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Laura L. Adams offers unique insight into nation building in Central Asia during the post-Soviet era through an exploration of Uzbekistan’s production of national culture in the 1990s. As she explains, after independence the Uzbek government maintained a monopoly over ideology, exploiting the remaining Soviet institutional and cultural legacies. The state expressed national identity through tightly controlled mass spectacles, including theatrical and musical performances. Adams focuses on these events, particularly the massive outdoor concerts the government staged on the two biggest national holidays, Navro’z, the spring equinox celebration, and Independence Day. Her analysis of the content, form, and production of these ceremonies shows how Uzbekistan’s cultural and political elites engaged in a highly directed, largely successful program of nation building through culture.

Adams draws on her observations and interviews conducted with artists, intellectuals, and bureaucrats involved in the production of Uzbekistan’s national culture. These elites used globalized cultural forms such as Olympics-style spectacle to showcase local, national, and international aspects of official culture. While these state-sponsored extravaganzas were intended to be displays of Uzbekistan’s ethnic and civic national identity, Adams found that cultural renewal in the decade after Uzbekistan’s independence was not so much a rejection of Soviet power as it was a re-appropriation of Soviet methods of control and ideas about culture. The public sphere became more restricted than it had been in Soviet times, even as Soviet-era ideas about ethnic and national identity paved the way for Uzbekistan to join a more open global community.

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Searching for Africa in Brazil is a learned exploration of tradition and change in Afro-Brazilian religions. Focusing on the convergence of anthropologists’ and religious leaders’ exegeses, Stefania Capone argues that twentieth-century anthropological research contributed to the construction of an ideal Afro-Brazilian religious orthodoxy identified with the Nagô (Yoruba) cult in the northeastern state of Bahia. In contrast to other researchers, Capone foregrounds the agency of Candomblé leaders. She demonstrates that they successfully imposed their vision of Candomblé on anthropologists, reshaping in their own interest narratives of Afro-Brazilian religious practice. The anthropological narratives were then taken as official accounts of religious orthodoxy by many practitioners of Afro-Brazilian religions in Brazil. Capone draws on ten years of ethnographic fieldwork in Salvador de Bahia and Rio de Janeiro as she demonstrates that there is no pure or orthodox Afro-Brazilian religion.

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~~ Download PDF Leviathans at the Gold Mine: Creating Indigenous and Corporate Actors in Papua New Guinea, by Alex Golub

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Leviathans at the Gold Mine is an ethnographic account of the relationship between the Ipili, an indigenous group in Papua New Guinea, and the large international gold mine operating on their land. It was not until 1939 that Australian territorial patrols reached the Ipili. By 1990, the third largest gold mine on the planet was operating in their valley. Alex Golub examines how "the mine" and "the Ipili" were brought into being in relation to one another, and how certain individuals were authorized to speak for the mine and others to speak for the Ipili. Considering the relative success of the Ipili in their negotiations with a multinational corporation, Golub argues that a unique conjuncture of personal relationships and political circumstances created a propitious moment during which the dynamic and fluid nature of Ipili culture could be used to full advantage. As that moment faded away, social problems in the valley increased. The Ipili now struggle with the extreme social dislocation brought about by the massive influx of migrants and money into their valley.

• Sales Rank: #1234055 in Books
• Brand: Golub, Alex
• Published on: 2014-03-10
• Original language: English
• Number of items: 1
• Dimensions: 8.90" h x .60" w x 6.00" l, .0 pounds
• Binding: Paperback
• 264 pages

Review
"Leviathans at the Gold Mine is a game-changing work. Any one of its chapters would be enough to secure its place as a breakthrough book, but the ensemble is a tour de force of the sort that comes along only rarely. Future debates about the politics of resource development or the relation between the states, transnational corporations, and indigenous people will have to start here. Theories about globalization, structure, and agency will have to take it into account. And the bar of Melanesian ethnography has just been raised." (Dan Jorgensen, University of Western Ontario 2014-01-23)

"Leviathans at the Gold Mine is an important contribution to our knowledge of the Porgera mine and mining in Papua New Guinea more generally. Alex Golub offers a subtle, original reading of mine-landowner relations, as well as new information about the microprocesses associated with Porgera mining, such as how landownership is determined and how royalty checks are distributed. Those insights will be welcomed by scholars interested in local-global articulations and the politics and misunderstandings associated with them." (Aletta Biersack, coeditor of Reimagining Political Ecology)

