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Accounts of Innocence
Sexual Abuse, Trauma, and the Self
Joseph E. Davis
University of Chicago Press, 2004
Since a new sensitivity and orientation to victims of injustice arose in the 1960s, categories of victimization have proliferated. Large numbers of people are now characterized and characterize themselves as sufferers of psychological injury caused by the actions of others. In contrast with the familiar critiques of victim culture, Accounts of Innocence offers a new and empirically rich perspective on the question of why we now place such psychological significance on victimization in people's lives.

Focusing on the case of adult survivors of childhood sexual abuse, Joseph E. Davis shows how the idea of innocence shaped the emergence of trauma psychology and continues to inform accounts of the past (and hopes for the future) in therapy with survivor clients. His findings shed new light on the ongoing debate over recovered memories of abuse. They challenge the notion that victim accounts are an evasion of personal responsibility. And they suggest important ways in which trauma psychology has had unintended and negative consequences for how victims see themselves and for how others relate to them.

An important intervention in the study of victimization in our culture, Accounts of Innocence will interest scholars of clinical psychology, social work, and sociology, as well as therapists and victim activists.
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The End of Innocence?
Indonesian Islam and the Temptations of Radicalism
Andrée Feillard, Rémy Madinier
National University of Singapore Press, 2013
Long cited as a model of harmonious cohabitation between different religions, the most populous Muslim country in the world until recently occupied a special place in the Western imagination. Indonesia, home to a peaceful version of Islam, offered a reass
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Innocence and Experience
Stuart Hampshire
Harvard University Press, 1989

Human beings have lived by very different conceptions of the good life. In this book, Stuart Hampshire argues that no individual and no modern society can avoid conflicts between incompatible moral interests. Philosophers have tried in the past to find some underlying moral idea of justice which could resolve these conflicts and would be valid for any society. Hampshire claims that there can be no such thing. States can be held together, and war between them avoided, only by respect for the political process itself, and it is in these terms that justice must be defined.

The book closely examines the critical relationship between morality and justice, paying particular attention to Hume's moral subjectivism (which Hampshire disputes) and proposing a reply to Machiavelli's claim that the realities of politics inevitably oblige leaders to choose between unavoidable evils.

Most academic and moral philosophy, Hampshire argues, has been a fairy tale, representing ideals of private innocence rather than the realities of public experience. Conflicts between incompatible moral interests are as unavoidable in social and international arenas as they are in the lives of individuals. Philosophers, politicians, and theologians have all looked for an underlying moral consensus that will be valid for any just society. But the diversity of the human species and important differences in how various cultures define the good life militate against the formation of any such consensus. Ultimately, conflicts can be mediated only by respect for procedural justice.

Hampshire believes that themes of moral philosophy come from the writer's own experience, and he has given a brief but compelling account of his own life to help the reader understand the sources of his philosophy. Combining intellectual rigor with imaginative power, in Innocence and Experience Stuart Hampshire vividly illuminates the tensions between justice and other sources of value in society and in the life of the individual.

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Innocence And Power
Individualism in Twentieth-century America
Edited by Gordon H. Mills
University of Texas Press, 1965

America believes in individualism—but what is individualism? This question leads into unexpected areas of life and thought. It touches upon almost every intellectual discipline concerned with human life. Any answer, to be taken seriously, must recognize this complexity. A broad understanding of the meaning of individualism can be reached only through the insight of many workers in many different fields.

This volume brings together seven of the United States' most distinguished scholars, representing the fields of anthropology, economics, government, history, literature, and philosophy. The trend of their thinking can be suggested by a few excerpts from their essays:

• "An individual divorced from a cultural milieu would not be a human being; he would be a mere hominid."—Leslie A. White

• "The trouble is that 'individual' is a stop-thought word. It numbs the mind, so that once it has been uttered, inquiry stops."—Clarence E. Ayres

• "Not even an individual's perfections are his alone; like his imperfections, they are group-made."— Paul A. Samuelson

• "The twentieth century has witnessed the emergence of a new kind of American individualism, the individualism of nonconformity, which actually challenges the compulsive democracy of the Lockean individualism by which the nation has centrally and historically lived."—Louis Hartz

• "The individualism of the American frontier was an individualism of personal self-reliance and of hardihood and stamina rather than an individualism of intellectual independence and personal self-expression."—David M. Potter

• "The present conditions in which the self must be preserved are radically different from those of a generation, even a decade ago. . . . The dogmatics of present self-assertion are defined and pursued in an existential circumstance."—Frederick J. Hoffman

• "Individuality means creativity, and 'laws of creativity,' other than statistical ones, are, I hold, a contradiction in terms."—Charles Hartshorne

