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The Nation's Tortured Body - Violence, Representation, and the Formation of a Sikh "Diaspora" (Paperback)
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The Nation's Tortured Body - Violence, Representation, and the Formation of a Sikh "Diaspora" (Paperback)
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In "The Nation's Tortured Body" Brian Keith Axel explores the
formation of the Sikh diaspora and, in so doing, offers a powerful
inquiry into conditions of peoplehood, colonialism, and
postcoloniality. Demonstrating a new direction for historical
anthropology, he focuses on the position of violence between 1849
and 1998 in the emergence of a transnational fight for Khalistan
(an independent Sikh state). Axel argues that, rather than the
homeland creating the diaspora, it has been the diaspora, or
histories of displacement, that have created particular kinds of
places--homelands.
Based on ethnographic and archival research conducted by Axel at
several sites in India, England, and the United States, the text
delineates a theoretical trajectory for thinking about the
proliferation of diaspora studies and area studies in America and
England. After discussing this trajectory in relation to the
colonial and postcolonial movement of Sikhs, Axel analyzes the
production and circulation of images of Sikhs around the world,
beginning with visual representations of Maharaja Duleep Singh, the
last Sikh ruler of Punjab, who died in 1893. He argues that imagery
of particular male Sikh bodies has situated--at different times and
in different ways--points of mediation between various populations
of Sikhs around the world. Most crucially, he describes the torture
of Sikhs by Indian police between 1983 and the present and
discusses the images of tortured Sikh bodies that have been
circulating on the Internet since 1996. Finally, he returns to
questions of the homeland, reflecting on what the issues discussed
in "The Nation's Tortured Body" might mean for the ongoing fight
for Khalistan.
Specialists in anthropology, history, cultural studies, diaspora
studies, and Sikh studies will find much of interest in this
important work.
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