With a focus on the areas of theory, literature, culture, society and film, this collection of essays examines, questions and broadens the applicability of Postcolonialism and Islam from a multifaceted and cross-disciplinary perspective. Topics covered include the relationship between Postcolonialism and Orientalism, theoretical perspectives on Postcolonialism and Islam, the position of Islam within postcolonial literature, Muslim identity in British and European contexts, and the role of Islam in colonial and postcolonial cinema in Egypt and India. At a time at which Islam continues to be at the centre of increasingly heated and frenzied political and academic deliberations, Postcolonialism and Islam offers a framework around which the debate on Muslims in the modern world can be centred. Transgressing geographical, disciplinary and theoretical boundaries, this book is an invaluable resource for students of Islamic Studies, Cultural Studies, Sociolgy and Literature.

In Islam and Postcolonial Narrative, John Erickson examines four major authors from the 'third world'.

This book offers a comparative and cross-cultural history of Islamic reform and European colonialism as both dependent and independent factors in shaping the multiple ways of becoming modern in Indonesia and Malaya during the first half of the twentieth century.

Bringing together Islamic studies, a postcolonial literary perspective, and a focus on the interaction between aesthetics and politics, this book analyses Iqbal’s Islamism through his poetry. It argues that his notion of an Islamist selfhood was expressed in his verse through the interplay between poetic tradition and creative innovation. It also considers how Iqbal expressed an Islamist geopolitical imagination in his work, and examines his exploration of the relationship between the modern West and a reconstructed Islam. For the first time, Iqbal’s personal letters have been drawn upon to provide an insight into his inner conflicts as articulated in his poetry. Concentrating on the complexity of his work in its own right, the book eschews the standard appropriation of Iqbal into any one political agenda — be it Indian nationalism, Muslim separatism or Iranian Islamic republicanism. With its analytical and in-depth reading of Iqbal’s verse and prose, this book opens a fresh perspective on Islam and postcolonialism. It will be a fascinating study for general readers and readers with interests in the intellectual and political history of modern South Asia, colonialism and postcolonialism, Islamic studies, and modern South Asian literature (especially Urdu and Persian poetry).

Islamic postcolonialism is a theoretical perspective that combines two components which have up until now existed in a state of tension. As a secular theory, postcolonialism has notably failed to account for Muslim priorities; it has, for instance, had severe problems critiquing the anti-Islam polemics of The Satanic Verses, as is evidenced by Edward Said’s support for Rushdie, in spite of his criticism of the stereotypical representation of Islam and Muslims in the West. Islamic postcolonialism applies the anti-colonial resistant methodology of postcolonialism from a Muslim perspective, exploring the continuance of colonial discourse in part of the contemporary western writing about Islam and Muslims. This book explores how Islam is depicted and Muslim identities are constructed in four representative works of contemporary British fiction: Hanif Kureishi’s The Black Album (1995), Monica Ali’s Brick Lane (2003), Fadia Faqir’s My Name is Salma (2007), and Leila Aboulela’s Minaret (2005). Salman Rushdie’s The Satanic Verses (1988) is also discussed in terms of its crucial role in fostering what some Muslims might consider polemical and stereotypical positions in writing about Islam.

In Unveiling Traditions Anouar Majid issues a challenge to the West to reimagine Islam as a progressive world culture and a participant in the building of a multicultural and more egalitarian world civilization. From within the highly secularized space it inhabits, a space endemically suspicious of religion, the West must find a way, writes Majid, to embrace Islamic societies as partners in building a more inclusive and culturally diverse global community. Majid moves beyond Edward Said’s unmasking of orientalism in the West to examine the intellectual assumptions that have prevented a more nuanced understanding of Islam’s legacies. In addition to questioning the pervasive logic that assumes the “naturalness” of European social and political organizations, he argues that it is capitalism that has intensified cultural misunderstanding and created global tensions. Besides examining the resiliency of orientalism, the author critically examines the ideologies of nationalism and colonialist categories that have redefined the identity of Muslims (especially Arabs and Africans) in the modern age and totally remapped their cultural geographies. Majid is aware of the need for Muslims to rethink their own assumptions. Addressing the crisis in Arab-Muslim thought caused by a desire to simultaneously “catch up” with the West and also preserve Muslim cultural authenticity, he challenges Arab and Muslim intellectuals to imagine a post-capitalist, post-Eurocentric future. Critical of Islamic patriarchal practices and capitalist hegemony, Majid contends that Muslim feminists have come closest to theorizing a notion of emancipation that rescues Islam from patriarchal domination and resists Eurocentric prejudices. Majid’s timely appeal for a progressive, multicultural dialogue that would pave the way to a polycentric world will interest students and scholars of postcolonial, cultural, Islamic, and Marxist studies.

Islamic postcolonialism is a theoretical perspective that combines two components which have up until now existed in a state of tension. As a secular theory, postcolonialism has notably failed to account for Muslim priorities; it has, for instance, had severe problems critiquing the anti-Islam polemics of The Satanic Verses, as is evidenced by Edward Said's support for Rushdie, in spite of his criticism of the stereotypical representation of Islam and Muslims in the West. Islamic postcolonialism applies the anti-colonial resistant methodology of postcolonialism from a Muslim perspective, exploring the continuance of colonial discourse in part of the contemporary western writing about Islam and Muslims. This book explores how Islam is depicted and Muslim identities are constructed in four representative works of contemporary British fiction: Hanif Kureishi's The Black Album (1995), Monica Ali's Brick Lane (2003), Fadia Faqir's My Name is Salma (2007), and Leila Aboulela's Minaret (2005). Salman Rushdie's The Satanic Verses (1988) is also discussed in terms of its crucial role in fostering what some Muslims might consider polemical and stereotypical positions in writing about Islam.