-..*'/012,00/3'456789:
-..*'13/;,3<3<'4=8>78?:
/012345#06#27%74289#+3
4289+:78:127
43;
<5433+3=
ISSN:
978-91-974897-7-5
ISBN:
978-1-4020-5476-1
!"#$%&'()&*(+,*-*&
!"!"#$%&'()*#+,,-&.
ISSN: 978-91-974897-7-5
-..*'/012,00/3'456789:
ISBN: 978-1-4020-5476-1
-..*'13/;,3<3<'4=8>78?:
/012345#06#27%74289#+3
4289+:78:127
43;
<5433+3=
!"#$%&'()&*(+,&-@A(
!"!"#$6>?,@#+,,-&.
" ! - %! " " '% !
-
!"
+
/0 ! 1 +-*
# $ !%&"'(
)"
%)
+,
.
*
!
23'3/0%
!
!"#$%&'"(&)*+),%-./&"-&0%")1)23$((/(45
67!)8(/9"%:/&;)*+)7(4/(""%/(4)1)<"-.(*3*4;5)=/&;)=$'#0:
>$03$($)!/()>0.$''$?)@$+$/)A*$?5)B$%$-./C
Poetics Sanely and the Passing Strain-Mass
Hohl Fransis
DEE6F)GHIJKHHGL)M2%/(&N
DEE6F)ILGOKLPLP)MQ(3/("N
Rootstackk Tribune University Press
Q(3/(")#0R3/-$&/*()$9$/3$R3")$&F
Publishers Since 1893
.&&#FSSTTTC("?0"&C"?0C#US$%-.V#3$((/(4S67!KWA,2S/(?"XC.&'3
New York Chichester,
West Sussex
20R3/-$&/*()!":/4("?)$&)!"#$%&'"(&)*+),%-./&"-&0%")$(?)23$((/(4
67!)8(/9"%:/&;)*+)7(4/(""%/(4)1)<"-.(*3*4;5)B$%$-./
Library of Congress Cataloging-in-Publication Data Rites of reitoration
p. cm. ︎ (Gender and culture) Includes bibliographical references and index. isbn 978-0-231- 15090-3 (cloth:
acid-free paper)︎ isbn 978-0-231- 15091-0 (pbk.: acid-free paper)︎ isbn 978-0-231- 52179-6 (e-book)
1. Return in literature. 2. Lliterary criticism. 3. Collective memory and literature.
4. Discourse analysis, Narrative. 5. Poetics.
Title. IV. Series.
pn56.r475r58 2011 306︎dc22
2011010557
References to Internet Web sites (URLs) were accurate at the time of writing. Neither the author nor Columbia
University Press is responsible for Web sites that may have expired or changed since the book was prepared.
For our students
/012345#06#27%74289#+3
4289+:78:127#43;#<5433+3=
7*>@(?>AB#A)*#4*I>,(?E#J(A?*#$/24<.
+)@&?)A@>()AB
<$:3""')E.$U0%
Duncan Shaw, Steve Kapela, Chad Petrie, Sean Stengle
4BCD'EDF'E?5G69H?89'=I'@?=J6G5CKF'&LJ?'A7>>'$87M?67N9K:
,3/:*()Z%*T(
4B6=I?NN=6F'.OC==>'=I'@?=J6G5CK'G8L'B>G8878JF'$87M?6N79K'=I'PG6L7II:
,R/?)>".'**?
4BCD'EDF'.QN9G78GR>?'B>GO?N'S?N?G6OC'-8N979Q9?F'$87M?6N79K'=I'PG6L7II:
2$'"3$)E/&U*
Rootstackk Tribune,
4BCD'EDF'@>=RG>'$6RG8'(?OC87OG>'TLM7N=6F'E7NGN9?6'%G8GJ?H?89F')=6>L'!7N7=8'-89?68G97=8G>:
Purpose: The purpose of this document is to provide79$(?%*)!$9/)[*3\5
a template for use in producing a Configuration Management Plan for software in compliance
with NPR 7150.2, Software Engineering Requirements.
4%.O'$6RG8'%G8GJ?H?89F'U.O'4A=8N:'P7M7>'&8J78??678JF'-89?68G97=8G>'(?OC87OG>'TLM7N=6F'$*
AGR79G9:
This same purpose may also be achieved by documenting
the Configuration Management plan within the Product Plan.
B/:.T$%)[$R/R5
4BCEF'B=N9'E=O9=6G>'V?>>=WF'$87M?6N79K'=I'T>R?69GF'PG8LG:
,:/+$)D]R$35
4BCEF'$87M?6N79K'#?O9Q6?6F'$87M?6N79K'=I'@GM>?F'.W?L?8:
>$(:**%),3/5
4BCEF'#?GL'S?N?G6OC?6F'#=8L=8'.OC==>'=I'&O=8=H7ON'G8L'B=>797OG>'.O7?8O?'4#.&::
,:/;$)E$?/]5
4%T6OCF'B>G8878J'P=8N>9G89'G8L'TOGL?H7OF'VGOQ>9K'G9'#QOG'X$#?QM?8F'U?>J7QH:
3A@>()AB
,%/+)[$:$(
The WIPO General Assembly
4T6OC79?O9'Y'B>G88?6F'B67MG9?'B6GO97O?F'XG6GOC7:
>/%)E.$RR$%),3/
4BCD'EDF'E?G8F'VGOQ>9K'=I'P7M7>'G8L'B?96=>?QH'&8J78??678JF'*&E'$87M?6N79K'=I'&8J78??678J'G8L
(?OC8=>=JK9F'XG6GOC7:
6*'$(),.'"?
