Virtual Library

Has there always been an inalienable "right to have rights" as part of the human condition, as Hannah Arendt famously argued? The contributions to this volume examine how human rights came to define the bounds of universal morality in the course of the political crises and conflicts of the twentieth century. Although human rights are often viewed as a self-evident outcome of this history, the essays collected here make clear that human rights are a relatively recent invention that emerged in contingent and contradictory ways. Focusing on specific instances of their assertion or violation during the past century, this volume analyzes the place of human rights in various arenas of global politics, providing an alternative framework for understanding the political and legal dilemmas that these conflicts presented. In doing so, this volume captures the state of the art in a field that historians have only recently begun to explore.

In this timely study of the historical, ideological, and formal interdependencies of the novel and human rights, Joseph Slaughter demonstrates that the twentieth-century rise of "world literature" and international human rights law are related phenomena.

Slaughter argues that international law shares with the modern novel a particular conception of the human individual. The Bildungsroman, the novel of coming of age, fills out this image, offering a conceptual vocabulary, a humanist social vision, and a narrative grammar for what the Universal Declaration of Human Rights and early literary theorists both call "the free and full development of the human personality."

Revising our received understanding of the relationship between law and literature, Slaughter suggests that this narrative form has acted as a cultural surrogate for the weak executive authority of international law, naturalizing the assumptions and conditions that make human rights appear commonsensical. As a kind of novelistic correlative to human rights law, the Bildungsroman has thus been doing some of the sociocultural work of enforcement that the law cannot do for itself.

Slaughter raises important practical and ethical questions that we must confront in advocating for human rights and reading world literature--imperatives that, today more than ever, are intertwined.

Michaela, an African American dean at a major American university, summons Alan, a renowned professor of cultural psychology, in response to student protest over his controversial paper on female initiation rites in sub-Saharan Africa. But dormant feelings from an affair years earlier turn a heated argument over science and cultural pluralism into a knock-down, drag-out fight. Rozin's provocative play shatters the ivory tower of academia, upending questions of privilege and Western morality.

In the face of the world’s disorders, moral concerns have provided a powerful ground for developing international as well as local policies. Didier Fassin draws on case materials from France, South Africa, Venezuela, and Palestine to explore the meaning of humanitarianism in the contexts of immigration and asylum, disease and poverty, disaster and war. He traces and analyzes recent shifts in moral and political discourse and practices — what he terms “humanitarian reason”— and shows in vivid examples how humanitarianism is confronted by inequality and violence. Deftly illuminating the tensions and contradictions in humanitarian government, he reveals the ambiguities confronting states and organizations as they struggle to deal with the intolerable. His critique of humanitarian reason, respectful of the participants involved but lucid about the stakes they disregard, offers theoretical and empirical foundations for a political and moral anthropology.

Years of tremendous growth in response to complex emergencies have left a mark on the humanitarian sector. Various matters that once seemed settled are now subjects of intense debate. What is humanitarianism? Is it limited to the provision of relief to victims of conflict, or does it include broader objectives such as human rights, democracy promotion, development, and peacebuilding?

For much of the last century, the principles of humanitarianism were guided by neutrality, impartiality, and independence. More recently, some humanitarian organizations have begun to relax these tenets. The recognition that humanitarian action can lead to negative consequences has forced humanitarian organizations to measure their effectiveness, to reflect on their ethical positions, and to consider not only the values that motivate their actions but also the consequences of those actions.

In the indispensable Humanitarianism in Question, Michael Barnett and Thomas G. Weiss bring together scholars from a variety of disciplines to address the humanitarian identity crisis, including humanitarianism's relationship to accountability, great powers, privatization and corporate philanthropy, warlords, and the ethical evaluations that inform life-and-death decision making during and after emergencies.