"Golub's study of gold mining in Papua New Guinea is not only a fascinating ethnography but a strong tonic for anthropology, for law and courts, and for governments and corporations insofar as they continue to subscribe to the notion of fixed indigenous 'societies' and 'cultures'--or truly of any social facts or institutions that they dream have been or can be settled once and for all through the (post)modern techniques of audit and governmentality." (Jack David Eller Anthropology Review Database)

"Golub’s chapter on the Ipili is an ethnographic tour de force."  (Martha MacIntyre Current Anthropology)

“Leviathans at the Gold Mine truly does justice to Porgera’s complex reality. The author’s theoretically ambitious approach provides a sophisticated and refreshing perspective on the constantly evolving relationship between mining companies and local communities. It is accessible to multiple audiences and is a go-to book for anyone interested in mining, governmentality, Melanesian anthropology or globalisation. With a variety of writing genres displayed in each chapter – all written in Golub’s clear, witty and at times poetic style – Leviathans is a pleasure to read.” (Shaun Gessler Journal of Pacific History)

"Golub benefits from and contributes to a long conversation with fellow anthropologists who have been working in the area for several decades (Biersack, Burton, Filer, Jorgensen, and others) and who constitute another kind of grouping with blurred boundaries, variable ties, and internal controversies, which ultimately appears to be as feasible as the Ipili." (Pierre-Yves Le Meur American Anthropologist 2015-06-01)

"Ethnographies from the Highlands of Papua New Guinea (PNG) have appeared frequently enough in the past half-century to make it rare to encounter a truly innovative one. Yet this is just such a work. Golub is a thoughtful and well-read scholar, and his book sparkles with anthropological insights throughout." (Richard Scaglion Journal of Anthropological Research 2015-11-01)

"[C]ombining history, anthropology, and Melanesian cultural studies, [the book] keeps to its word on going beyond simplistic generalizations to reach a more nuanced understanding of the actors in play." (Tess Lea Bulletin of the Pacific Circle 2015-10-01)

"Golub succeeds in presenting complex ideas and arguments in a readable and at times entertaining fashion. Scholars interested in kinship, cosmology and vernacular ideas of personhood and social relations should find the volume to be highly relevant to understanding emergent ideas about kinship." (Simon Kenema The Asia Pacific Journal of Anthropology 2016-03-30)

About the Author

Alex Golub is Associate Professor of Anthropology at the University of Hawaii at Manoa. He is a cofounder of the anthropology blog savageminds.org.

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For more than two decades, the artist Renée Green has created an impressive body of work in which language is an essential element. Green is also a prolific writer and a major voice in the international art world. Other Planes of There gathers for the first time a substantial collection of the work she wrote between 1981 and 2010. The selected essays initially appeared in publications in different countries and languages, making their availability in this volume a boon to those wanting to follow Green's artistic and intellectual trajectory.

Charting this cosmopolitan artist’s thinking through the decades, Other Planes of There brings essays, film scripts, reviews, and polemics together with reflections on Green's own artistic practice and seminal artworks. It immerses the reader in three decades of contemporary art showcasing the art and thought, the incisive critiques and prescient observations of one of our foremost artists and intellectuals. Sound, cinema, literature, time-based media, and the relationship between art forms and other forms of knowledge are just a few of the matters that Green takes up and thinks through. Sixty-four pages of color plates were selected by the artist for this lavishly illustrated volume.
 

• Sales Rank: #1620320 in Books
• Brand: Green, Rene
• Published on: 2014-11-10
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x 1.40" w x 5.90" l, .0 pounds
• Binding: Paperback
• 520 pages

Review
"Renée Green's far-reaching social and political interests have led her into taking on the roles of artist-curator-archivist-historian-exhibition designer and, perhaps most unusual, adventuress-traveler. As indefatigable explorer of circuits of ideas, objects, geographies, histories, and categories, as challenger of historical and cultural boundaries, she has accrued an extraordinary body of work across at least four continents. This remarkable selection of essays bears vivid witness to the range of her ideas, the reach of her curiosity, and her generosity and acuity of intellect." (Yvonne Rainer, , avant-garde American dancer, choreographer, and filmmaker 2014-03-13)

"The publication of Other Planes of There will be a major intellectual event. Given Renée Green's stature and influence, both in the United States and abroad, her writing can be surprisingly hard to track down. This volume will be an essential reference point for anyone invested in critical practice of the last three decades and the shape of things to come. We need this book." (Huey Copeland, author of Bound to Appear: Art, Slavery, and the Site of Blackness in Multicultural America)