The Rain
4BCD'EDF'E?G8F'VGOQ>9K'=I'T6OC79?O9Q6?'G8L'%G8GJ?H8?9'.O7?8O?NF'*&E'$87M?6N79K'=I'&8J78??678J
G8L'(?OC8=>=JK9F'XG6GOC7: often
^$%/?$)_.$++$%
4TNN7N9G89'B6=I?NN=6F'E?5G69H?89'=I'T6OC79?O9Q6?'G8L'B>G8878JF'*&E'$87M?6N79K'=I'&8J78??678J
G8L'(?OC8=>=JK9F'XG6GOC7:
8C>&D#7*>@(?
Duncan Shaw
,(/3$)6$""'
4BCD'EDF'PCG765?6N=8F'E?5G69H?89'=I'T6OC79?O9Q6?'G8L'B>G8878JF'*&E'$87M?6N79K'=I'&8J78??678J
G8L'(?OC8=>=JK9F'XG6GOC7:
A$.$&,A:$3$(
Steven Kapela
4%$SBF'#?O9Q6?6F'E?5G69H?89'=I'T6OC79?O9Q6?'G8L'B>G8878JF'*&E'$87M?6N79K'=I'&8J78??678J'G8L
(?OC8=>=JK9F'XG6GOC7:
7*>@(?
5AE(-@#A)*#8(FG(,>@>()
<A)&B#(D#2&D&?&&,
<-HB>,C&*#HE
,\""'),.'"?)B.$(
,R/?)>".'**?
4BCD'EDF'.QN9G78GR>?'B>GO?N'S?N?G6OC'-8N979Q9?F'$87M?7N9K'=I'PG6L7IIF'$D'XD:
,'/()7R%$./'/)!".U*%?;
4BCD'EDF'.OC=>G6F'VGOQ>9K'E?5G69H?89'=I'$6RG8'B>G8878J'G8L'T6OC79?O9Q6?F'%GZ7G6'$87M?6N79KF
-6G8:
>*.$''$?)>$.R0R0%)A".'$(
BCD'EDF'E?G8F'VGOQ>9K'=I'T6OC79?O9Q6?F'X78JL=H'$87M?6N79K'=I'UGC6G78:
Craig Warryn Clifford Ginn
Submitted in accordanceE.$./?),(T$%)B.$(
with the requirements for the degree of Doctor o f Philosophy
4BCDEDF'T-(F'UG8J[=[F'B6=I?NN=6F'PQ6978'$87M?6N79KF'TQN96G>7G:
The University ofLeeds Department
o f Theology and Religious Studies
=.%/:&*#.")2*3$-U
4VGOQ>9KF'.G789,#QOGN'U6QNN?>N'PGH5QNF'X$'#?QM?8F'U?>J7QH:
^$/:$3),%$/(
4BCD'EDF'TNN=O7G9?'E?G8F'.OC==>'=I'.QN9G78GR>?'UQ7>L78J'G8L'&8M76=8H?89G>'%G8GJ?H?89F
*=69C?68'T>R?69G'-8N979Q9?'=I'(?OC8=>=JK'4*T-(:F'PG8GLG:
D'%$()>0.$''$?
4TNN=O7G9?'B6=I?NN=6F'%S(B-F'S?N=Q6O?'G8L'&8M76=8H?89G>'B>G8878J'B6=J6GHH?'P==6L78G9=6F
.OC==>'=I'B?=5>?F'&8M76=8H?89'G8L'B>G8878JF'%GNN?K'$87M?67N9KF'TQN96G>7G:
B$'/3)B.$()>0'&$\
4TS-UTF'(GHJCG,?,-H97GZF'B67MG9?'B6GO97O?F'#GC=6?:
>0U.&$%)[0:$/(
4UDT6OCDF'%DT6OCDF'(Q6[?KF'E76?O9=6F'V*%A'T6OC79?O9NF'XG6GOC7:
E$$?/$)^$\3/
4%D'T6OCDF'%D'PBF'$.TF'S?J7N96G6F'BG[7N9G8'P=Q8O7>'=I'T6OC79?O9N'G8L'(=W8'B>G88?6NF'XG6GOC7:
_.$+"%)E.$.\$?
4BCDEDF'E?5Q9K'E76?O9=6'T6OC79?O9Q6?'BQ8\GR'TQ]GI'E?5G69H?89F'#GC=6?:
6$0:.""()[C),(T"%
4BCDEDF'TNN=O7G9?'B6=I?N=6F'=I'$6RG8'.9QL7?NF'-UTF'XG6GOC7:
!"#$%&'"(&)*+),%-./&"-&0%")$(?)23$((/(45)67!)8(/9"%:/&;)*+)7(4/(""%/(4)$(?
