South Asia Across the Disciplines

Recasts the Mughal Empire as a polyglot polity that collaborated with its Indian subjects to envision its sovereignty

Casts lexicographers as key figures in the political realignment of South Asia under British rule and in the years after independence. Their dictionaries document how a single, mutually intelligible language evolved into two competing registers—Urdu and Hindi—and became associated with contrasting religious and nationalist goals

Surrogacy is India's new form of outsourcing, as couples from all over the world hire Indian women to bear their children for a fraction of the cost of surrogacy elsewhere with little to no government oversight or regulation. In the first detailed ethnography of India's surrogacy industry, Amrita Pande visits clinics and hostels and speaks with surrogates and their families, clients, doctors, brokers, and hostel matrons in order to shed light on this burgeoning business and the experiences of the laborers within it. From recruitment to training to delivery, Pande's research focuses on how reproduction meets production in surrogacy and how this reflects characteristics of India's larger labor system.

Pande's interviews prove surrogates are more than victims of disciplinary power, and she examines the strategies they deploy to retain control over their bodies and reproductive futures. While some women are coerced into the business by their families, others negotiate with clients and their clinics to gain access to technologies and networks otherwise closed to them. As surrogates, the women Pande meets get to know and make the most of advanced medical discoveries. They traverse borders and straddle relationships that test the boundaries of race, class, religion, and nationality. Those who focus on the inherent inequalities of India's surrogacy industry believe the practice should be either banned or strictly regulated. Pande instead advocates for a better understanding of this complex labor market, envisioning an international model of fair-trade surrogacy founded on openness and transparency in all business, medical, and emotional exchanges.

Writing Resistance is the first close study of the growing body of contemporary Hindi-language Dalit (low caste) literature in India. The Dalit literary movement has had an immense sociopolitical and literary impact on various Indian linguistic regions, yet few scholars have attempted to situate the form within contemporary critical frameworks. Laura R. Brueck's approach goes beyond recognizing and celebrating the subaltern speaking, emphasizing the sociopolitical perspectives and literary strategies of a range of contemporary Dalit writers working in Hindi.

Brueck explores several essential questions: what makes Dalit literature Dalit? What makes it good? Why is this genre important, and where does it oppose or intersect with other bodies of Indian literature? She follows the debate among Dalit writers as they establish a specifically Dalit literary critical approach, underscoring the significance of the Dalit literary sphere as a "counterpublic" generating contemporary Dalit social and political identities. Brueck then performs close readings of contemporary Hindi Dalit literary prose narratives, focusing on the aesthetic and stylistic strategies deployed by writers whose class, gender, and geographic backgrounds shape their distinct voices. By reading Dalit literature as literature, this study unravels the complexities of its sociopolitical and identity-based origins.

Written in the twelfth century, the Naisadhiyacarita (The Adventures of Nala, King of Nisadha) is a seminal Sanskrit poem beloved by South Asian literary communities for nearly a millennium. This volume introduces readers to the poem's author, his reading communities, the modes through which the poem has been read and used, the contexts through which it became canonical, its literary offspring, and the emotional power it still holds for the culture that values it.

Text to Tradition privileges the intellectual, affective, and social forms of cultural practice that inform a region's people and institutions. It also proposes a new way to conduct literary historiography, understanding literary texts as "traditions" in their own right and emphasizing the various players and critical genres involved in their reception. The book underscores the importance of the close study of individual works to building a history of literary cultures. In addition, it creates a groundbreaking model for approaching the study of other venerated South Asian texts.

Imagine watching an action film in a small-town cinema hall in Bangladesh, and in between the gun battles and fistfights a short pornographic clip appears. This is known as a cut-piece, a strip of locally made celluloid pornography surreptitiously spliced into the reels of action films in Bangladesh. Exploring the shadowy world of these clips and their place in South Asian film culture, Lotte Hoek builds a rare, detailed portrait of the production, consumption, and cinematic pleasures of stray celluloid.

Hoek's innovative ethnography plots the making and reception of Mintu the Murderer (2005, pseud.), a popular, Bangladeshi B-quality action movie and fascinating embodiment of the cut-piece phenomenon. She begins with the early scriptwriting phase and concludes with multiple screenings in remote Bangladeshi cinema halls, following the cut-pieces as they appear and disappear from the film, destabilizing its form, generating controversy, and titillating audiences. Hoek's work shines an unusual light on Bangladesh's state-owned film industry and popular practices of the obscene. She also reframes conceptual approaches to South Asian cinema and film culture, drawing on media anthropology to decode the cultural contradictions of Bangladesh since the 1990s.

