P03
Arts of the political in contemporary South Asian literature and film

Convenors:
Alessandra Consolaro (University of Torino)
Thomas de Bruijn
Sunny Singh (London Metropolitan University)
Chair:
Thomas de Bruijn, Sunny Singh, Alessandra Consolaro
Location:
Room 112
Start time:
28 July, 2016 at 9:00
Session slots:
4

Short abstract:

Political action has been a major motive for artistic creation in modern South Asia. The panel invites paper that critically deal with fiction or cinema that stems from political rebellion, subversion or idealism, or depicts the political arena.

Long abstract:

Political action has been a major motive for artistic creation in modern South Asia, either as conscious act of rebellion, subversion or idealism, or as an expression of what Frederic Jameson calls the "politically unconscious" - artistic creation inspired by political categories such as class, caste, or community. The realm of politics in South Asia has changed dramatically under the influence of globalization, the rise of middle-class right wing activism and the threat of religiously inspired terrorism, framed in a wave of all-pervasive communication technology. This panel explores the changes this new context has brought to political activism as a creative habitus, either conscious or unconscious, as expressed in literature or film. We invite papers that critically explore contemporary literature, film, and popular culture of South Asia that focuses on the rise of new right-wing politics, or on violent/nonviolent struggle between local/native communities and the national States. They can choose various perspectives: A. content: - what plot structures and individual acts emerge as 'symbolic acts' expressing new forms of political action? How can these be connected to (un)conscious political action? B. the fabric of the narrative: - investigate heteroglossal expression of voices, points of view as new ideologemes that express a new political awareness or activism. C. the field of cultural production: - investigate the coexistence of forms, genres of modes of production from completely different eras and the extent to which this dialogic tension challenges existing aesthetics