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Innocence and Victimhood
Gender, Nation, and Women’s Activism in Postwar Bosnia-Herzegovina
Elissa Helms
University of Wisconsin Press, 2013
The 1992–95 war in Bosnia-Herzegovina following the dissolution of socialist Yugoslavia became notorious for “ethnic cleansing” and mass rapes targeting the Bosniac (Bosnian Muslim) population. Postwar social and political processes have continued to be dominated by competing nationalisms representing Bosniacs, Serbs, and Croats, as well as those supporting a multiethnic Bosnian state, in which narratives of victimhood take center stage, often in gendered form. Elissa Helms shows that in the aftermath of the war, initiatives by and for Bosnian women perpetuated and complicated dominant images of women as victims and peacemakers in a conflict and political system led by men. In a sober corrective to such accounts, she offers a critical look at the politics of women’s activism and gendered nationalism in a postwar and postsocialist society.
            Drawing on ethnographic research spanning fifteen years, Innocence and Victimhood demonstrates how women’s activists and NGOs responded to, challenged, and often reinforced essentialist images in affirmative ways, utilizing the moral purity associated with the position of victimhood to bolster social claims, shape political visions, pursue foreign funding, and wage campaigns for postwar justice. Deeply sensitive to the suffering at the heart of Bosnian women’s (and men’s) wartime experiences, this book also reveals the limitations to strategies that emphasize innocence and victimhood.
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Innovation in Ethnographic Film
From Innocence to Self-Consciousness, 1955-1985
Peter Loizos
University of Chicago Press, 1993
In the first coprehensive introduction to the nature and development of ethnographic film, Peter Loizos reviews fifty of the most important films made between 1955 and 1985. Going beyond programmatic statements, he analyzes the films themselves, identifying and discussing their contributions to ethnographic documentation.

Loizos begins by reviewing works of John Marshall and Timothy Asch in the 1950s and moves through those of Jean Rouch, Robert Gardner, and many more recent filmmakers. He reveals a steady course of innovations along four dimensions: production technology, subject matter, strategies of argument, and ethnographic authentication. His analyses of individual films address questions of realism, authenticity, genre, authorial and subjective voice, and representation of the films' creators as well as their subjects.

Innovation in Ethnographic Film, as a systematic and iluminating review of developments in ethnographic film, will be an important resource for the growing number of anthropologists and other scholars who use such films as tools for research and teaching.

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Labors of Innocence in Early Modern England
Joanna Picciotto
Harvard University Press, 2010

In seventeenth-century England, intellectuals of all kinds discovered their idealized self-image in the Adam who investigated, named, and commanded the creatures. Reinvented as the agent of innocent curiosity, Adam was central to the project of redefining contemplation as a productive and public labor. It was by identifying with creation’s original sovereign, Joanna Picciotto argues, that early modern scientists, poets, and pamphleteers claimed authority as both workers and “public persons.”

Tracking an ethos of imitatio Adami across a wide range of disciplines and devotions, Picciotto reveals how practical efforts to restore paradise generated the modern concept of objectivity and a novel understanding of the author as an agent of estranged perception. Finally, she shows how the effort to restore Adam as a working collective transformed the corpus mysticum into a public. Offering new readings of key texts by writers such as Robert Hooke, John Locke, Andrew Marvell, Joseph Addison, and most of all John Milton, Labors of Innocence in Early Modern England advances a new account of the relationship between Protestantism, experimental science, the public sphere, and intellectual labor itself.

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Norman Rockwell
The Underside of Innocence
Richard Halpern
University of Chicago Press, 2006

Norman Rockwell’s scenes of everyday small-town life are among the most indelible images in all of twentieth-century art. While opinions of Rockwell vary from uncritical admiration to sneering contempt, those who love him and those who dismiss him do agree on one thing: his art embodies a distinctively American style of innocence. 

In this sure-to-be controversial book, Richard Halpern argues that this sense of innocence arises from our reluctance—and also Rockwell’s—to acknowledge the often disturbing dimensions of his works. Rockwell’s paintings frequently teem with perverse acts of voyeurism and desire but contrive to keep these acts invisible—or rather, hidden in plain sight, available for unacknowledged pleasure but easily denied by the viewer. 

Rockwell emerges in this book, then, as a deviously brilliant artist, a remorseless diagnostician of the innocence in which we bathe ourselves, and a continuing, unexpected influence on contemporary artists. Far from a banal painter of the ordinary, Halpern argues, Rockwell is someone we have not yet dared to see for the complex creature he is: a wholesome pervert, a knowing innocent, and a kitschy genius. 


Provocative but judicious, witty but deeply informed, Norman Rockwell is a book rich in suggestive propositions and eye-opening details—one that will change forever the way we think about this American icon and his works.