"More than a collection of an artist's writings, Other Planes of There is also a rigorous meditation on the question of why artists are compelled to write. Along the way, almost incidentally as it were, readers are offered a self-conscious survey of the most advanced thinking in the artistic practice of an artist who not only dares to represent herself but also to put herself forward, in that representation, as representative." (Fred Moten, author of In the Break: The Aesthetics of the Black Radical Tradition and B Jenkins)

“[B]y interweaving an astounding diversity of tones, modes, subjects, and genres into a single body of writing, Green reveals many of the underlying interactions and interconnections that would seem to shape our contemporary moment. In the pieces collected in the volume, Green oscillates between the poles of academic and literary ambition, combining the poetic with the analytic, the diaristic with the theoretical, the autobiographical with the systematic, the tentative with the polemical. . . . Other Planes of There offers both a critical genealogy of and a reflexive corrective to our present art-historical and political moment.” (André Rottmann Artforum)

“Anticipating the artist’s expanded function—the various ‘turns’ of the 2000s—Green wears many hats, acting at once as a curator, archivist, events organizer, and independent distributor (a role she calls ‘free media agent’). . . . [A]n important resource for those seeking to understand what has happened in progressive art discourse for the past twenty years. Other Planes of There also offers a model for how artists might situate their work through a critical, process-intensive writing practice.” (Thom Donovan Bomb)

“The book is evidence of what remains an ongoing process, which continues to grow in the minds of those that read it or come to encounter Green’s work. Rooted within the fabric of every text is Green’s voice, which remains one of questioning the world, through a continual prodding and reexamination of methods of understanding, transmission, and communication.”  (Maia Nichols Full Stop)

“Complete with an extensive Publishing History, Curriculum Vitae and Index that indicate clearly the rich scope of this anthology, this certainly is a beautiful example of what thinking through and with work can lead to.” (Edith Doove Leonardo)

About the Author
Renée Green is an artist, writer, and filmmaker. Her exhibitions, videos, and films have been seen throughout the world in museums, biennales, and festivals. A selection of her books includes Endless Dreams and Time-Based Streams, Ongoing Becomings, Between and Including, Shadows and Signals, and, as editor, Negotiations in the Contact Zone. Green’s essays and fiction have appeared in magazines and journals such as Transition, October, and Collapse. She is also a Professor at the MIT Program in Art, Culture and Technology, School of Architecture and Planning.

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In this audacious book, Ana María Ochoa Gautier explores how listening has been central to the production of notions of language, music, voice, and sound that determine the politics of life. Drawing primarily from nineteenth-century Colombian sources, Ochoa Gautier locates sounds produced by different living entities at the juncture of the human and nonhuman. Her "acoustically tuned" analysis of a wide array of texts reveals multiple debates on the nature of the aural. These discussions were central to a politics of the voice harnessed in the service of the production of different notions of personhood and belonging. In Ochoa Gautier's groundbreaking work, Latin America and the Caribbean emerge as a historical site where the politics of life and the politics of expression inextricably entangle the musical and the linguistic, knowledge and the sensorial.

• Sales Rank: #635985 in Books
• Published on: 2014-12-01
• Original language: English
• Number of items: 1
• Dimensions: 10.30" h x .60" w x 3.40" l, .0 pounds
• Binding: Paperback
• 280 pages

Review
"Aurality shows how hearing, writing, speech, and song were central to the constitution of modern personhood in the nineteenth century. Using Colombia as her grounding point, Ana María Ochoa Gautier explores the ways that colonial intellectuals, creoles, and indigenous people spoke, sung, and wrote across difference as they struggled to establish new kinds of political subjectivity and nationality. Based in deep, creative readings of primary source materials, and steeped in anthropological and cultural theory, Aurality is an erudite, challenging, and rewarding book. It offers a vital alternative to a literature that has too often taken Western Europe and anglophone North America as points of historical departure. Aurality will transform our understandings of the human and the animal; nation and citizenship; music and language; speech and writing; and modernity itself." (Jonathan Sterne, author of MP3: The Meaning of a Format)

With generous voice and incisive ears, Aurality offers us the gift of listening to and through multiple histories, eavesdropping into a Colombian 19th-century archive in whose seemingly muted vociferations Ana María Ochoa Gautier hears nothing less than the clamor of the political-sensorial genealogy of the Latin American, Caribbean, and global present. Hearing, listening, speaking, writing, and voicing all emerge here as ontological wagers on life, on personhood, and on human - non-human relations. But this is no celebration of the sonorous, it is a most critically sober and theoretically eloquent call that we listen in order to think Latin American (and global) modernity and coloniality again for the first time.
(Jairo Moreno, author of Musical Representations, Subjects, and Objects)

