History.

Challenging societal beliefs, this volume rethinks African and world history from an Afrocentric perspective.

Beyond Civilization and Barbarism examines how various cultural forms promoted competing political projects in Argentina during the decades following independence from Spain. This turbulent period has long been characterized as a struggle between two irreconcilable forces: the dictatorship of Juan Manuel de Rosas (1829-1852) versus a dissident intellectual elite. Most famously, Domingo Faustino Sarmiento described the conflict in his canonical Facundo (1845) as a clash between civilization and barbarism, which has become a catchphrase for the experience of modernity throughout Latin America. Against the grain of this durable script, Beyond Civilization and Barbarism examines an extensive corpus to demonstrate how adversaries of the period used similar rhetorical strategies, appealed to the same basic political ideals of republican government, and were preoccupied with defining and interpellating the pueblo, or people. In other words, their collective struggle was fundamentally modern and waged on a mutually intelligible discursive terrain.

The practice of mass incarceration has come under increasing criticism by criminologists and corrections experts who, nevertheless, find themselves at a loss when it comes to offering credible, practical, and humane alternatives. In Civilization and Barbarism, Graeme R. Newman argues this impasse has arisen from a refusal to confront the original essence of punishment, namely, that in some sense it must be painful. He begins with an exposition of the traditional philosophical justifications for punishment and then provides a history of criminal punishment. He shows how, over time, the West abandoned short-term corporal punishment in favor of longer-term incarceration, justifying a massive bureaucratic prison complex as scientific and civilized. Newman compels the reader to confront the biases embedded in this model and the impossibility of defending prisons as a civilized form of punishment. A groundbreaking work that challenges the received wisdom of "corrections," Civilization and Barbarism asks readers to reconsider moderate corporal punishment as an alternative to prison and, for the most serious offenders, forms of incapacitation without prison. The book also features two helpful appendixes: a list of debating points, with common criticisms and their rebuttals, and a chronology of civilized punishments.

From its beginnings in the early twelfth century, the Western civilizing process has involved two interconnected transformations: the monopolization of military force by sovereign states and the cultivation in individuals of habits and dispositions of the kind that we call "civilized." The combined forward movement of these processes channels violent struggles for social dominance into symbolic performances. But even as the civilizing process frees many subjects from the threat of direct physical force, violence accumulates behind the scenes and at the margins of the social order, kept there by a deeply habituated performance of dominance and subordination called deferentiation. When deferentiation fails, difference becomes dangerous and genocide becomes possible. Connecting historical developments with everyday life occurrences, and discussing examples ranging from thirteenth-century Languedoc to 1994 Rwanda, Powell offers an original framework for analyzing, comparing, and discussing genocides as variable outcomes of a common underlying social system, raising unsettling questions about the contradictions of Western civilization and the possibility of a world without genocide.

Notions of civilization and barbarism were intrinsic to Eugène Delacroix’s artistic practice: he wrote regularly about these concepts in his journal, and the tensions between the two were the subject of numerous paintings, including his most ambitious mural project, the ceiling of the Library of the Chamber of Deputies in the Palais Bourbon. Exiled in Modernity delves deeply into these themes, revealing why Delacroix’s disillusionment with modernity increasingly led him to seek spiritual release or epiphany in the sensual qualities of painting. While civilization implied a degree of control and the constraint of natural impulses for Delacroix, barbarism evoked something uncontrolled and impulsive. Seeing himself as part of a grand tradition extending back to ancient Greece, Delacroix was profoundly aware of the wealth and power that set nineteenth-century Europe apart from the rest of the world. Yet he was fascinated by civilization’s chaotic underbelly. In analyzing Delacroix’s art and prose, David O’Brien illuminates the artist’s effort to reconcile the erudite, tradition-bound aspects of painting with a desire to reach viewers in a more direct, unrestrained manner. Focusing chiefly on Delacroix’s musings about civilization in his famous journal, his major mural projects on the theme of civilization, and the place of civilization in his paintings of North Africa and of animals, O’Brien links Delacroix’s increasingly pessimistic view of modernity to his desire to use his art to provide access to a more fulfilling experience. With more than one hundred illustrations, this original, astute analysis of Delacroix and his work explains why he became an inspiration for modernist painters over the half-century following his death. Art historians and scholars of modernism especially will find great value in O’Brien’s work.

Barbarism and civilization form one of the oldest and most rigid oppositions in Western history. According to this dichotomy, barbarism functions as the negative standard through which "civilization" fosters its self-definition and superiority by labeling others "barbarians." Since the 1990s, and especially since 9/11, these terms have become increasingly popular in Western political and cultural rhetoric—a rhetoric that divides the world into forces of good and evil. This study intervenes in this recent trend and interrogates contemporary and historical uses of barbarism, arguing that barbarism also has a disruptive, insurgent potential. Boletsi recasts barbarism as a productive concept, finding that it is a common thread in works of literature, art, and theory. By dislodging barbarism from its conventional contexts, this book reclaims barbarism's edge and proposes it as a useful theoretical tool.

The relationship between Western democracies and Islam, rarely entirely comfortable, has in recent years become increasingly tense. A growing immigrant population and worries about cultural and political assimilation—exacerbated by terrorist attacks in the United States, Europe, and around the world—have provoked reams of commentary from all parts of the political spectrum, a frustrating majority of it hyperbolic or even hysterical. In The Fear of Barbarians, the celebrated intellectual Tzvetan Todorov offers a corrective: a reasoned and often highly personal analysis of the problem, rooted in Enlightenment values yet open to the claims of cultural difference. Drawing on history, anthropology, and politics, and bringing to bear examples ranging from the murder of Theo van Gogh to the French ban on headscarves, Todorov argues that the West must overcome its fear of Islam if it is to avoid betraying the values it claims to protect. True freedom, Todorov explains, requires us to strike a delicate balance between protecting and imposing cultural values, acknowledging the primacy of the law, and yet strenuously protecting minority views that do not interfere with its aims. Adding force to Todorov's arguments is his own experience as a native of communist Bulgaria: his admiration of French civic identity—and Western freedom—is vigorous but non-nativist, an inclusive vision whose very flexibility is its core strength. The record of a penetrating mind grappling with a complicated, multifaceted problem, The Fear of Barbarians is a powerful, important book—a call, not to arms, but to thought.

An original and richly illustrated study of the pictorial and written representations of Cook's voyages.