Prof. Mirza Saeed-Uz Zafar Chaghtai is a renowned scholar, scientist and author of many books in various languages. He looks back at adventures that have spanned thousands of miles and included some of the worlds most remarkable people. With candor and humor, he outlines his social, political, and religious beliefs and shares insights on scientific and literary life in India, Europe, the United States of America, and elsewhere. His rise to the top of the scholarly community began in a small town in British India and brought him to Paris, London, Sweden and various places throughout the world, where he shared ideas with distinguished scientists, Nobel laureates, men of letters and many exemplary people. From rural and feudal British India to pragmatic and modern Europe, he honed his understanding of the world and, at times, went through personal, social, political, religious, scientific, and literary upheavals before returning home enthused to work for his people as a scholar and scientist. Scholars, history buffs, and anyone eager to learn about people and places, especially India and Europe through the turn of the century, will be inspired and educated by Memoirs of Three Continents.
The movement away from secularist practices and toward political Islam is a prominent trend across Muslim polities. Yet this shift remains under-theorized. Why do modern Muslim polities adopt policies that explicitly cater to religious sensibilities? How are these encoded in law and with what effects? Sadia Saeed addresses these questions through examining shifts in Pakistan's official state policies toward the rights of religious minorities, in particular the controversial Ahmadiyya community. Looking closely at the 'Ahmadi question', Saeed develops a framework for conceptualizing and explaining modern desecularization processes that emphasizes the critical role of nation-state formation, political majoritarianism, and struggles between 'secularist' and 'religious' ideologues in evolving political and legal fields. The book demonstrates that desecularization entails instituting new understandings of religion through processes and justifications that are quintessentially modern.
This book highlights the history of Islamic popular devotional art and visual culture in 20th-century India, weaving the personal narrative of the author’s journey through his understanding of the faith. It begins with an introductory exploration of how the basic and universal image of Mecca and Medina may have been imported into Indian popular print culture and what variants it resulted in here. Besides providing a historical context of the pre-print culture of popular Muslim visuality, the book also explores the impact the 1947 Partition of India may have made on the calendar art in South Asia. A significant portion of the book focuses on the contemporary prints of different localised images found in India and what role these play in the users’ lives, especially in the augmentation of their popular faith and cultural practices. The volume also compares the images published in India with some of those available in Pakistan to reflect different socio-political trajectories. Finally, it discusses why such a vibrant visual culture continues to thrive among South Asian Muslims despite the questions raised by the orthodoxy on its legitimacy in Islam, and why images and popular visual cultures are inevitable for popular piety despite the orthodox Muslims’ increasing dissociation from them. This work is one of the first books on Indian Muslim poster art, with rare images and simple narratives, anecdotes about rituals, ceremonies and cultural traditions running parallel to research findings. This second edition contains a new Afterword that discusses challenges to religious plurality arising on account of changing political landscapes, economic liberalisation, technology and new media, and socio-religious developments. It will appeal to the lay reader as well as the specialist and will be especially useful to researchers and scholars in popular culture, media and cultural studies, visual art and performance studies, and sociology and social anthropology.
The role of the security establishment in Pakistan has been strengthened in a post-Musharraf era as social institutions are increasingly drawn into the security agenda. Pakistan's problems are often explained through the lens of ethnic or religious differences, the tense relationship between democracy and the Pakistan military, or geopolitics and terrorism, without taking into account young citizens' role in questioning the state and the role of the education system. Based on new research and interviews with more than 1900 Pakistanis aged 16-28 the authors examine young people's understanding of citizenship, political participation, the state and terrorism in post-Musharraf Pakistan. The authors explore the relationship between the youth and the security state, highlighting how the educational institutions, social media, political activism and the entire nature of the social contract in Pakistan has been increasingly securitized. The focus is on the voices of young Pakistanis, their views on state accountability (or lack thereof), political literacy and participation, and the continued problem of terrorism that is transforming their views of both their country and the world today. With 67% of the country's population under the age of 30, this book is a unique window into how Pakistan is likely to evolve in the next couple of decades.
The book was written in reply to a booklet What is shi'aism? which was written by an unknown writer and being distributed throughout East Africa by the Wahhabis , in order to spread discord.It has been written not to hurt the feelings of anyone; but to differentiate fact from fiction, and to clear the air against Shi'aism.
A brilliant debut by the master filmmaker. Mirza's narrative interweaves memories of a mother with the living political creed she believed in - the egalitarian ethos of a democratic faith coupled with a deep, inquiring faith in religion. The book begins as a letter that contains within itself a vast repertoire of literary genres ranging from the short story, poetry, interior monologue, memoir and diatribe, to travelogue, novelisation and film script. Mirza writes simply and, with a filmmaker's passion for authenticity, he makes everyday events tell a deeply complex story. In 1938, his mother, while walking back with his father from an evening show at the Eros Cinema in Mumbai, casually removed her burqa and never donned it again. This was one of the 'quietest revolutions' ever witnessed.
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