Rites Of Return

The first decade of the twenty-first century witnessed a passionate engagement with the losses of the past. Rites of Return examines the effects of this legacy of historical injustice and documented suffering on the politics of the present. Twenty-four writers, historians, literary and cultural critics, anthropologists and sociologists, visual artists, legal scholars, and curators grapple with our contemporary ethical endeavor to redress enduring inequities and retrieve lost histories. Mapping bold and broad-based responses to past injury across Eastern Europe, Africa, Latin America, Australia, the Middle East, and the United States, Rites of Return examines new technologies of genetic and genealogical research, memoirs about lost family histories, the popularity of roots-seeking journeys, organized trauma tourism at sites of atrocity and new Museums of Conscience, and profound connections between social rites and political and legal rights of return. Contributors include: Lila Abu-Lughod, Columbia University; Nadia Abu El-Haj, Barnard College; Elazar Barkan, Columbia University; Svetlana Boym, Harvard University; Saidiya Hartman, Columbia University; Amira Hass, journalist; Jarrod Hayes, University of Michigan; Marianne Hirsch, Columbia University; Eva Hoffman, writer; Margaret Homans, Yale University; Rosanne Kennedy, Australian National University; Daniel Mendelsohn, writer; Susan Meiselas, photographer; Nancy K. Miller, CUNY Graduate Center; Alondra Nelson, Columbia University; Jay Prosser, University of Leeds; Liz Sevchenko, Coalition of Museums of Conscience; Leo Spitzer, Dartmouth College; Marita Sturken New York University; Diana Taylor, New York University; Patricia J. Williams, Columbia University

The first decade of the twenty-first century has witnessed a passionate engagement with the losses of the past. Rites of Return examines the widespread effects of a legacy of historical injustice and documented suffering on the politics of the present. This collection of original essays devoted to feminist diasporic studies maps bold and broad-based responses to past injury across Eastern Europe, Africa, Latin America, Australia, the Middle East, and the United States. It examines new technologies of genetic and genealogical research, memoirs about lost family histories, the populari.

Refugee displacement is a global phenomenon that has uprooted millions of individuals over the past century. In the 1980s, repatriation became the preferred option for resolving the refugee crisis. As human rights achieved global eminence, refugees' right of return fell under its umbrella. Yet return as a right and its practice as a rite created a radical disconnect between principle and everyday practice, and the repatriation of refugees and Internally Displaced Persons (IDPs) remains elusive in cases of forced displacement of victims by ethnic conflict. Reviewing cases of ethnic displacement throughout the twentieth century in Europe, Asia, and Africa, Howard Adelman and Elazar Barkan juxtapose the empirical lack of repatriation in cases of ethnic conflict, unless accompanied by coercion. The emphasis on repatriation during the last several decades has obscured other options, leaving refugees to spend years warehoused in camps. Repatriation takes place when identity, defined by ethnicity or religion, is not at the center of the displacing conflict, or when the ethnic group to which the refugees belong are not a minority in their original country or in the region to which they want to return. Rather than perpetuate a ritual belief in return as a right without the prospect of realization, Adelman and Barkan call for solutions that bracket return as a primary focus in cases of ethnic conflict.

Rites of Power provides a sweeping overview of the symbolism of power from tenth-century France to modern Britain. Approaching their topic from an eclectic range of intellectual traditions, the authors turn the study of politics, social relations, and cultural creation into a single endeavor. The essays begin with three assumptions: that all societies are ordered and governed by "master fictions" (divine right, equality for all) which make political hierarchy appear natural; that political rhetoric includes nonverbal communication (royal portraits, statistics on crop yields); and that common rhetoric can mean different things to various segments of a culture ("states' rights" during the American Civil War). Societies studied include France and Spain in the Middle Ages, post-Revolutionary France, the modern British monarchy, tsarist Russia, colonial Virginia, and industrial Germany. The essays were selected to provide methodological as well as historical coverage; the result is a comprehensive treatment along the cutting edge of several disciplines. This book will appeal to scholars and students in the fields of history, political science, sociology, anthropology, and art history.

The Rites of Assent examines the cultural strategies through which "America" served as a vehicle simultaneously for diversity and cohesion, fusion and fragmentation. Taking an ethnographic, cross-cultural approach, The Rites of Assent traces the meanings and purposes of "America" back to the colonial typology of mission, and specifically (in chapters on Puritan rhetoric, Cotton Mather, Jonathan Edwards, and the movement from Revival to Revolution) to the legacy of early New England.

Providing a personal, informed and cultural perspective on rites of passage for general readers, this text illustrates the power of rites to help us navigate life's troublesome transitions.

In this one-of-a-kind volume, Iraida López explores various narratives of return by those who left Cuba as children or adolescents. Including memoirs, semi-autobiographical fiction, and visual arts, many of these accounts feature a physical arrival on the island while others depict a metaphorical or vicarious experience by means of fictional characters or childhood reminiscences. As two-way migration increases in the post-Cold War period, many of these narratives put to the test the boundaries of national identity. Through a critical reading of works by Cuban American artists and writers like María Brito, Ruth Behar, Carlos Eire, Cristina García, Ana Mendieta, Gustavo Pérez Firmat, Ernesto Pujol, Achy Obejas, and Ana Menéndez, López highlights the affective ties as well as the tensions underlying the relationship between returning subjects and their native country. Impossible Returns also looks at how Cubans still living on the island depict returning émigrés in their own narratives, addressing works by Jesús Díaz, Humberto Solás, Carlos Acosta, Nancy Alonso, Leonardo Padura, and others. Blurring the lines between disciplines and geographic borders, this book underscores the centrality of Cuba for its diaspora and bears implications for other countries with widespread populations in exile.

Who's better? Billie Holiday or P. J. Harvey? Blur or Oasis? Dylan or Keats? And how many friendships have ridden on the answer? Such questions aren't merely the stuff of fanzines and idle talk; they inform our most passionate arguments, distill our most deeply held values, make meaning of our ever-changing culture. In Performing Rites, one of the most influential writers on popular music asks what we talk about when we talk about music. What's good, what's bad? What's high, what's low? Why do such distinctions matter? Instead of dismissing emotional response and personal taste as inaccessible to the academic critic, Simon Frith takes these forms of engagement as his subject--and discloses their place at the very center of the aesthetics that structure our culture and color our lives. Taking up hundreds of songs and writers, Frith insists on acts of evaluation of popular music as music. Ranging through and beyond the twentieth century, Performing Rites puts the Pet Shop Boys and Puccini, rhythm and lyric, voice and technology, into a dialogue about the undeniable impact of popular aesthetics on our lives. How we nod our heads or tap our feet, grin or grimace or flip the dial; how we determine what's sublime and what's "for real"--these are part of the way we construct our social identities, and an essential response to the performance of all music. Frith argues that listening itself is a performance, both social gesture and bodily response. From how they are made to how they are received, popular songs appear here as not only meriting aesthetic judgments but also demanding them, and shaping our understanding of what all music means.