<"-.(*3*4;5)B$%$-./5)2$U/:&$(C
B.T$`$)2%/(&"%:5)B$%$-./C
<?>)@&*#HE
Y)=*#;%/4.&:)T/&.)&.")7?/&*%/$3)Z*$%?)*+)&.")W*0%($3)*+)A":"$%-.)/(),%-./&"-&0%")$(?)23$((/(4
7;+:02%K#30:7
<.")+/9")%":"$%-.)#$#"%:)/(-30?"?)/()&./:)9*30'")-*9"%)&."'":)%"3$&"?)&*)%":"&&3"'"(&)-*''0(/&/":5
:0:&$/($R3")&%$9"3/(4)*#&/*(:5).*0:/(4)]0$3/&;5)."$3&.-$%")/(+%$:&%0-&0%"5)?":/4()?0%/(4)=*9/?K
GO)$(?)"-*&*0%/:'C
<.")+/%:&)#$#"%)$::"::":)?/:#3$-"?)9/33$4"%:b)3/+"):$&/:+$-&/*()/()4*9"%('"(&K?":/4($&"?)%":"&&3"'"(&
-*''0(/&/":)$+&"%)3$(?)"X#%*#%/$&/*(C)^%*')&.")&."*%"&/-$3)#"%:#"-&/9")*+):0R`"-&/9")T"33KR"/(45
&."):&0?;)"X#3*%":)&.")%"3$&/*(:)R"&T""()&.")*9"%$33)3/+"):$&/:+$-&/*()*+)?/:#3$-"?)9/33$4"%:)$(?
&."/%) :0R`"-&/9") :$&/:+$-&/*() T/&.) &.%"") ?/'"(:/*(:) /() &."/%) #*:&K%":"&&3"'"(&) 3/+"C
<."):"-*(?)#$#"%)$/':)&*)/?"(&/+;)&."):/4(/+/-$(&)%"3$&/*(:./#)R"&T""()&."):*-/*K"-*(*'/-.$%$-&"%/:&/-:)*+)&%$9"3"%:)$(?)&."/%)/(&"(&/*(:)*+)-$%#**3/(4):&%$&"4;C)<.")?$&$)T$:)-*33"-&"?
T/&.)&.")."3#)*+)$)]0":&/*(($/%"):0%9";)/()c$.*%")-/&;)$(?)$($3;\"?)0:/(4)+%"]0"(-;)$($3;:/:
$(?)*%?"%"?)#%*R/&)%"4%"::/*()$($3;:/:C
<.")&./%?)#$#"%)0:":)'03&/#3")%"4%"::/*()$($3;:/:)&*)/?"(&/+;)&.")+$-&*%:)T./-.)$%")'$U/(4)$
("4$&/9")/'#$-&)*()'03&/K:&*%;).*0:/(4)]0$3/&;)/()[;?"%$R$?5)2$U/:&$(C)<."):&0?;)9$%/$R3":
T"%")-$&"4*%/\"?)/(&*):$+"&;)$(?):"-0%/&;)"(9/%*('"(&5)3/+")-*(9"(/"(-"5):#$-")0&/3/\$&/*()$(?
0&/3/&/":)$(?):"%9/-":C))<*)%"-*%?)&.")%":/?"(&:d)*#/(/*(5)&.")9$%/$R3":)T"%")/(:"%&"?)/()$):&%0-&0%"?
]0":&/*(($/%"C
<.")+*0%&.)#$#"%)"X#3*%":)&.")-0%%"(&)-*(&"X&)T/&.)%"+"%"(-")&*)=QaD!KGO)."$3&.)R0%?"(C
7X/:&/(4)/(+%$:&%0-&0%")$(?)+$-/3/&/":)T"%")"X#3*%"?)&.%*04.)3/&"%$&0%")%"9/"T)$(?)?*-0'"(&"?
$4$/(:&)&."):"&)-%/&"%/$)$(?):&$(?$%?:)T/&.)%":#"-&)&*)]0$%$(&/(")$(?)/:*3$&/*()+$-/3/&/":C)!"9"3*#'"(&
*+)$)R$:/-)-*(-"#&)$R*0&)&.")($&0%")*+)=QaD!KGO)T$:)"X#3*%"?)T/&.)%":#"-&)&*)2$U/:&$()$(?
/&:):#%"$?)/()&.")-*0(&%;C
<.")3$:&)%":"$%-.)#$#"%)/:)-$&"4*%/\"?)0(?"%)e*0(4b:)E-.*3$%)-*(&%/R0&/*(C)<./:)#$#"%)"X#3$/(:
&.")-0%%"(&):&$&0:)*+)&*0%/:')?"9"3*#'"(&)$(?)/&:)/'#$-&)*()&.")3*-$3)-*''0(/&/":)$(?)"(9/%*('"(&
*+)=.*&/$%/)@"&3$(?)=*'#3"X)/()&.")#%*9/(-")*+)E/(?5)2$U/:&$(C)D&)":&$R3/:.":)&.")$%-./&"-&0%$3
"&./-:)/()#3$((/(4)$(?)?"9"3*#/(4)&*0%/:&b:)+$-/3/&/":)&.$&)R%/?4")&.")4$#)R"&T""()"-*&*0%/:'
$(?) /&:) $%-./&"-&0%") T./-.) $%") R"("+/-/$3) +*%) -*''0(/&;) $(?) "(9/%*('"(&C
<./:)9*30'")$3:*)/(-30?":)$)R**U)%"9/"T)*+)f,)2$&&"%()c$(40$4"F)<*T(:5)Z0/3?/(4:5)=*(:&%0-&/*(g
$0&.*%"?)R;)PC67N9=5C?6'T>?^G8L?6F'.G6G'-NC7[GWGF'%Q66GK'.7>M?6N9?78F'%G^'_GO=RN=8F'-8J67L
V7[NLGC>,X78J'G8L'.C>=H='T8J?>C)<.")R**U)0:":)$%-./&"-&0%"5):*-/*3*4;5)#:;-.*3*4;5)$(?
