Front Matter -- Contents -- Acknowledgments -- Abbreviations -- Glossary -- Illustrations -- Introduction -- 1 - Of Martyrs, Memories, and Modernities -- 2 - The Awakened Generation -- 3 - Perjuangan under the Flag of the Rising Sun -- 4 - An Age of Ferment and Experimentation -- 5 - Muslim Activists and Malay Women Mobilized -- 6 - Resistance behind Bars -- Conclusion -- Notes -- Bibliography -- Index.
In the 1960s, the strict opposition between the religious and the secular began to break down, blurring the distinction between political philosophy and political theology. This collapse contributed to the decline of modern liberalism, which supported a neutral, value-free space for capitalism. It also deeply unsettled political, religious, and philosophical realms, forced to confront the conceptual stakes of a return to religion. Gamely intervening in a contest that defies simple resolutions, Clayton Crockett conceives of the postmodern convergence of the secular and the religious as a basis for emancipatory political thought. Engaging themes of sovereignty, democracy, potentiality, law, and event from a religious and political point of view, Crockett articulates a theological vision that responds to our contemporary world and its theo-political realities. Specifically, he claims we should think about God and the state in terms of potentiality rather than sovereign power. Deploying new concepts, such as Slavoj Zizek's idea of parallax and Catherine Malabou's notion of plasticity, his argument engages with debates over the nature and status of religion, ideology, and messianism. Tangling with the work of Derrida, Deleuze, Spinoza, Antonio Negri, Giorgio Agamben, Alain Badiou, John D. Caputo, and Catherine Keller, Crockett concludes with a reconsideration of democracy as a form of political thought and religious practice, underscoring its ties to modern liberal capitalism while also envisioning a more authentic democracy unconstrained by those ties.
In 1947 Horkheimer and Adorno connected the Enlightenment with totalitarianism. Since when the Left has drifted into the language and imagery of the European Counter-Enlightenment, the movement against 1776 and 1789. Bronner sets out to reclaim the heritage of progressive politics.
Gabriel Rockhill opens new space for rethinking the relationship between art and politics. Rather than understanding the two spheres as separated by an insurmountable divide or linked by a privileged bridge, Rockhill demonstrates that art and politics are not fixed entities with a singular relation but rather dynamically negotiated, sociohistorical practices with shifting and imprecise borders. Radical History and the Politics of Art proposes a significant departure from extant debates on what is commonly called "art" and "politics," and the result is an impressive foray into the force field of history, in which cultural practices are meticulously analyzed in their social and temporal dynamism without assuming a conceptual unity behind them. Rockhill thereby develops an alternative logic of history and historical change, as well as a novel account of social practices and a multidimensional theory of agency. Engaging with a diverse array of intellectual, artistic, and political constellations, this tour de force diligently maps the various interactions between different dimensions of aesthetic and political practices as they intertwine and sometimes merge in precise fields of struggle.
Alexis de Tocqueville once wrote that "the people reign over the American political world like God over the universe," unwittingly casting democracy as the political instantiation of the death of God. According to Jeffrey W. Robbins, Tocqueville's assessment remains an apt observation of modern democratic power, which does not rest with a sovereign authority but operates as a diffuse social force. By linking radical democratic theory to a contemporary fascination with political theology, Robbins envisions the modern experience of democracy as a social, cultural, and political force transforming the nature of sovereign power and political authority. Robbins joins his work with Michael Hardt and Antonio Negri's radical conception of "network power," as well as Sheldon Wolin's notion of "fugitive democracy," to fashion a political theology that captures modern democracy's social and cultural torment. This approach has profound implications not only for the nature of contemporary religious belief and practice but also for the reconceptualization of the proper relationship between religion and politics. Challenging the modern, liberal, and secular assumption of a neutral public space, Robbins conceives of a postsecular politics for contemporary society that inextricably links religion to the political. While effectively recasting the tradition of radical theology as a political theology, this book also develops a comprehensive critique of the political theology bequeathed by Carl Schmitt. It marks an original and visionary achievement by the scholar the Journal of the American Academy of Religion hailed "one of the best commentators on religion and postmodernism."
The memoirs of Mustapha Hussain, from his coming of age in a Minangkabau Malay community in Perak to his part in the formation of the Young Malays Union.
While supporting the cosmopolitan pursuit of a world that respects all rights and interests, James D. Ingram believes political theorists have, in their approach to this project, compromised its egalitarian and emancipatory principles. Focusing on recent debates without losing sight of cosmopolitanism's ancient and Enlightenment roots, Ingram confronts the philosophical difficulties of defending universal ideals and the implications for ethics and political theory. In morality as in politics, theorists have generally focused first on discovering universal values and second on their implementation. Ingram argues that only by prioritizing the development and articulation of universal values through political action in the fight for freedom and equality can theorists do justice to these efforts and cosmopolitanism's universal vocation. Only by proceeding from the local to the global, from the bottom up rather than from the top down, on the basis of political practice rather than moral ideals, can we salvage moral and political universalism. In this book, Ingram provides the clearest, most systematic account yet of this schematic reversal and its radical possibilities.
The period from the mid-1930s to the end of the 1950s in India saw the cultural expression of a wide range of political sentiments and positions around imperialism, fascism, nationalism, and social transformation. It was a period that covered a crucial transitional phase: from colonialism to a postcolonial context. This transitional period in India coincided with a vibrant radical ethos in many other parts of the world where, among numerous political issues, the aesthetics-politics relationship came to be articulated and debated in unprecedented ways. No history of this period can be written without giving an account of the departures, inventions, and reinventions made by the Indian People's Theatre Association (IPTA) in the fields of drama, music, and dance. Yet music, a very important part of the IPTA's creations as well as the connecting link between the various artistic forms, has not been studied as part of the history of the IPTA movement. This book attempts to fill this gap in knowledge about the vast musical repertoire of the IPTA. It is about the IPTA tradition's music in a national as well as specifically regional contexts (Bengali, Malayalam, Telugu, Assamese, and Hindu/Urdu in particular), situated within the overall cultural and political context of the transitional period in India, and in the context of a radical impulse emergent in many parts of the world from the beginning of the twentieth century. The book is the culmination of an archiving-cum-documentation project of music in the IPTA tradition undertaken by the author. It can also be read as a songbook, including lyrics and musical scores, revivifying the songs and music of a radical impulse in South Asia.