Tibetan biographers began writing Jetsun Milarepa's (1052–1135) life story shortly after his death, initiating a literary tradition that turned the poet and saint into a model of virtuosic Buddhist practice throughout the Himalayan world. Andrew Quintman traces this history and its innovations in narrative and aesthetic representation across four centuries, culminating in a detailed analysis of the genre's most famous example, composed in 1488 by Tsangnyön Heruka, or the "Madman of Western Tibet." Quintman imagines these works as a kind of physical body supplanting the yogin's corporeal relics.

At the end of the sixteenth century and the turn of the first Islamic millennium, the powerful Mughal emperor Akbar declared himself the most sacred being on earth. The holiest of all saints and above the distinctions of religion, he styled himself as the messiah reborn. Yet the Mughal emperor was not alone in doing so. In this field-changing study, A. Azfar Moin explores why Muslim sovereigns in this period began to imitate the exalted nature of Sufi saints. Uncovering a startling yet widespread phenomenon, he shows how the charismatic pull of sainthood (wilayat)—rather than the draw of religious law (sharia) or holy war (jihad)—inspired a new style of sovereignty in Islam.

A work of history richly informed by the anthropology of religion and art, The Millennial Sovereign traces how royal dynastic cults and shrine-centered Sufism came together in the imperial cultures of Timurid Central Asia, Safavid Iran, and Mughal India. By juxtaposing imperial chronicles, paintings, and architecture with theories of sainthood, apocalyptic treatises, and manuals on astrology and magic, Moin uncovers a pattern of Islamic politics shaped by Sufi and millennial motifs. He shows how alchemical symbols and astrological rituals enveloped the body of the monarch, casting him as both spiritual guide and material lord. Ultimately, Moin offers a striking new perspective on the history of Islam and the religious and political developments linking South Asia and Iran in early-modern times.

Some postcolonial theorists argue that the idea of a single system of belief known as "Hinduism" is a creation of nineteenth-century British imperialists. Andrew J. Nicholson introduces another perspective: although a unified Hindu identity is not as ancient as some Hindus claim, it has its roots in innovations within South Asian philosophy from the fourteenth to seventeenth centuries. During this time, thinkers treated the philosophies of Vedanta, Samkhya, and Yoga, along with the worshippers of Visnu, Siva, and Sakti, as belonging to a single system of belief and practice. Instead of seeing such groups as separate and contradictory, they re-envisioned them as separate rivers leading to the ocean of Brahman, the ultimate reality.

Drawing on the writings of philosophers from late medieval and early modern traditions, including Vijnanabhiksu, Madhava, and Madhusudana Sarasvati, Nicholson shows how influential thinkers portrayed Vedanta philosophy as the ultimate unifier of diverse belief systems. This project paved the way for the work of later Hindu reformers, such as Vivekananda, Radhakrishnan, and Gandhi, whose teachings promoted the notion that all world religions belong to a single spiritual unity. In his study, Nicholson also critiques the way in which Eurocentric concepts—like monism and dualism, idealism and realism, theism and atheism, and orthodoxy and heterodoxy—have come to dominate modern discourses on Indian philosophy.

Beginning in the sixth century C.E. and continuing for more than a thousand years, an extraordinary poetic practice was the trademark of a major literary movement in South Asia. Authors invented a special language to depict both the apparent and hidden sides of disguised or dual characters, and then used it to narrate India's major epics, the Ramayana and the Mahabharata, simultaneously.

Originally produced in Sanskrit, these dual narratives eventually worked their way into regional languages, especially Telugu and Tamil, and other artistic media, such as sculpture. Scholars have long dismissed simultaneous narration as a mere curiosity, if not a sign of cultural decline in medieval India. Yet Yigal Bronner's Extreme Poetry effectively negates this position, proving that, far from being a meaningless pastime, this intricate, "bitextual" technique both transcended and reinvented Sanskrit literary expression.

The poems of simultaneous narration teased and estranged existing convention and showcased the interrelations between the tradition's foundational texts. By focusing on these achievements and their reverberations through time, Bronner rewrites the history of Sanskrit literature and its aesthetic goals. He also expands on contemporary theories of intertextuality, which have been largely confined to Western texts and practices.