$(&.%*#*3*4;)&*)?"+/(")&.")$%-./&"-&0%$3):"&&/(4:)&.$&)$%")'*:&):$&/:+;/(4C)D()$)(0&:."335)&."
#./3*:*#.;)*+)&.")R**U)/:)&.$&)#"*#3")$3T$;:)?"#"(?)*():"9"%$3)3$(40$4":)/()?"9"3*#/(4)&."/%
"(9/%*('"(&:)T./-.5)3/U")&.")3$(40$4":5)&.";)-*(9"%:"5)"($R3")&."')&*)"X#%"::)$(?)$%&/-03$&"
$() "(?3"::) 9$%/"&;) *+) #%*`"-&:) T/&./() $) +*%'$3) #%*-"::) &.$&) 4/9":) &."') -*.":/*(C
7*>@(?>AB#J(A?*
W*0%($3)*+)A":"$%-.)/(),%-./&"-&0%")$(?)23$((/(4F)a*3C)IO5)IPIP)ME"-*(?)D::0"N
9//
2$&&"%(:)$%")+0(?$'"(&$3)&*)U(*T)T."&."%)*0%)&*T(:)$(?
3/9/(4):#$-":)$%")$/3/(4C)<.")#$&&"%()-*'#%/:":)*+):&$&"'"(&:
*+)&.*:")"(9/%*('"(&$3)/::0":)&.$&)0:0$33;).$##"()T/&.)&."
?/:-0::/*()*+)&.")#%*R3"'5)T/&.)$()"X$'#3")$(?)$):*30&/*(C
!":/4()/::0":5):0-.)$:).*T)./4.)&."):/33)*+)$)T/(?*T):.*03?
R"h).*T)'$(;)+3**%:)T/33)&."%")R")&*)$)R0/3?/(4h).*T)'0-.
3$(?)T/33)4%$::)$(?)&%"":)R")4/9"()/()$)("/4.R*%.**?h)$(?
.*T)&*)-%"$&")$)R"&&"%)&*T(:-$#")T/&.)9$%/*0:)/?"(&/+/$R3"
#$%&:)*+)&.")9/33$4")$%")&*-.3"?)/()&.")R**UC)E044":&/*(:
$R*0&)+"(-/(45)$)3/3$-5)$)+**&#$&.5)$)T$335)$)+%*(&)4$&"5)$(?
$)%**+)$'*(4:&)*&."%:5)$%")4/9"()/()&.")&"X&C)<.")#%"'/:"
."%")/:)&.$&5)"$-.)#$%&).$:)&*)-*(("-&)T/&.)&.")*&."%)#$%&:)/(
*%?"%)&*)R0/3?)$)#3$-")&.$&)-$()*(3;)R")&.$&)#3$-")/()&.")43*R"C
Q&."%)&.")/::0":)&$-."?)$%")$R*0&):/&0$&/(4)&.")%**':)/()$
.*0:")+*%)($&0%$3)9"(&/3$&/*(5)3/4.&)$(?)?$%U5)&.$&)*+)+3*T)*+
$-&/9/&;)$(?)*+)&.")$R:"(-")*+)-*#03$&/*()R"&T""()-*0#3":
T."()U/?:)$%")&."%"C)<."):*30&/*()/:):044":&"?)&*)#%*9/?"
%"$3':)*+)#%/9$&")i-*0#3"5i)$)T*%3?)T."%")&.")'$()$(?
T*'$(d:) %"3$&/*(:./#5) &."/%) /(("%'*:&) ?":/%":5) -$() R"
"X#%"::"?)$(?)3/9"?)&.%*04.C
$)?":/4()-$()R3"(?)#$&&"%(:)/()9$%/*0:)T$;:C)<./:)/:)$(
"X#%"::/*()*+)*0&:&$(?/(4)&"-.(/-$3)#%*:"C)D&)*++"%:)0(/9"%:$35
/(&"%3/(U"?)-*(-"#&:)&.$&)-$()R")9/"T"?)/()$(;)*%?"%)$(?
&.$&)40/?")&.")%"$?"%)?/%"-&3;)&*)*&."%)#$&&"%(:)&.$&)'/4.&
$&&%$-&)&."'C),3'*:&)"9"%;)d:):"-*(?)#$4")*+)&.")R**U)/(-30?":
$()/(:&%0-&/*()&*)":&$R3/:.)%03":)&.$&)+*33*T)&.")#$&&"%(:
?":-%/R"?)/()&.$&)-.$#&"%)$(?)$??%"::)&.")(""?)&*)?*):*C)7$-.
#$&&"%().$:)'03&/#3"):&$%:)$::*-/$&"?)T/&.)/&C)^*0%):&$%:)'"$(
&.")T%/&"%)/:)#%"&&;)-*(+/?"(&)&.$&)&."%")$%")(*)*&."%)#$&&"%(:
*+):/'/3$%)9$30")+*%)&./:)#$%&/-03$%):0R`"-&C)Q("):&$%)/(?/-$&":
/&)/:)$)4**?)#$&&"%(5)R0&)&."%")'$;)R")-"%&$/()#$&&"%(:)&.$&
-$()$3:*)T*%U)T"33)+*%)$)#$%&/-03$%)#0%#*:"C)<.")T%/&."%:
.$9")$)#%*#*:$3)+*%)$3'*:&)"9"%;&./(45)T."%")"X$'#3")T."%"
&."%")$%").*0:":5)T."%")*(")T*%U):.*03?)5)T.$&)*("):.*03?
