Throughout history, speech and storytelling have united communities and mobilized movements. Protestant Textuality and the Tamil Modern examines this phenomenon in Tamil-speaking South India over the last three centuries, charting the development of political oratory and its influence on society. Supplementing his narrative with thorough archival work, Bernard Bate begins with Protestant missionaries' introduction of the sermonic genre and takes the reader through its local vernacularization. What originally began as a format of religious speech became an essential political infrastructure used to galvanize support for new social imaginaries, from Indian independence to Tamil nationalism. Completed by a team of Bate's colleagues, this ethnography marries linguistic anthropology to performance studies and political history, illuminating new geographies of belonging in the modern era.

Since the early 1990s hundreds of thousands of Tamil villagers in southern India have participated in literacy lessons, science demonstrations, and other events designed to transform them into active citizens with access to state power. These efforts to spread enlightenment among the oppressed are part of a movement known as the Arivoli Iyakkam (the Enlightenment Movement), considered to be among the most successful mass literacy movements in recent history. In The Light of Knowledge, Francis Cody’s ethnography of the Arivoli Iyakkam highlights the paradoxes inherent in such movements that seek to emancipate people through literacy when literacy is a power-laden social practice in its own right. The Light of Knowledge is set primarily in the rural district of Pudukkottai in Tamil Nadu, and it is about activism among laboring women from marginalized castes who have been particularly active as learners and volunteers in the movement. In their endeavors to remake the Tamil countryside through literacy activism, workers in the movement found that their own understanding of the politics of writing and Enlightenment was often transformed as they encountered vastly different notions of language and imaginations of social order. Indeed, while activists of the movement successfully mobilized large numbers of rural women, they did so through logics that often pushed against the very Enlightenment rationality they hoped to foster. Offering a rare behind-the-scenes look at an increasingly important area of social and political activism, The Light of Knowledge brings tools of linguistic anthropology to engage with critical social theories of the postcolonial state.

The Right Spouse is an engaging investigation into Tamil (South Indian) preferential close kin marriages, so-called Dravidian Kinship. This book offers a description and an interpretation of preferential marriages with close kin in South India, as they used to be arranged and experienced in the recent past and as they are increasingly discontinued in the present. Clark-Decès presents readers with a focused anthropology of this waning marriage system: its past, present, and dwindling future. The book takes on the main pillars of Tamil social organization, considers the ways in which Tamil intermarriage establishes kinship and social rank, and argues that past scholars have improperly defined "Dravidian" kinship. Within her critique of past scholarship, Clark-Decès recasts a powerful and vivid image of preferential marriage in Tamil Nadu and how those preferences and marital rules play out in lived reality. What Clark-Decès discovers in her fieldwork are endogamous patterns and familial connections that sometimes result in flawed relationships, contradictory statuses, and confused roles. The book includes a fascinating narration of the complex terrain that Tamil youth currently navigate as they experience the complexities and changing nature of marriage practices and seek to reconcile their established kinship networks to more individually driven marriages and careers.

Outgrowth of an international workshop on the subject of South Asian ethical practices held in Vancouver, Canada in September 2007.

In the mid-1950s, Sri Lanka’s majority Sinhalese politicians began outbidding one another on who could provide the greatest advantages for their community, using the Sinhala language as their instrument. The appeal to Sinhalese linguistic nationalism precipitated a situation in which the movement to replace English as the country’s official language with Sinhala and Tamil (the language of Sri Lanka’s principal minority) was abandoned and Sinhala alone became the official language in 1956. The Tamils’ subsequent protests led to anti-Tamil riots and institutional decay, which meant that supposedly representative agencies of government catered to Sinhalese preferences and blatantly disregarded minority interests. This in turn led to the Tamils’ mobilizing, first politically then militarily, and by the mid-1970s Tamil youth were bent on creating a separate state.

This is a book about the newness of old things. It concerns an oratorical revolution, a transformation of oratorical style linked to larger transformations in society at large. It explores the aesthetics of Tamil oratory and its vital relationship to one of the key institutions of modern society: democracy. Therefore this book also bears on the centrality of language to the modern human condition. Though Tamil oratory is a relatively new practice in south India, the Dravidian (or Tamil nationalist) style employs archaic forms of Tamil that suggest an ancient mode of speech. Beginning with the advent of mass democratic politics in the 1940s, a new generation of politician adopted this style, known as "fine," or "beautiful Tamil" ( centamil), for its distinct literary virtuosity, poesy, and alluring evocation of a pure Tamil past. Bernard Bate explores the centamil phenomenon, arguing that the genre's spectacular literacy and use of ceremonial procession, urban political ritual, and posters, praise poetry are critical components in the production of a singularly Tamil mode of political modernity: a Dravidian neoclassicism. From his perspective, the centamil revolution and Dravidian neoclassicism suggest that modernity is not the mere successor of tradition but the production of tradition, and that this production is a primary modality of modernity, a new newness-albeit a newness of old things.