Kamaladevi Chattopadhyay was a remarkable woman a gifted writer and an activist central to the making of the modern Indian nation. India's representative to the Global South for many years after independence, Kamaladevi figured prominently in discussions of and studies on Indian women and independence. But in more mainstream histories she remains relatively unknown. A Passionate Life brings together for the first time a collection of Kamaladevi's writings on the subjects closest to her heart. These essays include a close look at the lives of tribal peoples in India, the sustaining of handicrafts and handicraft workers, and issues of history. In doing so, the volume questions not only our methods of writing and recovering history which leave out lives as important as hers but also shows how the surfacing of histories like Kamaladevi's can enrich, expand, and add nuance to our understanding of the making of modern India. Crucial new essays and commentary by the editors accompany Kamaladevi's writings.

Given Australia's status as an (unfinished) colonial project of the British Empire, the basic institutions that were installed in its so-called 'empty' landscape derive from a value-laden framework borne out of industrialization, colonialism, the consolidation of the national statist system and democracy - all entities imbued with British Enlightenment principles and thinking. Modernity in Australia has thus been constituted by the importation, assumption and triumph of the Western mind - materially, psychologically, culturally, socio-legally and cartographically. 'Inside Australian Culture: Legacies of Enlightenment Values' offers a critical intervention into the continuing effects of colonization in Australia and the structures it brought, which still inform and dominate its public culture. Through a careful analysis of three disparate but significant moments in Australian history, the authors investigate the way the British Enlightenment continues to dominate contemporary Australian thinking and values. Employing the lens of Indian cultural theorist Ashis Nandy, the authors argue for an Australian public culture that is profoundly conscious of its assumptions, history and limitations.

Why do Hindus revere the cow? Must Hindus be vegetarian? Hinduism is the world's oldest religion, yet the word 'Hindu' was never used before the 18th century by Hindus to describe themselves. it is defined as polytheistic, but Gandhi declared that a Hindu needn't believe in any god. it is a religion as much of myth as of history - it has no founder, no single authoritative book, even few central doctrines. Introducing Hinduism offers a guide to the key philosophical, literary, mythological and cultural traditions of the extraordinarily diverse faith. It untangles the complexities of Hinduism's gods and goddesses, its caste system and its views on sex, everyday life and asceticism. Vinay Lal and Borin Van Loon's hugely enjoyable tour through Hinduism also explores its links with and differences from Buddhism, Jainism and other religions, the resurgence of Hindu extremism, the phenomenon of Bollywood and the overseas Hindu diaspora.

The book, the third volume to emerge from the enterprise known as 'The Backwaters Collective on Metaphysics and Politics', attempts to further the collective's ambition to put into question the certitudes of conventional social science discourse, decolonize the dominant knowledge frameworks, and understand how the intellectual and cultural resources of Indian civilization may be deployed to think both, about some problems in contemporary politics and culture, and to introduce greater plurality into the world of modern knowledge systems. Some of the collective's members remain deeply committed to reinitiating metaphysics into politics, and similarly, the collective's enduring interest in Narayana Guru is reflected in at least three chapters. Although engagement with Gandhi and Ambedkar is a familiar part of the Indian intellectual landscape, other chapters on offer pivot around histories of power, performative traditions, and modes of worship. Unlike the scholarship that is now the norm, organized around a distinct theme, this volume exhibits a more daring approach to India's intellectual traditions, traversing the world of Kannada intellectuals, the Kashmir Shaiva tradition, a Marathi Bhakti poet, and a contemporary Indian philosopher, as much as conceptual ideas drawn from a wide array of Indian texts and experiences.

Its remarkable plot, crisp dialogues and epic narrative structure, revolving around the familiar story of two brothers whose paths diverge and lead to a fatal collision, have endeared it to millions. And its most famous line, 'Mere paas ma hai', has been endlessly imitated, parodied and referenced in cinematic and cultural works. However, as Vinay Lal demonstrates in his study of Deewaar, the film lends itself to much more complex readings than is commonly imagined. Examining it in the context of the history of Hindi cinema, the migrations from the hinterland to the city, and the political and socio-economic climate of the early 1970s, he draws attention to Deewaar's dialectic of the footpath and skyscraper, the mesmerizing presence of the tattoo, the frequent appearance of the signature and the film's deep structuring in mythic material. In doing so, he assesses Deewaar's unique space in popular Indian culture as much as world cinema.