Contemporary Indian Novels in English
Genres of Modernity maps the conjunctures of critical theory and literary production in contemporary India. The volume situates a sample of representative novels in the discursive environment of the ongoing critical debate on modernity in India, and offers for the first time a rigorous attempt to hold together the stimulating impulses of postcolonial theory, subaltern studies and the boom of Indian fiction in English. In opposition to the entrenched narrative of modernity as a single, universally valid formation originating in the West, the theoretical and literary texts under discussion engage in a shared project of refiguring the present as a site of heterogeneous genres of modernity. The book traces these figurative efforts with particular attention to the treatment of two privileged metonymies of modernity: the issues of time and home in Indian fiction. Combining close readings of literary texts from Salman Rushdie to Kiran Nagarkar with a wide range of philosophical, sociological and historiographic reflections, Genres of Modernity is of interest not only for students of postcolonial literatures but for academics in the fields of Cultural Studies at large.
Contemporary Japanese Horror Cinema
Over the last two decades, Japanese filmmakers have produced some of the most important and innovative works of cinematic horror. At once visually arresting, philosophically complex, and politically charged, films by directors like Tsukamoto Shinya ( Tetsuo: The Iron Man  and Tetsuo II: Body Hammer ), Sato Hisayasu ( Muscle  and Naked Blood ) Kurosawa Kiyoshi ( Cure , Séance , and Kaïro ), Nakata Hideo ( Ringu , Ringu II , and Dark Water ), and Miike Takashi ( Audition  and Ichi the Killer ) continually revisit and redefine the horror genre in both its Japanese and global contexts. In the process, these and other directors of contemporary Japanese horror film consistently contribute exciting and important new visions, from postmodern reworkings of traditional avenging spirit narratives to groundbreaking works of cinematic terror that position depictions of radical or ‘monstrous’ alterity/hybridity as metaphors for larger socio-political concerns, including shifting gender roles, reconsiderations of the importance of the extended family as a social institution, and reconceptualisations of the very notion of cultural and national boundaries.