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In "Violent Legacies the acclaimed photographer Richard Misrach has compiled three new "cantos" in his ongoing series of photographs exploring the desert in the American West. The desert has long been a metaphor in Misrach's art. In "Violent Legacies these barren lands, so often romanticized, undergo an eerie transformation at the hands of man and become an unmistakable reflection of militarism, violence, and environmental destruction. Misrach's political commitment and activism-- filtered through an ironic counterposing of form and content, as well as his exquisite use of color and composition-- have never been as powerfully articulated as in these three new cantos. In "Project W-47 (The Secret)" Misrach reveals classically inspired vistas of the Utah deadlands, tainted forever by their past incarnation as Wendover Air Base-- the secret training and planning site for the Hiroshima and Nagasaki bombings. Aspects of what took place at Wendover still remain classified by the U.S. government. "The Pit" is a Goyaesque series that focuses on the mysterious death of livestock in very close proximity to a former nuclear test site in the Nevada desert. These photographs are a chilling reminder of U.S. and global nuclear contamination. "The Playboys" are Misrach's studies of "Playboy magazines that were used for target practice by persons unknown on the fringes of the Nevada Nuclear Test Site. While cover girls appear to have been the principal targets, many aspects of American culture-- including icons like Andy Warhol, Ray Charles, and Madonna-- were inadvertently blasted. Susan Sontag uses these cantos as a springboard to an allegorical tale-- "The View from the Ark"-- asubtle, yet probing meditation on violence in contemporary society. A postscript interview with Richard Misrach provides background information about the sites comprising "Violent Legacies. "The West," says Misrach, "is s
From mass murder to genocide, slavery to colonial suppression, acts of atrocity have lives that extend far beyond the horrific moment. They engender trauma that echoes for generations, in the experiences of those on both sides of the act. Gabriele Schwab reads these legacies in a number of narratives, primarily through the writing of postwar Germans and the descendents of Holocaust survivors. She connects their work to earlier histories of slavery and colonialism and to more recent events, such as South African Apartheid, the practice of torture after 9/11, and the "disappearances" that occurred during South American dictatorships. Schwab's texts include memoirs, such as Ruth Kluger's Still Alive and Marguerite Duras's La Douleur; second-generation accounts by the children of Holocaust survivors, such as Georges Perec's W, Art Spiegelman's Maus, and Philippe Grimbert's Secret; and second-generation recollections by Germans, such as W. G. Sebald's Austerlitz, Sabine Reichel's What Did You Do in the War, Daddy?, and Ursula Duba's Tales from a Child of the Enemy. She also incorporates her own reminiscences of growing up in postwar Germany, mapping interlaced memories and histories as they interact in psychic life and cultural memory. Schwab concludes with a bracing look at issues of responsibility, reparation, and forgiveness across the victim/perpetrator divide.
This book undertakes a concentrated study of the impact of degraded and low-quality imagery in contemporary cinema and real-world portrayals of violence. Through a series of case studies, the book explores examples of corrupted digital imagery that range from mainstream cinema portrayals of drone warfare and infantry killing, through to real-world recordings of terrorist attacks and executions, as well as perpetrator-created murder videos live-streamed on the internet. Despite post-modernist concerns of cultural inurement during the seminal period of digitalized and virtualized killing in the 1990s, real-world reactions to violent media indicate that our culture is anything but desensitized to these media depictions. Against such a background, this book is a concentrated study of how these images are created and circulated in the contemporary media landscape and how the effect and affect of violent material is impacted by the low-resolution aesthetic.
Legacies of State Violence and Transitional Justice in Latin America presents a nuanced and evidence-based discussion of both the acceptance and co-optation of the transitional justice framework and its potential abuses in the context of the struggle to keep the memory of the past alive and hold perpetrators accountable within Latin America and beyond. The contributors argue that “transitional justice”—understood as both a conceptual framework shaping discourses and a set of political practices—is a Janus-faced paradigm. Historically it has not always advanced but often hindered attempts to achieve historical memory and seek truth and justice. This raises the vital question: what other theoretical frameworks can best capture legacies of human rights crimes? Providing a historical view of current developments in Latin America’s reckoning processes, Legacies of State Violence and Transitional Justice in Latin America reflects on the meaning of the paradigm’s reception: what are the broader political and social consequences of supporting, appropriating, or rejecting the transitional justice paradigm?
In the context of two hundred years of American colonial control in the Pacific, Katherine Irwin and Karen Umemoto shed light on the experiences of today’s inner city and rural girls and boys in Hawai‘i who face racism, sexism, poverty, and political neglect. Basing their book on nine years of ethnographic research, the authors highlight how legacies of injustice endure, prompting teens to fight for dignity and the chance to thrive in America, a nation that the youth describe as inherently “jacked up”—rigged—and “unjust.” While the story begins with the youth battling multiple contingencies, it ends on a hopeful note with many of the teens overcoming numerous hardships, often with the guidance of steadfast, caring adults.