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Shattered Sense of Innocence
The 1955 Murders of Three Chicago Children
Richard C. Lindberg and Gloria Jean Sykes
Southern Illinois University Press, 2006

In October 1955, three Chicago boys were found murdered, their bodies naked and dumped in a ditch in Robinson Woods on the city’s Northwest Side. A community and a nation were shocked. In a time when such crimes against children were rare, the public was transfixed as local television stations aired stark footage of the first hours of the investigation. Life and Newsweek magazines published exclusive stories the following week. When Kenneth Hansen was convicted and sentenced for the murders, the case was considered solved—until questions were raised about Hansen’s presumed guilt.

Shattered Sense of Innocence: The 1955 Murders of Three Chicago Children tells the gripping story of the three murdered boys—thirteen-year-old John Schuessler, his eleven-year-old brother, Anton, and thirteen-year-old Bobby Peterson—and the quest to find and bring to justice their killer. Authors Richard C. Lindberg and Gloria Jean Sykes recount the bungled 1955 police investigation, the failures of multiple law enforcement agencies, and the subsequent convictions of Kenneth Hansen, in 1995 and 2002, and present new information concerning two suspects overlooked by police for five decades.

The authors deftly examine all sides of this tragic story, drawing on exclusive interviews with law enforcement agents, with horse trainers affiliated with the so-called horse mafia, and with the man convicted of the murders, Kenneth Hansen. This intensely intimate account offers a rare glimpse into one community and examines how these atrocious crimes altered public perceptions nationwide. Shattered Sense of Innocence, which is also a story of political controversy, a determined federal agent’s quest for justice, and a community’s loss of innocence, includes fifty illustrations.

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The Temptation of Innocence in the Dramas of Arthur Miller
Terry Otten
University of Missouri Press, 2002
For a half century Arthur Miller has been more than a dramatist. He has been a chronicler of American culture, which he has both celebrated and criticized. The Temptation of Innocence in the Dramas of Arthur Miller examines all of Miller’s plays, from his unpublished undergraduate dramas written at the University of Michigan to Mr. Peters’ Connections, his last performed play. Terry Otten offers a broad critical review and assessment of Miller’s plays in light of the major revival of Miller’s work in the past decade and a growing critical reassessment of his work by the scholarly community.
            Focusing on the temptation of innocence, a recurrent theme in Miller’s work, Otten explores the conflict between innocence and personal responsibility, from such widely acclaimed early plays as Death of a Salesman, which forges a “tragedy of the common man,” to his later, near postmodern texts, which treat memory in very different ways. Still locating the presentness of the past as a center of meaning in characters who follow Willy Loman, Miller continues to investigate the role innocence plays in the lives of his more modern characters.
Otten contends that, for over a half century, Miller examined the relationship between self and society in remarkably consistent terms while adapting his art to contemporary changes in concepts of reality. Fully documented and thoroughly researched, this book will prove a valuable source for later studies of Miller and a standard reference for examining the entire range of the plays. Otten avoids critical jargon, making this book an appealing choice for a general audience interested in literature and American culture.
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A Touch of Innocence
A Memoir of Childhood
Katherine Dunham
University of Chicago Press, 1994
An internationally known dancer, choreographer, and gifted anthropologist, Katherine Dunham was born to a black American tailor and a well-to-do French Canadian woman twenty years his senior. This book is Dunham's story of the chaos and conflict that entered her childhood after her mother's early death.

In stark prose, she tells of growing up in both black and white households and of the divisions of race and class in Chicago that become the harsh realities of her young life. A riveting narrative of one girl's struggle to transcend the painful confusions of a family and culture in turmoil, Dunham's story is full of the clarity, candor, and intelligence that lifted her above her troubled beginnings.

"A Touch of Innocence is an absorbing family chronicle written with a gift for physical detail sometimes too real for comfort. In quietly graphic prose the growing girl, the slightly older brother, the ambitious father and the kind stepmother are pictured in such human terms that when their lives get tied into harder and harder knots beyond their undoing, one can only continue to read helplessly as doom closes in upon the household."—Langston Hughes, New York Herald Tribune

"A Touch of Innocence is one of the most extraordinary life stories I have ever read . . . . The content of this book is so heartbreaking that only the strongest artistic skills can keep it from leaking out into sobbing self-pity, but Katherine Dunham's art contains it, understands it and refuses to be overwhelmed by its terrors."—Elizabeth Janeway, New York Times

"The first eighteen years of the famous dancer and choreographer's life are brought vividly to the reader in this first volume of her autobiography. She writes of what it is like to be a special, gifted young woman growing up in a racially mixed family in the American Middle West. A beautiful, touching and sometimes discomforting book."—Publishers Weekly

"As writing it is honest, searing, graphic and touching, giving us a rather heartbreaking early view of the young American Negro who was later to make a name for herself as a dancer and choreographer."—Arthur Todd, Saturday Review
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