Marxist Influences And South Asian Literature

Mulk Raj Anand Is One Of The Best Known Novelists In English In India. Translated Into Many Languages In India As Well As Abroad, He Has Been Universally Acclaimed As A Progressive Writer.The Present Anthology Of Recent Critical Essays Probes Into His Internationally Reputed Novels Like Untouchable, Coolie, Gauri As Well As His Various Collections Of Short Stories. The Critical Perspective Is Fresh And Innovative, Embracing The Latest Critical Theories And Schools. The Essays Come Up With Novel Insights Into Themes And Characters, Form And Design In The Texts Explored.The Structural And Rhetorical Devices Employed In The Texts Have Also Been Analysed Threadbare. A Detailed Interview With Anand Facilitates A Peep Into The Writer S Workshop, Revealing Hitherto Unexplored Facets Of Anand S Artistic Persona.A Welcome Addition To Fiction Studies. An Indispensable Collection Of Articles For Students, Teachers And Researchers In Literary Theory, Fiction, Indian English Literature, Sociology Of Literature And Progressivism.

Forging an anti-imperialist Marxism through dialectical and historical approaches, this volume of Political Power and Social Theory demonstrates how the South Asian facet of this revolutionary tradition can contribute to and even reenergize global Marxist theory.

This book explores the aesthetic forms of the political left across the borders of post-colonial, post-partition South Asia. Spanning India, Sri Lanka, Pakistan and Bangladesh, the contributors study art, film, literature, poetry and cultural discourse to illuminate the ways in which political commitment has been given aesthetic form and artistic value by artists and by cultural and political activists in postcolonial South Asia. With a focused conceptualization this volume asks: Does the political left in South Asia have a recognizable aesthetic form? And if so, what political effects do left-wing artistic movements and aesthetic artefacts have in shaping movements against inequality and injustice? Reframing political aesthetics within a postcolonial and decolonised framework, the contributors detail the trajectories and transformations of left-wing cultural formations and affiliations and focus on connections and continuities across post-1947/8 India, Pakistan, Sri Lanka and Bangladesh.

This book examines the global circulation of Marxism seen from one of its most highly charged sites: Calcutta in India. Building on but also revising existing approaches to global intellectual history, the book presents the circulation of Marxism through Calcutta as a historically-sited problem of mass mediation. Using tools from media studies, the book explores the way that Marxism was presented to the public, the technologies used, and the meanings of Marxism in twentieth-century Calcutta. Demonstrating how the Popular Front was split between the so-called 'people's group' and those whom were called 'intellectuals', the book argues that the people's group generally identified themselves as Marxists and preferred audio-visual media such as theatre, while the so-called intellectuals privileged academic rigour and print media, usually referring to themselves as Marxians. Thus, the author reveals a polyphony of Marxisms in the Popular Front. Tracing Marxism back to the Bengal Renaissance and the Swadeshi and Naxal movements, this book shows how debate around the meaning of 'Marxism' continued throughout the 1970s in Calcutta, and eventually engendered the historiographical movement that has come to be known as Subaltern Studies.

An alternative view of imperial history, exploring the pioneering ways in which South Asians within Britain engaged in radical discourse and political activism.

Comintern Aesthetics shows how the cultural and political networks emerging from the Comintern have continued, even after its demise in 1943.