In "Archives of the Insensible" anthropologist Allen Feldman presents a genealogical critique of the sensibilities and insensibilities of contemporary warfare. Feldman subjects the law to a strip search, interrogating diverse trials and revealing the intersecting forms of bodily and psychic subjugation that they display. Throughout, ethnographic specificities are treated philosophically and political philosophy is treated ethnographically through deconstructive description. Among the cases he examines are the interrogation of Ashraf Salim at the Combatant Status Review Tribunal at Guantanamo; the kangaroo court of American soldiers who murdered Gul Mudin, an Afghani noncombatant; Gerhard Richter s forensic paintings of the disputable suicides of a Red Brigade cell in Stammheim prison; Radovan Karadzic s forensic allegations against the corpses attributed to his shelling of a market in Sarajevo; the trial of the police officers who beat Rodney G. King and the latter s judicial lynching by video montage; Jean Luc Godard s film class at Sarajevo where visual facts are indicted for no longer speaking for themselves; and Jacques Derrida standing naked before his cat while awaiting apocalyptic judgment. Through his analysis of these and several other cases, Feldman shows how state power arises "ex nihilo "in the chasm between violent events themselves and the space where political meaning is made. He aims to reverse sovereign logic, the whole task of which is to transform what Foucault called the enigmatic dispersion of human events into certified facts on which state violence is grounded. In contrast, Feldman relies on the disorientation that arises from micrological description as theory in an attempt to retard the hyperaccelerated time of war and media."

In this jarring look at contemporary warfare and political visuality, renowned anthropologist of violence Allen Feldman provocatively argues that contemporary sovereign power mobilizes asymmetric, clandestine, and ultimately unending war as a will to truth. Whether responding to the fantasy of weapons of mass destruction or an existential threat to civilization, Western political sovereignty seeks to align justice, humanitarian right, and democracy with technocratic violence and visual dominance. Connecting Guantánamo tribunals to the South African Truth and Reconciliation Commission, American counterfeit killings in Afghanistan to the Baader-Meinhof paintings of Gerhard Richter, and the video erasure of Rodney King to lynching photography and political animality, among other scenes of terror, Feldman contests sovereignty’s claims to transcendental right —whether humanitarian, neoliberal, or democratic—by showing how dogmatic truth is crafted and terror indemnified by the prosecutorial media and materiality of war. Excavating a scenography of trials—formal or covert, orchestrated or improvised, criminalizing or criminal—Feldman shows how the will to truth disappears into the very violence it interrogates. He maps the sensory inscriptions and erasures of war, highlighting war as a media that severs factuality from actuality to render violence just. He proposes that war promotes an anesthesiology that interdicts the witness of a sensory and affective commons that has the capacity to speak truth to war. Feldman uses layered deconstructive description to decelerate the ballistical tempo of war to salvage the embodied actualities and material histories that war reduces to the ashes of collateral damage, the automatism of drones, and the opacities of black sites. The result is a penetrating work that marries critical visual theory, political philosophy, anthropology, and media archeology into a trenchant dissection of emerging forms of sovereignty and state power that war now makes possible.

While there is a tacit appreciation that freedom from violence will lead to more prosperous relations among peoples, violence continues to be deployed for various political and social ends. Yet the problem of violence still defies neat description, subject to many competing interpretations. Histories of Violence offers an accessible yet compelling examination of the problem of violence as it appears in the corpus of canonical figures – from Hannah Arendt to Frantz Fanon, Michel Foucault to Slavoj Žižek – who continue to influence and inform contemporary political, philosophical, sociological, cultural, and anthropological study. Written by a team of internationally renowned experts, this is an essential interrogation of post-war critical thought as it relates to violence.