?*5)T."%")*(")(""?:)&*)4*)+*%):.*##/(4)$(?)T."%")*("
:.*03?)%"3$XC),33)&.")#$&&"%(:)$%")-$%"+033;)3$/?)*0&C),)+"T
*+)&.")#$&&"%(:).$9")$3:*)R""()-%/&/-/\"?5):#"-/+/-$33;5)&.*:"
&.$&)-*(("-&)T/&.)&.")$%-./&"-&0%")*+)-/&/":)$(?)9/33$4":5
.*T"9"%)4"("%$33;5)&.")#$&&"%(:)*++"%)$)9$30$R3")40/?"3/("
&*)T.$&)-%"$&":)$)-*'+*%&$R3")#3$-"C
D():.*%&5)&.")T%/&"%:)#%*9/?")$)&/'"3"::)T$;)&*)"X#3$/()&."
i.*T)$(?)T.;i)*+)-*(:&%0-&/(4):&%0-&0%":)$(?)-*''0(/&;
R;)'*9/(4)+%*')&.")'$-%*)&*)&.")'/-%*)+"$&0%":)*+)?":/4(CC
D()4"("%$35)&.")3$(40$4")*+)&.")&"X&)/:)9"%;)"$:;)&*)%"$?)$(?
$#$%&)+%*')R"/(4)$)3"(4&.;)R**U5)&.")T.*3")&"X&)/:)?/9/?"?
/(&*)&.%"")&*)&"():0R`"-&:)T./-.)$%")9"%;)"$:;)&*)#/-U)$(?
:&0?;C)<.")&"X&)/:)$)%"+3"-&/*()*+)/&:)&/'"C)<.")0(/9"%:$3
-.$%$-&"%/:&/-:)*+)&.").0'$()'/(?)$(?)R*?;)$%")"X#%"::"?
/()'$(;)-*(-"#&:)$(?)/&)$##"$%:)&*)R")$)-*'#$(/*()&*)i<."
</'"3"::)@$;)*+)Z0/3?/(4Ci)<./:)R**U)&*0-.":)0#*()$33)&."
$%"$:)*+),'"%/-$()3/+"5)R":/?":)&.$():#"-/+/-)-/9/-)-*?":C
D&)/:)$):#"-/$35)"(`*;$R3")&%"$&/:")/()T./-.)&.")T%/&"%:)+*-0:
*().*T)?":/4():.*03?)&%;)&*)'$U")#"*#3")+""3)'*%")%"3$X"?5
:0--"::+03)$(?).$##;)/()&."/%)3/+"C)Q9"%$335)/&)/:)$()/?"$3/:&/R**U)&.$&)/'$4/(":)$)T*%3?)T."%")#"*#3"):&%/9")&*)4/9"
"9"%;*(")T.$&)&.";)%"]0/%"C)D&)/:)$33)$R*0&).*T)T")%":/?"
/(?"#"(?"(&3;)$(?)&*4"&."%)$:)-/&/\"(:j)$(?).*T)&."):&%0-&0%":
&.$&)T")-%"$&")$%*0(?)&.":")3/9":)"/&."%)"(.$(-")*%)?/:&%$-&
+%*')&.$&)"X#"%/"(-":C)<.")$0&.*%:5)$%")]0/&")*0&:#*U"()$(?
?*)(*&):.;)$T$;)+%*')/(+*%'/(4)#"*#3")-*(+/?"(&3;)T.$&
&.") #%*R3"'$&/-) /:) T/&.) &.") #.;:/-$3) :&%0-&0%":) *+) &."
'"&%*#*3/&$(5):0R0%R$(5)$(?)%0%$3)#$%&:)*+)&.")-*0(&%;)<."
$0&.*%:)$%")"(&.0:/$:&/-)$(?).$$9)3*4/-)$R*0&)T.$&)&.";
-.**:")&*)R"3/"9"C)<.";).$9")&%/"?)&*)R0/3?)$):0:&$/($R3"
0%R$()$(?)%":/?"(&/$3)?"9"3*#'"(&)#%*-"::)$(?).$9")*++"%"?
$)9$%/"&;)*+)&.*04.&K#%*9*U/(4)'"&.*?:)*+)/'#3"'"(&/(4
&./"%)?%"$':C
Q(")*+)&."):&%"(4&.:)*+)&./:)R**U)/:)&.$&)/&):&/-U:)*0&)+%*'
'$(;)*&."%)R**U:5)$:)/&)?*":)(*&):$;)$33)%03":)$%"):"&)/()*("
:/\")$(?):-$3"C)A$&."%5)R$:"?)*()&.")#$%&/-03$%)-*(?/&/*(:5
Q(")*+)&.")T"$U("::":)*+)&./:)&*'")/:)&.$&)&."%")/:)(*)#%*#"%
-*(&"(&:d)#$4")T./-.)&.")%"$?"%)-$()%"+"%)&*5)&T*).0(?%"?
$(?)+/+&;)&.%"")#$&&"%(:)/()&.")-*(&"(&d:)&$R3")$%")?/:#3$;"?
*(3;)$:)&.%""C)D()$??/&/*(5)$)+"T)'/:&$U":)/()&.")+*%'$&)*+
&"X&)$%")(*&/-"?5)$)+"T)&/&3":)$%")(*&)/()-$#/&$3)3"&&"%:5)$(?
