The Armenian contribution to Ottoman photography is supposedly well known, with histories documenting the famous Ottoman Armenian-run studios of the imperial capital that produced Orientalist visions for tourists and images of modernity for a domestic elite. Neglected, however, have been the practitioners of the eastern provinces where the majority of Ottoman Armenians were to be found, with the result that their role in the medium has been obscured and wider Armenian history and experience distorted. Photography in the Ottoman East was grounded in very different concerns, with the work of studios rooted in the seismic social, political and cultural shifts that reshaped the region and Armenian lives during the empire's last decades. The first study of its kind, this book examines photographic activity in three sites on the Armenian plateau: Erzurum, Harput and Van. Arguing that local photographic practices were marked by the dominant activities and movements of these places, it describes a medium bound up in educational endeavours, mass migration and revolutionary politics. The camera both responded to and became the instrument of these phenomena. Light is shone on previously unknown practitioners and, more vitally, a perspective gained on the communities that they served. The book suggests that by contemplating the ways in which photographs were made, used, circulated and seen, we might form a picture of the Ottoman Armenian world.

Before the 1930s, landscapes of the American Southwest represented the migrantÕs dream of a stable and bountiful homeland. Around the time of the Great Depression, however, the Southwest suddenly became integrated into a much larger economic and cultural system. Audrey Goodman examines howÑsince that timeÑthese southwestern landscapes have come to reveal the resulting fragmentation of identity and community. Through analyzing a variety of texts and images, Goodman illuminates the ways that modern forces such as militarization, environmental degradation, internal migration, and an increased border patrol presence have shattered the perception of a secure homeland in the Southwest. The deceptive natural beauty of the Southwest deserts shields a dark history of trauma and decimation that has remained as a shadow on the regionÕs psyche. The first to really synthesize such wide-ranging material about the effects of the atomic age in the Southwest, Goodman realizes the value of combined visual and verbal art and uses it to put forth her own original ideas about reconstructing a new sense of homeland. Lost Homelands reminds us of the adversity and dislocation suffered by people of the Southwest by looking at the ways that artists, photographers, filmmakers, and writers have grappled with these problems for decades. In assessing the ruination of the region, however, Goodman argues that those same artists and writers have begun to reassemble a new sense of homeland from these fragments.

For four and a half years, Pamela Constable, a veteran foreign correspondent and award-winning author, has traveled through South Asia on assignment for the Washington Post. Following religious conflicts, political crises, and natural disasters, she also searched for signs of humanity and dignity in societies rife with violence, poverty, prejudice, and greed. In Afghanistan, she made numerous visits while the country suffered under the hostile rule of the Taliban, attempted to reach the capital in a convoy that was ambushed and saw four journalists killed. She finally moved to Kabul in late 2001 to chronicle the country's post-Taliban rebirth. In Pakistan, she covered a military coup in 1999, immersed herself in the mys-terious world of Muslim mosques and academies, and discovered both the extremist and tolerant faces of Islam. In India, she attended one of the largest spiritual gatherings of Hindu pilgrims in history and then rushed to the horrific aftermath of a devastating earthquake. She repeatedly visited the Kashmir Valley, where Pakistani-backed Muslim guerrillas are waging a seemingly endless war with Indian security forces. In Nepal, she covered the crown prince's massacre of the royal family and journeyed to remote villages where communist rebels brought rigid moral order to life. In Sri Lanka, she explored a tropical paradise where reclusive insurgents trained children to become suicide bombers in pursuit of a utopian ethnic homeland. Between extended sojourns in South Asia, Constable returned to the West to reflect on the risks and rewards of her profession, revisit her roots, and compare her experiences with Islam, Hinduism, and Christianity. Her book is a uniquely personal exploration of the rich but solitary life of a foreign correspondent, set against a regional backdrop of extraordinary political and religious tumult.

For nearly a century, members of the Dildilian family practiced the art of photography in Ottoman Turkey, Greece and the United States. This book contains over 300 photographs, most taken during the Ottoman era. The photos record a crucial half century of Armenian culture, with the earliest dating from 1888, when Tsolag Dildilian opened and operated the family business in central Anatolia, first in Sivas and later in Marsovan and Samsun, and the last taken in late 1930s Greece after the family's forced exile from their homeland in 1922. The photographs and the stories that unfold around them capture a defining period in the nearly 3,000-year history of the Armenians in Anatolia and the Armenian Highlands. The early- twentieth century witnessed the violent erasure of the Armenians from their historic homeland, with catastrophic effects for the Dildilian family and their community. Yet this was also a period of unprecedented educational, cultural and commercial development for the Armenians. The Dildilian family was intimately involved in the triumphs and tragedies of these years and this book, through its rich pictorial history, sheds unprecedented light on the real-life experiences of Armenians in the devastating years of the Armenian Genocide and beyond. It is an unusual and original contribution to the social history of the Near East.

The Making of Refugee Memory is the first English-language history to address the way in which Asia Minor refugees in the period 1912-1924 sustained their memories of their “lost homeland” in the context of their new locations in the state of Greece. Building on the previous work of historians and sociologists in relation to the “Anatolian Catastrophe”, Emilia Salvanou provides an original in-depth case-study of the Thracian Centre and its work in supporting and encouraging the identities of refugees by means of the journal Thrakika and other conduits of memory. It is a notable ground-breaking addition to the historiography of modern Greece and the perception of the status and meaning of refugees in the post-imperial world.

Drawing from two political and several literary homelands, this collection presents a remarkable series of trenchant essays, demonstrating the full range and force of Salman Rushdie's remarkable imaginative and observational powers. With candour, eloquence and indignation he carefully examines an expanse of topics; including the politics of India and Pakistan, censorship, the Labour Party, Palestinian identity, contemporary film and late-twentieth century race, religion and politics. Elsewhere he trains his eye on literature and fellow writers, from Julian Barnes on love to the politics of George Orwell's 'Inside the Whale', providing fresh insight on Kipling, V.S. Naipaul, Graham Greene, John le Carré, Raymond Carver, Philip Roth and Thomas Pynchon among others. Profound, passionate and insightful, Imaginary Homelands is a masterful collection from one of the greatest writers working today.

Criticism and Compassion: The Ethics and Politics of Claudia Card offers a unique perspective on the range of issues explored by Card during her distinguished career in philosophy. Investigates her work as an early leader in the development of feminist philosophy, challenging many preconceptions about the society’s norms regarding gender, marriage, and motherhood Crossing many disciplinary boundaries, her concept of social death has come to play a significant role in multidisciplinary field of genocide studies This volume combines many of Claudia Card’s important essays with recently commissioned essays by leading philosophers whose work has been influenced by Card The full scope of Card’s philosophy is presented here - both in her own words and those of her critics and interpreters