"Speaking from the intersection of sound studies, Latin American studies, and the history of natural history and musicology, this book shifts the terrain upon which all of those fields have comfortably settled. Scholars of sound studies will need to take note of Ochoa’s challenges to European or North American framings." (Alejandra Bronfman Hispanic American Historical Review 2015-11-01)

“Gautier’s work is tremendously useful. A challenging and rewarding read, I recommend her work to persons who are seriously interested in new approaches to retelling the history of any nation.” (Julian Ledford Ameriquests)

"Aurality is a significant contribution to the burgeoning field of sound studies. Ana Maria Ochoa Gautier adeptly guides the reader across complex scales of analysis using well-selected historical case studies.... Aurality achieves its goal of establishing a critical vantage point for making sense of the contemporary transformations that are shaping the 21st." (William Hope American Ethnologist 2016-05-01)

"Ochoa Gautier provides a vitally important account of the intricate and heterogeneous modes of knowing, being, becoming, and belonging that continue to resonate in the postcolonial lettered city."  (Leonardo Cardoso American Anthropologist 2016-06-01)

About the Author
Ana María Ochoa Gautier is Associate Professor of Music and Director of the Center for Ethnomusicology at Columbia University. She is the author of several books in Spanish.

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In the late nineteenth century and early twentieth, hundreds of amateur photographers took part in the photographic survey movement in England. They sought to record the material remains of the English past so that it might be preserved for future generations. In The Camera as Historian, the groundbreaking historical and visual anthropologist Elizabeth Edwards works with an archive of nearly 55,000 photographs taken by 1,000 photographers, mostly unknown until now. She approaches the survey movement and its social and material practices ethnographically. Considering how the amateur photographers understood the value of their project, Edwards links the surveys to concepts of leisure, understandings of the local and the national, and the rise of popular photography. Her examination of how the photographers negotiated between scientific objectivity and aesthetic responses to the past leads her to argue that the survey movement was as concerned with the conditions of its own modernity and the creation of an archive for an anticipated future as it was nostalgic about the imagined past. Including more than 120 vibrant images, The Camera as Historian offers new perspectives on the forces that shaped Victorian and Edwardian Britain, as well as on contemporary debates about cultural identity, nationality, empire, material practices, and art.

• Sales Rank: #1474963 in Books
• Published on: 2012-04-11
• Original language: English
• Number of items: 1
• Dimensions: 9.90" h x .90" w x 8.00" l, 2.20 pounds
• Binding: Paperback
• 344 pages

Review
"The Camera as Historian offers groundbreaking insights into the entangled relations of photography and history, the recording impulse in modern British history, the complex links between visual practices and the historical imagination, and the intellectual and cultural traditions that frame representations of the past. It is significant as the first in-depth look at the fascinating and important work of the British survey movement: its participants, driving impulses, economies, audiences, values, and successes and failures. The book is made all the more important by Elizabeth Edwards's insistence on attention to the ways that photographs were produced and translated, and her demonstration of a mode of historical interpretation that not only links critical theory and archival practice, but illustrates their inseparability."—Jennifer Tucker, author of Nature Exposed: Photography as Eyewitness in Victorian Science

"In this magnificent study, Elizabeth Edwards approaches the photographic survey movement in England above all as a practice: a relation between photographers, photographic technologies, photographs, and the material traces of the past in landscapes. This practice, as Edwards shows in rich detail, was extensive, amateur, public, local, and reflexive. With its empirical depth and conceptual reach, this book enhances immensely our understanding of the mediation of both history and geography by photography."—Gillian Rose, author of Doing Family Photography: The Domestic, the Public and the Politics of Sentiment

“The The Camera as Historian provides a dense amount of information about the photographic survey movement, as well as aspects of Victorian and Edwardian Britain that shaped the survey movement. . . . But the content and ideas are interesting and provide an original perspective, making any extra effort in the read a tremendously worthwhile venture.” (Mary Desjarlais The Photogram)

“The Camera as Historian is unquestionably a major work of the new photographic history. As I have indicated it is now the benchmark study of mass photographic practice; it is inventively conceived, meticulously researched, and full of new ways of thinking about photography, history, and many other things.”
(Steve Edwards Oxford Art Journal)