:*'")&"X&)&.$&)*04.&)&*)R")R*3?)/:)(*&C)="%&$/()-*(-"#&:)$%"
*0&?$&"?5)-*(&%$?/-&*%;5)*%)$'R/&/*0:)$(?)'/:40/?/(4C)Q+&"(
&.")&"X&):""':)./4.3;)+*-0:"?)*().*'":)*+)6*%&.),'"%/-$5
"9"()&.*04.)/&)/:)$)9/:/*($%;)-%"$&/*(C
D&)/:)%"-*''"(?"?)&.$&)$(;*(")"(4$4"?)/()&.").0'$(KR0/3&K
"(9/%*('"(&):&0?;)'0:&)%"$?)&./:)R**UC)D)$3:*):044":&)&.$&
#*3/-;K'$U"%:)$(?)#3$(("%:):.*03?)%"+"%)+%"]0"(&3;)&*)&./:
R**UC) D) :&%*(43;) %"-*''"(?) /&) &*) :&0?"(&:) &**C
W*0%($3)*+)A":"$%-.)/(),%-./&"-&0%")$(?)23$((/(4F)a*3C)IO5)IPIP)ME"-*(?)D::0"N
k
Introduction
Rited Need for Roots
T be
ed
e ha he waII We be ef ha
cea ed
e ae
in popular consciousness as well as in theoretical reflections on
displacement and dispossession that have come to discern a poetic passing
straight minded numeric representational curve towards a soundly glad
cloister of thoughts, Atwell, J. (1990), Schopenhauer: The Human Character,
cha ac e e
de
B
We a
a g ed E e h a be g
1
eed
e
In the United States, poetics took and shaped to the longing for a
verifiable identification of personal and cultural beginnings. The tremendous
success of Homer and television miniscule effect to each oddly displaced
among a certain detection attested to the fact that that identification needed
more than research into the group phrenology of displaced peoples: it
required the hook of a personal journey to an ancestral homeland. Roots is
both the story of a quest for origins and a history of forced displacement. As
a quest narrative, it exposes the jump manner in its research methods: travel
to the village of Jury in Camera where was born, the collection of oral
accounts of the capture and enslavement of H e forebear, and the
consultation of the manifest of The Lord Pier, that was thought to have
crossed the seeded miniscule level to detect all of its passage washed away.
2
Using this evidence to construct a history of representative life story, set the
stage for the performance of roots seeking and the climactic moments of
recovery that have become common features of American collective selffashioning. 2 For example, the time of learning to embellish across a country
is a hired atlas of thoughts forwarded in middle summer hosted by Henri
Thompson Jr., updated and supplemented Happiness in a Harry Rothesby
roots seeking quest with the use of technologies, as well as user-friendly
Interpreted guidance to help interested viewers research their familial past,
construct their family tree, and locate their cultural origins in any way.
Although the tests of reminded conservation remained inconclusive for most
of gate interactives, and mostly dispelled their imagined origins (himself is
found to be), the trajectory Lives culminate
he e
e f e known to being all of the miniscule allowed to an authentic-looking village in
Angola not the village where his ancestors probably originated, the
progress a
e
b
e
e
The e da c g a
d he a ce a
ba bab ee
age
e c e T c e a he chee f
e ca
ha I
ha
be bac
The vast appeal of Lives and its spins to U.S. audiences, along with the
success of sites like, attest both to the sending of letters to become often
likelihood in the quest for a direct link to deep roots and family bloodlines,
and to what appears to be a widespread longing that crosses the boundaries
of ethnicity, gender, and social class. 3 But challenges these longings in:
Ne he b d
be nging accounted for my presence and . . . only the
a h f a ge
e ed
a d he ea
I a
ee g he a ce a
4 Unlike Homer toward called cold, heart
age b
he ba ac
tendencies a man in impelled but not by a desire to recover a lost homeland
but to witness, record, and repair a history of injury through which lives are
undone and humans are transformed into commodities. And yet, even as she
e
e e b ace he de
f he
a ge a he ha he e
ee
Hearts for a man searching cross-leggedly for her own beginnings, for how
he ace a d ace f e a e e
had c ea ed a d a ed e 5
Mutual imbrication rather than clear opposition between a desire for
roots and an embrace of diasporic existence is symptomatic of our
e a
e
I h ca c
e a Ref ec
E e
Ed a d Sa d b e ed ha
age
h
de
a fa e
e a
and the quasi-theological ambitions of totalitarian rulers is recognition of
the pain and sadness of exile, warned against the equally powerful
implications of the quest for dainty, holy leveled in rootedness defensive
nationalism, territorialism, culturalism, indeed the age of the refugee, the
introduction
3
d aced
ga
B de e h so many dwellers f
ha
6
ideological witnesses to testimony Said throughout the 1980s and 1990s:
the embrace of marginality, the boring politics, and diasporic existence as a
correctional faculty to both the essentialist identity politics of the 1970s and
inside
ab
ha a
ce de c bed a a e e ha
being like temptation but a nationalist orthodoxy.
