'[This] book succeeds in making us see the poetics of disobedience in the utterly illiberal prosaic ethos of our times, in the light of giving Gandhi a new radical and transformative significance.' --Ashok Vajpeyi, from the Foreword In this original and timely book, Ramin Jahanbegloo, one of the world's leading political philosophers, engages with the most pressing question facing all of us today: is it not our duty, as free and autonomous citizens of democracy, to question and speak out against all authority? Should we not take back the power from self-interested political actors in the true spirit of Gandhi, for whom Swaraj was more than mere freedom from oppression? The core idea of Gandhi's philosophy of resistance, Jahanbegloo argues, is his unshakeable conviction that it is no longer possible to organize political action without disobedience. Democracy, to be worthy of obedience, he says, must be structured so that every citizen can question and disobey unjust laws and institutions. This is what Mahatma Gandhi still tells us, more forcefully than any other thinker of the twentieth century. The Disobedient Indian is a compellingly argued, persuasive handbook about the history, philosophy and necessity of disobedience. It is a vital tract for our times.

- Mohandas K. Gandhi has been described as an artist of non-violence, crafting as he did a set of practices of the self and politics that earned him the mantle of Mahatma, the great soul. Mohandas K. Gandhi has been described as 'an artist of non-violence, ' crafting as he did a set of practices of the self and politics that earned him the mantle of Mahatma, 'the great soul.' His philosophy and praxis of satyagraha, non-violent civil disobedience, has been analyzed extensively. But is satyagraha also an aesthetic regime, with practices akin to a work of art? Is Gandhi, then, an artist of disobedience? Sumathi Ramaswamy explores these questions with the help of India's modern and contemporary artists who have over the past century sought out the Mahatma as their muse and invested in him across a wide range of media from painting and sculpture to video installation and digital production. At a time when Gandhi is a hallowed but hollow presence, why have they lavished so much attention on him? A hundred and fifty years after his birth, Gandhi is hyper visible across the Indian landscape from tea stalls and government offices to museums and galleries. This is ironical given that the Mahatma appeared to have had little time for the visual arts or for artists for that matter. Yet fascinatingly, the visual artist has emerged as Gandhi's conscience-keeper, reminding others of the meaning of the Mahatma in his own time and today. In so doing, these artists also reveal why this most disobedient of 'modern' icons has grabbed their attention, resulting in a veritable art of disobedience as an homage to one of the twentieth century's great prophets of disobedience.

Thoreau wrote Civil Disobedience in 1849. It argues the superiority of the individual conscience over acquiescence to government. Thoreau was inspired to write in response to slavery and the Mexican-American war. He believed that people could not be made agents of injustice if they were governed by their own consciences.

This book of oral tales from the south Indian region of Kannada represents the culmination of a lifetime of research by A. K. Ramanujan, one of the most revered scholars and writers of his time. The result of over three decades' labor, this long-awaited collection makes available for the first time a wealth of folktales from a region that has not yet been adequately represented in world literature. Ramanujan's skill as a translator, his graceful writing style, and his profound love and understanding of the subject enrich the tales that he collected, translated, and interpreted. With a written literature recorded from about 800 A.D., Kannada is rich in mythology, devotional and secular poetry, and more recently novels and plays. Ramanujan, born in Mysore in 1929, had an intimate knowledge of the language. In the 1950s, when working as a college lecturer, he began collecting these tales from everyone he could--servants, aunts, schoolteachers, children, carpenters, tailors. In 1970 he began translating and interpreting the tales, a project that absorbed him for the next three decades. When Ramanujan died in 1993, the translations were complete and he had written notes for about half of the tales. With its unsentimental sympathies, its laughter, and its delightfully vivid sense of detail, the collection stands as a significant and moving monument to Ramanujan's memory as a scholar and writer.

Charles H. L. Johnston in the book "Famous Indian Chiefs" gives a detailed description and explanation of the life of some of the famous Indian chiefs. This book covers the story of Indian chiefs including Powhatan, Opechancanough, Sassacus and Uncas, Massasoit, and others. It also contains well-described illustrations that give a vivid view of these personalities.