Suchergebnisse

Cover -- Half Title -- Series Page -- Title Page -- Copyright Page -- Contents -- Glossary -- Acknowledgements -- Introduction -- 1. The Broken Garden: Ruination and Iqbal's Political Aesthetic -- 2. Selfhood's Aesthetic -- 3. Khūdī and Be-khūdī: Selfhood and its Fluctuations -- 4. Pan-Islam, Race and Nationalism -- 5. The Aesthetics of Travel -- 6. Iqbal, Cosmopolitan Modernity and the Qu'rān -- 7. Islamic Hellenism, Selfhood and Poetry -- Conclusion -- Bibliography -- Index.

The Indian Constitution (IC) has been considered in terms of its intertextuality with preceding colonial documents such as the Government of India Act 1935. This essay relocates the IC in intertextual relationships with anti-colonial autobiographies and texts such as Gandhi's Hind Swaraj, showing the parallels between the way they dramatise self-rule and mix global, Indian and regional levels of identity. Both the IC and these texts are marked by processes of transnational and internal dialogue, and reflect transnational aspects of Indian print culture and the subject positions it gave rise to. Widening the discursive sites of the IC to include anti-colonial autobiographies raises questions about the IC as a species of autobiography itself, and it also gives us another perspective on the tensions within the IC, showing how the conflict between liberty and power is manifested in its linguistic cosmopolitanism and its approach to translation. Constitutions embody the aspirations of a nation's citizens, and the IC's verbal skills grade and structure these aspirations, plotting them along a spectrum of possible futures and grounding them in a variety of pasts. This concern with temporality has a parallel in some anti-colonial autobiographies where the consciousness of time is particularly acute. Finally, both the IC and Indian anti-colonial life writing can be seen as instances of South Asian literary modernity in terms of the style of their creative choices.

In the early 1960s, Donald Smith's India as a Secular State questioned the credentials of the Indian state's secularism. Since then the issue of what constitutes secularism in India has loomed large in Indian political thought. Like a number of other key categories in political history, such as nationalism, the debate has centred on the question whether the Indian state's version of secularism is viable in its own right or not, and if it is viable, whether it extends the concept of secularism in new and innovative directions. The other possibility is to see this secularism as a "derivative discourse" (to adopt a phrase from Partha Chatterjee), confusedly echoing Western notions of secularism, with the caste and communal complexities of Indian society and the structuring role of religion in everyday life at odds with any coherent or recognisable notion of secularism.

This essay focuses on the oppositional politics expressed in the historical geography of the Persian and Urdu poetry of Muhammad Iqbal (1877–1938), showing how it emerges from, and breaks with, Urdu and Persian travelogues and poetry of the nineteenth century. It explores the complex relationships between the politics of Muslim separatism in South Asia and European imperialist discourses. There are two defining tensions within this politics. The first is between territorial nationalism and the global imaginings of religious identity, and the second is between the homogenizing imperatives of nationalism and the subjectivity of individual selfhood. These tensions are reflected in the composite geography of Iqbal's work, which contains three elements: a sacred space, a political territoriality and the interiority of subjectivity. But these elements are in conflict with each other; in particular, the space of interiority in his poetry conflicts with the realm of politics in the external world.

This essay considers the role of translatability in Gandhi's project of 'Truth'. I will argue that translation as a category and a mode of thinking grounds what Gandhi's autobiography refers to as 'the Story of My Experiments with Truth.'