Situated at the crossroads of queer theory and postcolonial studies, Hybrid Anxieties analyzes the intertwined and composite aspects of identities and textual forms in the wake of the French-Algerian War (1954–1962). C. L. Quinan argues that the war precipitated a dynamic in which a contestation of hegemonic masculinity occurred alongside a production of queer modes of subjectivity, embodiment, and memory that subvert norms. Innovations in literature and cinema were also directly impacted by the long and difficult process of decolonization, as the war provoked a rethinking of politics and aesthetics. The novels, films, and poetry analyzed in Hybrid Anxieties trace this imbrication of content and form, demonstrating how a postwar fracturing had both salutary and injurious effects, not only on bodies and psyches but also on artistic forms. Adopting a queer postcolonial perspective, Hybrid Anxieties adds a new impulse to the question of how to rethink hegemonic notions of gender, sexuality, and nationality, thereby opening up new spaces for considering the redemptive and productive possibilities of negotiating life in a postcolonial context. Without losing sight of the trauma of this particularly violent chapter in history, Hybrid Anxieties proposes a new kind of hybridity that, however anxious and anticipatory, emphasizes the productive forces of a queer desire to deconstruct teleological relationships between past, present, and future.
 

Now a global bestseller, the remarkable life of Rigoberta Menchú, a Guatemalan peasant woman, reflects the experiences common to many Indian communities in Latin America. Menchú suffered gross injustice and hardship in her early life: her brother, father and mother were murdered by the Guatemalan military. She learned Spanish and turned to catechistic work as an expression of political revolt as well as religious commitment. Menchú vividly conveys the traditional beliefs of her community and her personal response to feminist and socialist ideas.

Of one and a half million surviving photographs related to Nazi concentration camps, only four depict the actual process of mass killing perpetrated at the gas chambers. Images in Spite of All reveals that these rare photos of Auschwitz, taken clandestinely by one of the Jewish prisoners forced to help carry out the atrocities there, were made as a potent act of resistance.
Available today because they were smuggled out of the camp and into the hands of Polish resistance fighters, the photographs show a group of naked women being herded into the gas chambers and the cremation of corpses that have just been pulled out. Georges Didi-Huberman's relentless consideration of these harrowing scenes demonstrates how Holocaust testimony can shift from texts and imaginations to irrefutable images that attempt to speak the unspeakable. Including a powerful response to those who have criticized his interest in these images as voyeuristic, Didi-Huberman's eloquent reflections constitute an invaluable contribution to debates over the representability of the Holocaust and the status of archival photographs in an image-saturated world.

What makes people love and die for nations, as well as hate and kill in their name? While many studies have been written on nationalist political movements, the sense of nationality—the personal and cultural feeling of belonging to the nation—has not received proportionate attention. In this widely acclaimed work, Benedict Anderson examines the creation and global spread of the ‘imagined communities’ of nationality.

Anderson explores the processes that created these communities: the territorialisation of religious faiths, the decline of antique kingship, the interaction between capitalism and print, the development of vernacular languages-of-state, and changing conceptions of time. He shows how an originary nationalism born in the Americas was modularly adopted by popular movements in Europe, by the imperialist powers, and by the anti-imperialist resistances in Asia and Africa.

Endangered life is often used to justify humanitarian media intervention, but what if suffering humanity is both the fuel and outcome of such media representations? Pooja Rangan argues that this vicious circle is the result of immediation, a prevailing documentary ethos that seeks to render human suffering urgent and immediate at all costs. Rangan interrogates this ethos in films seeking to “give a voice to the voiceless,” an established method of validating the humanity of marginalized subjects, including children, refugees, autistics, and animals. She focuses on multiple examples of documentary subjects being invited to demonstrate their humanity: photography workshops for the children of sex workers in Calcutta; live eyewitness reporting by Hurricane Katrina survivors; attempts to facilitate speech in nonverbal autistics; and painting lessons for elephants. These subjects are obliged to represent themselves using immediations—tropes that reinforce their status as the “other” and reproduce definitions of the human that exclude non-normative modes of thinking, being, and doing. To counter these effects, Rangan calls for an approach to media that aims not to humanize but to realize the full, radical potential of giving the camera to the other.