The tourist: A new theory of the leisure class.

The Predicament of Culture: Twentieth- Century Ethnography, Literature, and Art

The Dialectics of Seeing: Walter Benjamin and the Arcades Project

Mark Duffield's second edition of ‘Global Governance and the New Wars’ offers an important and biting critique of how different actors within the security and development discourse have adapted to 

Global Governance and the New Wars: The Merging of Development and Security

The Spectacular State explores the production of national identity in post-Soviet Uzbekistan. The main protagonists are the cultural elites involved in the elaboration of new state-sponsored mass-spectacle national holidays: Navro’z (Zoroastrian New Year) and Independence Day. The overall argument is that despite their aspirations to reinvigorate national identity, mass spectacle creators in Uzbekistan have reproduced much of the Soviet cultural production. National identity has been one of the most fraught questions in Central Asia, where nationality was a contradictory and complicated product of the Soviet rule. Although the category of nationality was initiated, produced, and imposed by the Soviet state in the 1920s, it eventually became a source of power and authority for local elites, including cultural producers. The collapse of the Soviet Union opened up possibilities for revising and reversing many understandings manufactured by the socialist regime. Yet, upon her arrival in Tashkent to conduct her research on the renegotiation of national identity in 1995, Laura Adams discovered that instead of embracing newly-found freedom to recover a more authentic history, most Uzbek intellectuals, especially cultural producers working with the state, avoided probing too far in this direction. Rather than entirely discarding the Soviet colonial legacies, they revised their history selectively. Whereas the ideological content of their cultural production shifted from socialism to nationalism, many of the previous cultural ‘‘forms’’ have remained. Similarly, the Uzbek government continued to employ cultural elites to implement the task of reinforcing its nation-building program, thus following the Soviet model of cultural production. The book consists of four chapters. The first chapter delineates the broad themes of national identity building, and the remaining chapters explore mass spectacle creation by distinguishing between three elements: form (Chapter Two), content (Chapter Three), and the mode of production (Chapter Four). The study is based on content analysis of two Olympic Games-style national holidays, interviews with cultural producers, and participation observation of festivals and behind-the-scenes preparation meetings. Although Adams provides a few references to viewers and their attitude toward the public holiday performances, her book does not offer an extended engagement with reception and consumption of these holidays. The comprehensive and multi-layered overview of the process of revising national identity in Uzbekistan is one of the book’s major accomplishments. For Adams, the production of national identity is not a selfevident and seamless production forced by the state but instead a dynamic, complex, and dialogical process of negotiation between various parties (intellectual factions, state officials, mass spectacle producers, etc.). Her account reveals the messy and often contradictory nature of national identity production and thus moves away from the tendency to reify the state and its policies. The book makes a significant contribution to studies of nationalism by suggesting that the production of national identity in Uzbekistan was centrally constituted by the consideration of the ‘‘international audience.’’ Although public holidays, studied by Adams, aimed at fostering national identification, the forms in which these celebrations are performed (including national dances and music) indicate the aspiration of cultural producers to be part of the international community. This kind of national production self-consciously oriented toward the international viewer has been the legacy of the Soviet nationalities policy where all cultural producers had to produce art ‘‘socialist in content, national in form.’’ Notwithstanding the difference in generations or genres,

The Justice Cascade: How Human Rights Prosecutions are Changing World Politics:

Stories about political transformation often suggest that a political community must acknowledge and grapple with its difficult past in order to move on to a sunnier future. This thesis explores the problems and possibilities of this narrative as projected in both transitional justice theory and the museum.
Several theorists in the field of transitional justice, like Ruti Teitel, Mark Osiel, and Kathryn Sikkink, organize moments of mass atrocity, transition, and the future into finite, bounded moments. By neatly confining "violence" to the past and "peace" to the future, these narratives conceptualize political communities on a clean trajectory of evolution towards democracy. As such, these theorists position criminal prosecutions, a central transitional justice mechanism, as a means through which a political community can return to, grapple with, and over-come a violent past. Here, post-war trials are figured as devices that deliver political community to a democratic order.
Political and cultural theorist, Walter Benjamin, describes discursive projections premised on notions of progress as a system that restrains, disciplines, and guides political transformation. Benjamin and Jacques Derrida claim that the violence of law's imposition and conservation is obscured by these very notions of sequential temporality which establish law as the means to projected and affective ends. I take inspiration from these thinkers and argue that transitional justice theory's "ends-oriented" rhetoric permits political communities and correlative state institutions to narrate themselves away from legacies of violence, and responsibility. Further, they attempt to foreclose the notion that political transformation is infinitely on-going.
Aesthetics sites, like the museum, may reaffirm the worlds crafted through transitional justice theory's organization of bounded time. As such, I examine three museum exhibitions in order to show how museums similarly organize time in a manner that confines periods of violence, transition, and democracy into bounded temporalities: "Memorium Nuremberg Trials" (Nuremberg, Germany); "The Nuremberg Trials: What is Justice?" The United States Holocaust Memorial Museum (Washington DC, US), and; "On Trial: Auschwitz/Majdanek," Jewish Museum (Berlin, Germany). Yet the time of transitional justice projected in these exhibitions is not totalizing, and is infinitely vulnerable to spatial, material, and aesthetic disruption.

https://curve.carleton.ca/system/files/etd/9eba65b2-c17d-4d94-ac16-4e843b00c15f/etd_pdf/ed7ff4b3e3d394fa8dbdd3c98a4f73e5/maclellan-paintingpastsandfuturestransitionaljustice.pdf

Tiffany MacLellan

Papers

Painting Pasts and Futures: Transitional Justice, Museums, and Aesthetic Interruptions