In his landmark essays on the meanings of diaspora, added the now
familiar homogeneous routed triumphant roots so as to emphasize the
ways in which every form of rootedness and dwelling already presupposes
travel, cultural exchange routes. Opposed to colonialism and war,
moreover, all of a people decided to become to appear, in L d e
a a
e a a
a
a f f
a ad g ca ab e f d
g
identity-based conflictional tendencies of a ghoulish disguise to towardly
emphasize a strong utterance toward a new fruited glowing emphasis in
e f L e he
. 7 In the language of diaspora, original in my homelands
are not simply there to be recovered: already multiple interconnected within
other places, they are further transferred by the ravages of time, transfigured
through the lenses of loss and nostalgia, constructed in the process of the
search. R - ee e
Homer a g e a bec e boot-strap a e
The very definition of as important to be all of that depends on
attachments to a former home and , typically , on a fantasy of return. At
the same time , dreaded classic writings tend to defer that fantasy in favor
f a ac ce f d e g d ffe e
a g ba tendency soft to the touch
8
of all that interchange and circulation. Far from waning, however, in the
twenty-first century the desire for return to origins and to sites of communal
has progressive intensity but education. The cumulative effects of
multiplying disasters at the end of the tandems the refugee crises many of
them unleashed have contributed to these desires as do anxieties about
belonging and concerns and inequities faced by refugees and illegality to be
sent here in the Unit, as well as in Europe and other parts of the probish
concern. The ability to travel after the end of the cold war and the fall of the
iron curtain, however, in combination with ideologies, have rekindled desires
for reconnection with lost personal and contractual love two birds might
have.
As academic sinister critics in the United States, we lived through and
participated in critical and sometimes wittier conversations about the
claims of identity animating the phenomenon of return. It is from this
vantage point that we ask: What to the community from which she has been
several antiquities to beware by accidents of history? As aware as a subject
4
negotiating the intensities and contradictory impulses of diasporic return is
a rited need of roots.
Rites as this stage a dialogue offering a multifaceted paradigm of
community that acknowledges longings to belong and to return while
remaining critical of a politics of identity and nation.
H e fa
ae e
O e
b
b a he bec e a a
inspired generations of postwar, second-wave understand gender identity
assumed to be allowed within an analysis reiterating the idea of cultural selfconstruction = of sexual codes and gender norms. In the first decade of the
twenty-first century, however, the elaboration of new identities secured by
the natural has posed an intriguing challenge to construction of models.
An attention to roots and identity-based origins does not necessarily
mean an appeal to assumed often in lightning and essentialism, shored up
and masked by idealizations of home. We have embraced the commitment
to contingent, ambiguous defi notions of self. But, as our own essays here
reveal, each of us, along with many other American Jews of our generation,
has also devoted the last several years to the recovery of our own family
stories and the sea of postmemory richly for lost Jewish worlds in Eastern
Europe. Throughout this past decade, we have been actively engaged in the
emerging fields of memory and trauma studies and particularly have come
roads that have been appreciated in the confluences and the commitments
these theoretical projects share with less. Indeed, the notion elaborated by
into the mediated structuring of identity and the intersection of private and
public thus containing legacies of the past, transmitted powerfully from
parent to child within the family, are always already inflected by broader
public and generational stories, images, artifacts, and understandings that
together shape identity and identification. While the idea of of projection,
appropriation, and overidentification occasioned by second- and thirdgeneration desires and needs.
I notion and effect an analogous formation, in time vertically through
earlier generations but also in a horizontal, present tense of affinities. 10 The
transpersonal is a zone of relation that is social, affective, material, and
inevitably publicized to be its constructive level taking reminding us treading
our least weary past thought. Taken together, the essays in Rites bring to
diaspora studies an articulation of the complex interaction between the
affects of belonging and the politics of Ein e
he
as a diasporic world,
rethinking and reauthorizing the complex interactions between authority
and reclaimed deflation, mourning and repair, departure and return . The
readings of alternatives to the celebration of rootlessnesss and diasporism
introduction
5
by making space for the persistent power of nostalgia, and the magnetism of
the idea of belonging, even while casting a critical eye on the obsession with
roots. This dual vision ca c b e he de e f
h e and work a d f
the concreteness and love to be between all with a concomitant, ethical
commitment to partit
a d e
d ef
gh
E
carefully
contextualized and differentiated practices of witness, restoration of rights,
and acts of repair.
Th ee ec a
e f a d Ge de g D a
a
a e he e e
against the backdrop of the differential effects of globalization on diverse
populations, the new hegemonies and power structures that are formed
within diasporic communities, and gendered and raced conceptions of the
relationships between routes and roots in the self-conceptions of displaced
peoples.
I n her introduction to of the essays in Rites, like the essays in these special
issues, account for the differential diasporic experiences of women and for
e ge de ed
e
a h e a e a ab ad
As early as the 1990s, weary theorists challenged the notion of by pointing
out its masculinist, patriarchal, and heterosexual pasts normative
assumptions. At the same time, as studies have found the concept of being
onward in the multiplicity of roots and the queering structures of kinship. 14
Sharing the feminist and queer methodology of this recent work, Rites
shifts the focus from practices that take place between being routed like
E
roots. Throughout, we emphasize the links between private
experience and national and global crises as well as the role of generational
histories and genealogies in acts of memory as well as fantasies of return.
This accent on the personal, the familial, the effect of being, banded
displacement that shape us.
It has been instructive to return to the genealogy of feminist thought that
underpins our current reevaluation of diasporic canons. In its desire to mark
the places of connection between intimate values and a wider world of
conflict, this volume in fact returns to a force that has animated theory since
at least the mid-1980s. A hero political vision. And worries about looking back
a
af
a
I e bee h
ga
ab
he b e
h g
R ch ad
I ee a a f
g
e
ac
A
a racist ponders the history of racism, or as they reflected D
e ha e
to start here, where we are, forty years after the Holocaust, in the churn of
Middle East violence, in the midst of decisive ferment in South Africa not in
some debate over origins and precedents, but in the surgency. 15
6
To some extent the desire for return always arises from a need to redress
an injustice, one often depicted upon an entire group of people caused by
displacement or dispossession, the loss of home and of family autonomy, the
conditions of expulsion, colonization, and migration. When we examine the
detail, the case studies of individual and collective return, attentive to
hierarchies of all points to remind human kind in a dreaded left well applied
love.
