. A useful text for students as well as for the general reader.
The Image Trap analyses the phenomenon of M.G. Ramachandran (MGR), the legendary film star-cum-politician of Tamil Nadu, as a modern-day political myth. This book offers fascinating details about the extent to which MGR was successful in creating a stereotypical cinematic persona, and what repercussions it had on Tamil Nadu. Delineating the cultural elements that were meticulously mobilised to constitute MGR’s on-screen image, it analyses the popularity he enjoyed among the poor whose interests he constantly violated. This is done by means of what Pandian termed as constructed biographies which are popular narratives that ingeniously present the cinematic as real. It brings out the interface and interplay between the media and political processes. A blend of essay writing, political rhetoric and scholarship, the book features the complete filmography of MGR and is a must for understanding the contemporary politics of the state.
The COVID-19 pandemic resulted in a mass exodus of India’s migrant workers from the cities back to the villages. This book explores the social conditions and concerns around health, labour, migration, and gender that were thrown up as a result of this forced migration. The book examines the failings of the public health systems and the state response to address the humanitarian crisis which unfolded in the middle of the pandemic. It highlights how the pandemic-lockdown disproportionately affected marginalised social groups – Dalits and the Adivasi communities, women and Muslim workers. The book reflects on the socio-economic vulnerabilities of migrant workers, their rights to dignity, questions around citizenship, and the need for robust systems of democratic and constitutional accountability. The chapters also critically look at the gendered vulnerabilities of women and non-cis persons in both public and private spaces, the exacerbation of social stratification and prejudices, incidents of intimidation by the administration and the police forces, and proposed labour reforms which might create greater insecurities for migrant workers. This important and timely book will be of great interest to researchers and students of sociology, public policy, development studies, gender studies, labour and economics, and law.
In eighth century India, Andal is born into a world where girls are married and with child by fourteen. Defying the mores of her time, she refuses marriage to a mortal man. Only a god will do. Andal’s imagination is boundless and her antics set the town’s tongues wagging. As Andal becomes more and more absorbed by her visions, she composes songs to her divine lover. Saisha discovers Andal’s songs in a book on a trip to India with her partner Marcus. The verses are confronting and unearth memories Saisha thought were long ago buried. Not only is she unable to conceive, for the past two decades Marcus has chosen celibacy. What defines her as a woman when these two primal desires remain unfulfilled? Andal’s words are deceptively simple, yet shine a lamp on the labyrinths of Saisha’s sexuality and her quest to find peace with the choices she has made.
Valmiki's Ramayana is the story of Rama's exile and return to Ayodhya, of a triumphant king who will always do right by his subjects. In Volga's retelling, it is Sita who, after being abandoned by Purushottam Rama, embarks on an arduous journey towards self-realization. Along the way, she meets extraordinary women who have broken free from all that held them back: husbands, sons, and their notions of desire, beauty and chastity. The minor women characters of the epic as we know it -- Surpanakha, Renuka, Urmila and Ahalya -- steer Sita towards an unexpected resolution. Meanwhile, Rama too must reconsider and weigh his roles as the king of Ayodhya and as a man deeply in love with his wife. A powerful subversion of India's most popular tale of morality, choice and sacrifice, The Liberation of Sita opens up new spaces within the old discourse, enabling women to review their lives and experiences afresh. This is Volga at her feminist best.