Award-Winning Books

Entwined Homelands, Empowered Diasporas explores how the 30,000 Jews in northern Morocco developed a sense of kinship with modern Spain, medieval Sepharad, and the broader Hispanophone world that was unlike anything experienced elsewhere. The Hispanic Moroccan Jewish diaspora, as this group is often called by its scholars and its community leaders, also became one of the most mobile and globally dispersed North African groups in the twentieth century, with major hubs in Venezuela, Argentina, Brazil, Peru, Spain, Israel, Canada, France, and the US, among others.

Drawing on an array of communal sources from across this diaspora, Aviad Moreno explores how narratives of ancestry in Spain, Israel, Morocco, and several Latin American countries interconnected the diaspora, empowering its hubs across the globe throughout the twentieth century and beyond.

By investigating these mechanisms of diaspora formation in a small community that once shared the same space in Morocco, Entwined Homelands, Empowered Diasporas challenges national accounts of the broader Jewish diasporas and adds complexity to the annals of multilayered ethnic communities on the move.

What tensions characterized the relationships between cinema, European Leftists, and emerging postcolonial ideologies after World War II? In Traveling Auteurs, author Luca Caminati analyzes the work of influential Italian filmmakers Roberto Rossellini, Pier Paolo Pasolini, and Michelangelo Antonioni as they engaged politically and aesthetically with the global landscapes and politics of the Cold War period. As documentaries, the films considered in this book record specific manifestations of political sensibilities of the twentieth century. As bodies of work, they reveal that the traveling auteurs who made them were symptomatic actors in complex geopolitical networks. As cultural objects reflecting and shaping contemporaneous debates, they provoke a complex afterlife at home and abroad. In the three chapters dedicated to Rossellini in India, Pasolini in Africa and the Middle East, and Antonioni in China, Caminati pays particular attention both to the reception that these films had in the countries where they were shot and to their legacies in Italian film history. As it follows the entanglements of filmmakers, artists, and activists involved as allies or direct witnesses to momentous political change, this book sheds new light on anticolonial struggles, the reaffirmation of the Non-Aligned Movement, and the consolidation of the Chinese Communist Party.

An estimated forty thousand Jews were murdered during the Russian Civil War between 1918 and 1922. As the Dust of the Earth examines the Yiddish and Russian literary response to the violence (pogroms) and the relief effort, exploring both the poetry of catastrophe and the documentation of catastrophe and care.

Brilliantly weaving together narrative fiction, poetry, memoirs, newspaper articles, and documentary, Harriet Murav argues that poets and pogrom investigators were doing more than recording the facts of violence and expressing emotions in response to it. They were interrogating what was taking place through a central concept familiar from their everyday lifeworld—hefker, or abandonment. Hefker shaped the documentation of catastrophe by Jewish investigators at pogrom sites impossibly tasked with producing comprehensive reports of chaos. Hefker also became a framework for Yiddish writers to think through such incomprehensible violence by creating new forms of poetry.

Focusing less on the perpetrators and more on the responses to the pogroms, As the Dust of the Earth offers a fuller understanding of the seismic effects of such organized violence and a moving testimony to the resilience of survivors to process and cope with catastrophe.

Words and Silences tells the story of an extraordinary group of independent Nenets reindeer herders in the northwest Russian Arctic. Under socialism these nomads managed to avoid the Soviet state and its institutions of collectivization, but soon after the atheist regime collapsed, while some staunchly resisted, many of them became fervent fundamentalist Christians.

By exploring differing concepts of how traditional and convert Nenets use and define words and of the meanings they ascribe to the withholding of speech, Laur Vallikivi shows how a local form of global Christianity has emerged through intricate negotiations of self, sociality, and cosmology.

Moving beyond studies of modernization and globalization that have all-too-predictable outcomes for indigenous peoples, Words and Silences invites us to view not only religious devotees, but words themselves, as agents of a complex and ongoing transformation.

Challenging established views and assumptions about traditions and practices of filmmaking in the African diaspora, this three-volume set offers readers a researched critique on black film.

Volume One of this landmark series on African cinema draws together foundational scholarship on its history and evolution. Beginning with the ideological project of colonial film to legitimize the economic exploitation and cultural hegemony of the African continent during imperial rule to its counter-historical formation and theorization. It comprises essays by film scholars and filmmakers alike, among them Roy Armes, Med Hondo, Fèrid Boughedir, Haile Gerima, Oliver Barlet, Teshome Gabriel, and David Murphy, including three distinct dossiers: a timeline of key dates in the history of African cinema; a comprehensive chronicle and account of the contributions by African women in cinema; and a homage and overview of Ousmane Sembène, the "Father" of African cinema.