This incisive study takes on one of the grimmest secrets in America's national life—the history of lynching and, more generally, the public punishment of African Americans. Jacqueline Goldsby shows that lynching cannot be explained away as a phenomenon peculiar to the South or as the perverse culmination of racist politics. Rather, lynching—a highly visible form of social violence that has historically been shrouded in secrecy—was in fact a fundamental part of the national consciousness whose cultural logic played a pivotal role in the making of American modernity. To pursue this argument, Goldsby traces lynching's history by taking up select mob murders and studying them together with key literary works. She focuses on three prominent authors—Ida B. Wells-Barnett, Stephen Crane, and James Weldon Johnson—and shows how their own encounters with lynching influenced their analyses of it. She also examines a recently assembled archive of evidence—lynching photographs—to show how photography structured the nation's perception of lynching violence before World War I. Finally, Goldsby considers the way lynching persisted into the twentieth century, discussing the lynching of Emmett Till in 1955 and the ballad-elegies of Gwendolyn Brooks to which his murder gave rise. An empathic and perceptive work, A Spectacular Secret will make an important contribution to the study of American history and literature.

Populism in politics and policy orientations in law have thrown the jurisdiction of the academy and the disciplines of interpretation into disarray. Critique flounders in abstraction and negativity, law loses itself in particularity. Administering Interpretation brings together philosophers, humanists, and jurists from both continental and Anglophone jurisdictions to reassess the status and trajectory of interpretative theory as applied in the art of law. Tracking the thread of philosophical influences upon the community of legal interpretation, the essays move from the translation and wake of Derrida to the work of Agamben, from deconstruction to oikononmia. Sharing roots in the philological excavation of the political theology of modern law, contributors assess the failure of secularism and the continuing theological borrowings of juridical interpretation. The book brings contemporary critique to bear upon the interpretative apparatuses of exclusion, the law of spectacular sovereignty, and the bodies that lie in its wake. Contributors: Giovanna Borradori, Marinos Diamantides, Allen Feldman, Stanley Fish, Pierre Legrand, Bernadette Meyler, Michel Rosenfeld, Bernhard Schlink, Jeanne Schroeder, Laurent de Sutter, Katrin Trüstedt, Marco Wan

"A sophisticated and persuasive late-modernist political analysis that consistently draws the reader into the narratives of the author and those of the people of violence in Northern Ireland to whom he talked. . . . Simply put, this book is a feast for the intellect"—Thomas M. Wilson, American Anthropologist "One of the best books to have been written on Northern Ireland. . . . A highly imagination and significant book. Formations of Violence is an important addition to the literature on political violence."—David E. Schmitt, American Political Science Review

Police, the press, and the public all see the kind of violence that besets the inner city today as irrational and basically about turf, revenge, or drugs. Renowned criminologist and expert on gangs, John Hagedorn here tells a very different and little-known story centered on the dramatic rise and fall of a Mafia-like Latino organization in Chicago called "Spanish Growth & Development." Hagedorn's main informant is 'Sal Martino, ' an Italian Mafioso who became intimately involved with the "In$ane Family," one of the factions of Spanish Growth & Development. Through Sal's first-hand account, Hagedorn shows that the violence was not a result of "disorganized crime" but rather the outcome of SGD's prolonged demise. He gives us for the first time a detailed the history of SGD-the reasons for its creation, the uneasy alliances between gang families, the organization's reliance on bottom-up police corruption, and its ultimate collapse in a pool of blood at a 1999 "peace" conference. Revealing the hidden and riveting stories of Chicago gangs' efforts to build structures ostensibly to reduce violence and to organize crime, of the integration of gang and mafia history, and of the central role of police corruption in Chicago's gangland, "The In$ane Chicago Way" makes a powerful argument for the need to regard corruption as the bedrock of gang power. It dispels the notion that gang violence can be explained solely by ecological, neighborhood-based processes and sheds light on the current gang situation in Chicago by laying bare its history while raising disturbing questions for researchers, policy-makers, and the public.

Explores creole discourse to re-conceptualize archive that is contemporaneous and centralizes the presence and imagery of the Caribbean figure.

In this highly original work, Robert Desjarlais and Khalil Habrih present a dialogic account of the lingering effects of the terroristic attacks that occurred in Paris in November 2015. Situating the events within broader histories of state violence in metropolitan France and its colonial geographies, the authors interweave narrative accounts and photographs to explore a range of related phenomena: governmental and journalistic discourses on terrorism, the political work of archives, police and military apparatuses of control and anti-terror deterrence, the histories of wounds, and the haunting reverberations of violence in a plurality of lives and deaths. Traces of Violence is a moving work that aids our understanding of the afterlife of violence and offers an innovative example of collaborative writing across anthropology and sociology.