“[A] fascinating and remarkable new book. . . . It is also a pleasure to use, being beautifully produced, with (as would be expected) a wonderful collection of photographs, magnificently reproduced—and. . . it is outstandingly good value.” (Alan Crosby The Local Historian)

“Probably because of the scope, British survey photography has lacked extensive studies, so this thoughtful analysis by Edwards of a complex set of practices and narratives is welcome. . . . Highly recommended. Lower-level undergraduates and above.” (S. Spencer Choice)

“This is a great book on a great subject by a great author (and, yes, by a great publisher as well, for the amount and quality of the often never published images in this well designed and impressive volume is exemplary). . . . If good history is a dialogue between past, present and future, then The Camera as History is best history.” (Jan Baetens Leonardo Reviews)

”This is the only comprehensive monograph on the survey movement, for which Edwards has identified 73 surveys, or regional bodies of work that were focused on particular towns, counties, and cities. Her analysis of the pictures is commendable as she describes the ‘historical imagination’ that these amateur photographers articulated through the surveys. . . . Serious researchers on this topic will appreciate the thorough work offered here, which is well documented in notes and appendixes.” (Eric Linderman Library Journal)

“Essential and exciting reading for anyone interested in the visual culture of this period. Edwards’s achievement is to make the activities of one group—or linked groups—of people speak to the nation’s sense of itself and of how its physical character should be preserved and remembered. No less important is the way in which she makes us think about how photography may best be understood as history and what its responsibilities may be.” (Kate Flint Journal of British Studies)

“Building on her groundbreaking work on anthropological photography, The Camera as Historian establishes Edwards as a role model in the field of photographic history. Addressing both the concerns of theory and the riches of the archive, Edwards exposes the foibles of these Edwardian amateurs without any bad-faith assumption of chauvinism. Adorned with over a hundred illustrations and a useful bibliography, scholars and graduate students in the fields of photography, visual culture, social, and cultural history will receive multiple dividends from reading and discussing this book.”   (Nicole Hudgins Journal of Social History)

“Edwards demonstrates a true mastery over her material and an adept use of critical theory, such that the book remains wholly engaging. The Camera as Historian positions Edwards as anexemplar in the writing of history and ethnography within the fields of photography and visualculture. With over one hundred illustrations and a comprehensive bibliography of primary andsecondary sources, this book will surely remain a useful reference on British survey photography and a model historiography of both British history and photography.” (Taylor J. Acosta Nineteenth-Century Art Worldwide)

"I am Australian, and thus very distant in space and experience from these landscapes — but just holding and looking through Edwards’s beautiful book fills me with nostalgia and longing for a landscape I have never known.... Erudite and nuanced, this rich and suggestive book raises many issues and points to further work."  (Jane Lydon Victorian Studies)

About the Author

Elizabeth Edwards is Professor of Photographic History and Director of the Photographic History Research Centre at De Montfort University in Leicester. From 1988 until 2005, she was Head of Photograph and Manuscript Collections at the Pitt Rivers Museum at the University of Oxford, where she was also a Lecturer in Visual Anthropology. Edwards is the author of Raw Histories: Photographs, Anthropology, and Museums; editor of Anthropology and Photography, 1860–1920; and a co-editor of Photography, Anthropology and History; Visual Sense: The Cultural Reader; and Sensible Objects: Colonialism, Material Culture and the Senses.

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This is a collection by the noted scholar of visual ...
By Jadjee
This is a collection by the noted scholar of visual anthropology, Elizabeth Edwards. Her work is always worth reading but the scope of this book is limited in comparison with her other publications

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Exceptional Violence is a sophisticated examination of postcolonial state formation in the Caribbean, considered across time and space, from the period of imperial New World expansion to the contemporary neoliberal era, and from neighborhood dynamics in Kingston to transnational socioeconomic and political fields. Deborah A. Thomas takes as her immediate focus violence in Jamaica and representations of that violence as they circulate within the country and abroad. Through an analysis encompassing Kingston communities, Jamaica’s national media, works of popular culture, notions of respectability, practices of punishment and discipline during slavery, the effects of intensified migration, and Jamaica’s national cultural policy, Thomas develops several arguments. Violence in Jamaica is the complicated result of a structural history of colonialism and underdevelopment, not a cultural characteristic passed from one generation to the next. Citizenship is embodied; scholars must be attentive to how race, gender, and sexuality have been made to matter over time. Suggesting that anthropologists in the United States should engage more deeply with history and political economy, Thomas mobilizes a concept of reparations as a framework for thinking, a rubric useful in its emphasis on structural and historical lineages.

