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.

Whether in the form of warfare, dispossession, forced migration, or social prejudice, Australia’s sense of nationhood was born from—and continues to be defined by—experiences of violence. Legacies of Violence probes this brutal legacy through case studies that range from the colonial frontier to modern domestic spaces, exploring themes of empathy, isolation, and Australians’ imagined place in the world. Moving beyond the primacy that is typically accorded white accounts of violence, contributors place particular emphasis on the experiences of those perceived to be on the social periphery, repositioning them at the center of Australia’s relationship to global events and debates.

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.

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

This book provides a comprehensive, interdisciplinary study of the multiple legacies of Francoist violence in contemporary Spain, with a special focus on the exhumations of mass graves from the Civil War and post-war era. The various contributions frame their study within a broader reflection on the nature, function and legacies of state-sanctioned violence in its many forms. Offering perspectives from fields as varied as history, political science, literary and cultural studies, forensic and cultural anthropology, international human rights law, sociology, and art, this volume explores the multifaceted nature of a society’s reckoning with past violence. It speaks not only to those interested in contemporary Spain and Western Europe, but also to those studying issues of transitional and post-transitional justice in other national and regional contexts.

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.