By Naveeda Khan
Through the essays during this quantity, we see how the failure of the nation turns into a second to ruminate at the artificiality of this most recent build, the failure of nationalism, a chance to dream of other modes of organization, and the failure of sovereignty to contemplate the threats and probabilities of the world of foreignness in the countryside as in the self.
The ambition of this quantity isn't just to complicate status representations of Pakistan. it's take Pakistan out of the prestige of exceptionalism that its a number of crises have endowed upon it. by means of now, many students have written of ways exile, migrancy, refugeedom, and different modes of displacement represent smooth subjectivities. The arguments made within the e-book say that Pakistan is not any stranger to this situation of human immigrancy and for that reason, might be pressed into provider in aiding us to appreciate our current condition.
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Extra info for Beyond Crisis: Re-evaluating Pakistan
It allows one to understand the consistency of certain discursive preoccupations of the state of Pakistan and its subjects, intellectuals and laymen alike, and thereby to excavate a more complex means by which attachment to Pakistan happens. Crisis and Ontology How are we to understand the specific relationship between crisis and the ontological condition of human immigrancy I am imputing to Pakistan? It is not the case that life in Pakistan is in a state of perpetual crisis. To say so would deprive crisis of its definitional import as a critical turning point within a given event or condition.
This hegemony was, after all, the promise that the muhajirs once held for the state of 16 Naveeda Khan Pakistan and upon which the Urdu-speaking non-muhajir Pakistanis, notably the Punjabis, count to pull Pakistan together. Dadi explores the sense of crisis from within the nationalist project to establish Urdu as the lingua franca of the nation-state through the changing selfrepresentation of the Urdu-speaking person in Pakistani cinema. In the movie Arman (Desire), made in the mid-1960s in the heyday of Ayub Khan’s modernist military leadership, the Urdu-speaking elite are presented as free of the trappings of tradition and joyfully immersed in an American-style modernity.
The desire for wisal, or union, takes the form of this dialectic itself. In the years following the partition of India, the problematic of national fragmentation comes to imbue the lyric world of Faiz’s verse in profound and explicit ways. But, the broader problematic of a partitioned self is already present in the poems of the pre-partition years, at least as potential, something that these poems point to and anticipate. The social truth embodied in Faiz’s lyric poetry is that the emergence of the (modern) self is also its self-division.