• Sales Rank: #754283 in Books
• Brand: Brand: Duke University Press Books
• Published on: 2011-10-05
• Original language: English
• Number of items: 1
• Dimensions: 9.10" h x .70" w x 6.10" l, .80 pounds
• Binding: Paperback
• 320 pages

Features

• Used Book in Good Condition

Review
“Deborah A. Thomas’s Exceptional Violence is at once methodologically astute, richly researched, and critically engaged. In reframing the historical object of violence in Jamaica, she enables us to see hitherto obscured dimensions of its embodied constitution as social practice and social imaginary, its relation to citizenship and gender, the state and community, racial subjectivities and transnational migrations. It is a fine achievement.”—David Scott, Columbia University

“In this supremely engaging book, Deborah A. Thomas puts to rest a number of procrustean, often racist, preconceptions about violence in Jamaica and, by extension, other postcolonies. Arguing persuasively against ‘culturalist’ explanations, she seeks to make sense of the incidence of and the preoccupation with violence in Jamaica by placing that violence in its proper historical context—one that turns out to be highly complex, deeply entangled, and temporally disjunctive. But Thomas does more than this. She opens up a window into the very soul of Jamaica and its diasporas, examining how Jamaicans today envisage and make their futures; how new, embodied forms of subjectivity and citizenship are being practiced and performed; and how we may understand the role of ‘culture’ and representation in these processes. Exceptional Violence is the kind of book from which not only every anthropologist but every intelligent reader will learn something worth knowing. And worth thinking deeply about.”—John Comaroff, University of Chicago and the American Bar Foundation

“Exceptional Violence is a complicated study.... In her analysis of the way anthropology deals with violence, slavery, inequity, crime, and so on, Thomas demonstrates broad reading and a highly critical mind.” (Gert Oostindie European Review of Latin American and Caribbean Studies)

“The volume… [is] an academic engagement of the imagination, possibly the last bastion for generating some creative insights into what ails Jamaica generally.” (Ralph Premdas Ethnic and Racial Studies)

“What is most impressive about this ethnography is Thomas’s ability to consistently link her work to an existing body of scholarship in the various fields on which she draws in developing her analysis. This is a well-researched book that offers a thorough engagement with relevant scholarship. It is a key part of the global conversation on violence and reparations in the African Diaspora.” (Keisha-Khan Y. Perry The Journal of Latin American and Caribbean Anthropology)

“Exceptional Violence is a theoretically sophisticated examination of contemporary Jamaica, with much to offer students of postcolonialism, anthropology, transnationalism, and the African diaspora.”  (Mark Anderson Bulletin of Latin American Research)

"I recommend this book to all persons from varied and interlocking disciplines of critical theory, critical race theory, politics, economics, history, and philosophy.... Additionally, any person keen on making informed and constructive contributions to discussions about issues that shape within the United States should visit Thomas’s work and learn from her." (Julian Ledford Ameriquests 2015-01-01)

About the Author

Deborah A. Thomas is Professor of Anthropology at the University of Pennsylvania. She is the author of Modern Blackness: Nationalism, Globalization, and the Politics of Culture in Jamaica and a co-editor of Globalization and Race: Transformations in the Cultural Production of Blackness, both also published by Duke University Press.

Most helpful customer reviews

3 of 5 people found the following review helpful.
An engaging book, but dissatisfying in some respects
By Mandisa
Thomas' engagement with the transnational elements of citizenship is impressive. Her chapter on the Coral Gardens "crucifixion" of 1963 is particularly astute and well-researched; and her film on this event is also a good resource for students interested in this topic. However, her thesis linking embodied memory to Jamaica's problems with murder is the most dissatisfying element of this book. I question the efficacy of research on a social problem that limits data collection to cultural documents and cultural productions; resulting in simplistic and unsubstantiated statements such as "most Jamaicans would casually root the proliferation of spectacularly performed murders in the consumption of North American films." Murder is a serious social problem that requires rigorous field research in the communities most affected by this crime, and it is unfortunate that this did not take place in this study.

1 of 4 people found the following review helpful.
Ok for some
By gregory guest
You would love this book if you were in a program for a doctors degree. To hard for the average person to understand unless they are going for a doctors degree.

See all 2 customer reviews...

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