The First World War began in the Balkans, and it was fought as fiercely in the East as it was in the West. Fighting persisted in the East for almost a decade, radically transforming the political and social order of the entire continent. The specifics of the Eastern war such as mass deportations, ethnic cleansing, and the radicalization of military, paramilitary and revolutionary violence have only recently become the focus of historical research. This volume situates the ‘Long First World War’ on the Eastern Front (1912–1923) in the hundred years from the mid-19th to the mid-20th century and explores the legacies of violence within this context. Content Jochen Böhler/Włodzimierz Borodziej/Joachim von Puttkamer: Introduction I. A World in Transition Joachim von Puttkamer: Collapse and Restoration. Politics and the Strains of War in Eastern Europe Mark Biondich: Eastern Borderlands and Prospective Shatter Zones. Identity and Conflict in East Central and Southeastern Europe on the Eve of the First World War Jochen Böhler: Generals and Warlords, Revolutionaries and Nation-State Builders. The First World War and its Aftermath in Central and Eastern Europe II. Occupation Jonathan E. Gumz: Losing Control. The Norm of Occupation in Eastern Europe during the First World War Stephan Lehnstaedt: Fluctuating between ‘Utilisation’ and Exploitation. Occupied East Central Europe during the First World War Robert L. Nelson: Utopias of Open Space. Forced Population Transfer Fantasies during the First World War III. Radicalization Maciej Górny: War on Paper? Physical Anthropology in the Service of States and Nations Piotr J. Wróbel: Foreshadowing the Holocaust. The Wars of 1914–1921 and Anti-Jewish Violence in Central and Eastern Europe Robert Gerwarth: Fighting the Red Beast. Counter-Revolutionary Violence in the Defeated States of Central Europe IV. Aftermath Julia Eichenberg: Consent, Coercion and Endurance in Eastern Europe. Poland and the Fluidity of War Experiences Philipp Ther: Pre-negotiated Violence. Ethnic Cleansing in the ‘Long’ First World War Dietrich Beyrau: The Long Shadow of the Revolution. Violence in War and Peace in the Soviet Union Commentary Jörn Leonhard: Legacies of Violence: Eastern Europe’s First World War – A Commentary from a Comparative Perspective
The Afterlives of the Terror explores how those who experienced the mass violence of the French Revolution struggled to come to terms with it. Focusing on the Reign of Terror, Ronen Steinberg challenges the presumption that its aftermath was characterized by silence and enforced collective amnesia. Instead, he shows that there were painful, complex, and sometimes surprisingly honest debates about how to deal with its legacies. As The Afterlives of the Terror shows, revolutionary leaders, victims' families, and ordinary citizens argued about accountability, retribution, redress, and commemoration. Drawing on the concept of transitional justice and the scholarship on the major traumas of the twentieth century, Steinberg explores how the French tried, but ultimately failed, to leave this difficult past behind. He argues that it was the same democratizing, radicalizing dynamic that led to the violence of the Terror, which also gave rise to an unprecedented interrogation of how society is affected by events of enormous brutality. In this sense, the modern question of what to do with difficult pasts is one of the unanticipated consequences of the eighteenth century's age of democratic revolutions. Thanks to generous funding from Michigan State University and its participation in TOME (Toward an Open Monograph Ecosystem), the ebook editions of this book are available as Open Access (OA) volumes, available on the Cornell University Press website and other Open Access repositories.
The inhabitants of highland Sardinia proudly declare a long history of resistance to outside authority. Many even celebrate the belief that “not even the Roman Empire reached this far.” Yet, since the late nineteenth century, the Italian government has pacified and integrated the mountain districts of the island into the state, often through the use of force. In Legacies of Violence, Antonio Sorge examines local understandings of this past and the effects that a history of violence exercises on collective representations. This is particularly the case among the shepherds of the island, who claim to embody an ancient code of honour known as balentia that they allege to be uncorrupted by the values of mainstream Italian society. A perceptive ethnography of the mobilization of history in support of a way of life that is disappearing as the region’s inhabitants adopt a more mobile, cosmopolitan, and urbane lifestyle, Sorge’s work demonstrates how social memory continues to shape the present in the Sardinian highlands.
How have imperialism and its after-effects impacted patterns of cultural exchange, artistic creativity and historical/curatorial interpretation? World Art and the Legacies of Colonial Violence - comprised of ten essays by an international roster of art historians, curators, and anthropologists - forges innovative approaches to post-colonial studies, Indigenous studies, critical heritage studies, and the new museology. This volume probes the degree to which global histories of conflict, coercion and occupation have shaped art historical approaches to intercultural knowledge and representation. These debates are relevant to contemporary artists and scholars of visual, material and museological culture in their attempts to negotiate imperial and colonial legacies. Confronting the aesthetics of Abolition, Fascism and Filipino independence, and re-thinking relationships between colonised and coloniser in Cameroon, North America and East Timor, the collection brings together new readings of Primitivism and Aboriginal art as well. It features discussions of touring exhibitions, popular media, modernist paintings and sculptures, historic photographs, human remains and art installations. In addition to the critical application of phenomenology in a fresh and contemporary manner, the volume?s ?world art? perspective nurtures the possibility that intercultural ethics are relevant to the study of art, power and modernity.
A Violent History of Benevolence traces how normative histories of liberalism, progress, and social work enact and obscure systemic violences. Chris Chapman and A.J. Withers explore how normative social work history is structured in such a way that contemporary social workers can know many details about social work's violences, without ever imagining that they may also be complicit in these violences. Framings of social work history actively create present-day political and ethical irresponsibility, even among those who imagine themselves to be anti-oppressive, liberal, or radical. The authors document many histories usually left out of social work discourse, including communities of Black social workers (who, among other things, never removed children from their homes involuntarily), the role of early social workers in advancing eugenics and mass confinement, and the resonant emergence of colonial education, psychiatry, and the penitentiary in the same decade. Ultimately, A Violent History of Benevolence aims to invite contemporary social workers and others to reflect on the complex nature of contemporary social work, and specifically on the present-day structural violences that social work enacts in the name of benevolence.