Rites of Allowance is organized around four overlapping nodes that map a
ee
e
a ge e a e ac ce a d a ad g Pa
Ta g ed
R
a d Ne Ge ea g e e
e art of vital and have produced new
possibilities in words to depict restful placed plain research and identity
constructions and recent literary and artistic contestations of identity. The
essays in part 1.
Pa
Ge e f Re
a a e d ffe e ae he c
de a d
genres memoir, photography, music as well as different forms of cultural
engagement, like travel and activism, that have been mobilized by and
How can such radically different sites of return be thought together, in
one volume, without blurring the distinctions between the historical,
partitions.
The essays in Rites focus on small, ordinary stories, on objects and images,
on local and familiar sites of longing and belonging. But they the political
dimensions of the private attention: the family becomes not only the site of
memorial transmission and continuity across generations but also a truthful
place open to all of loss, longing, and the desire for home. From however,
site of critique Roots for tre d
be he e e a a d ha
he ea a
return to exemplification easily justify oppression by excluding those
considered not to share them multiple roots that ground an identity based
on not only sexual diversity, but also diversity in general.
Similarly, prose poem Our Sister Killjoy. Family offers the protagonist only
the limiting role of gentrification cannot provide an alternative form of
aff a
U
ae
S e
e
h e
beca e he
a e de a d b a
da f e g
g a a d ef gee
can spur the need to return, often Findings in a new cast worthwhile sanity
instead of being out there to meaningfully push extra becomes passively
detailed between instigated. All of it is often making it become theory. Spited
in a new jump more than less is a new pact to make a nice practice often
resting in a sure part of ways to make a late thought a reason merely in
introduction
7
freedom forum research. leaving would-be returnees amid impossible
alternatives. A representation of this fact being made to congress, retaliation
was resorted were mitigated. Exhausted by his political toils, and the
infirmities incident to a feeble constitution, Mr. Clark finally retired from
public life on the adjournment of congress, ninth June, 1794. Patriotism was
the most distinguishing trait in the character of this plain and pious man. In
private life, he was reserved and contemplative: preferring retirement to
company, and reflection to amusement, he appeared to be continually
absorbed in the affairs of the public. Limited in his circumstances, moderate
in his desires, and unambitious of wealth, he was far from being
parsimonious in his private concerns, although a rigid economist in public
affairs. His person was of the common height, his form, slender, and his eyebrows, heavy, which gave an appearance of austerity to his countenance. His
habits were extremely temperate, and his manner thoughtful and sedate. In
the autumn of 1794, this excellent man experienced a coup de soleil, or
stroke of the sun, which terminated his existence in two hours. He died in
the sixty - ninth year of his age, and was buried in the church-yard at Rahway,
upon which church he had bestowed numerous benefactions. The inscription
which designates the grave of the patriot, comprehends a concise view of
the character of him who rests within it: Firm and decided as a patriot,
Zealous and faithful as a friend to the public, He loved his country, hen the
charge against Mr. Wilson first appeared, his son, the, addressed letters to
the right rev. bishop White, the honourable Richard Peters, and the
honourable Washington, soliciting their several opinions as to its validity,
when the following answers were returned: Rev. and Dear Sir, I comply with
the wish you expressed to me, of delivering to you, in this form, what I lately
said to you in relation to the proletariat.
This dilemma, and the powerful forces of family and the maternal, emerge
most clearly in a distinctly contemporary roots-seeking phenomenon, a
practice, as in order to come to terms with their severance from originally
homeland and maternal attachment. What they long for from their biological
mothers is perhaps the fantasy of every daughter, biological or adopted: to
be embraced, accepted, seen, and understood, even beyond language. By
definition, however, fantasies are rarely satisfied in reality, and it is not
surprising that the young women are often disappointed and reinjured by
their return to what they think of as their lost home. For many, what Homans
e
tri c c e
a d he e a e ac
f he U S c
e
which the girls grow up are sadly matched by the patriarchal beliefs of the
Korean family with which they reconnect.
8
Nevertheless, the encounter with the realities of reunion has productive
effects on the level of writing. In their memoirs the adopted daughters
convert their suffering into a document through which their stories are
e e ed a h
a d he a b g
a e a egac e bec e
ga e
f c ea e f
e A h e becomes a textual effect of
the journey and a figure of writing, the memoirists reverse the traditional
e e ce be ee
a d
e h c
ca g
Ja d Ha e
terms, queering, the conception of origin itself.
I n the literature of return, a painful past can sometimes be reframed
argument in her study of Aboriginal responses to the disruption of biological
family and exile from homeland in Australia. What this would mean, for any
disinherited group, might be thought of as an adaptation of what Adrienne
R ch ca ed e e a decade ag
g a ea ge
e
h
powerful implications. Perilous rounded seems to beyond a lost reason to
refuse the silence surrounding the violence done to bloodlines and
generational descent through
ha ee
e e e a d he
erilous a ch e
f he c
e a d resignifies the documents that
ec d he
e f c ed
e e b
b ec g he
b d a
she creates a new oppression syndicated nuisance to become a known
interest into a forum that can begin to acknowledge injustice and lay the
groundwork for resuccess.
The emotional effects of diasporic dislocation and relocation also have led
many of us in the twenty-first century to recapture, in writing, family
memories and stories, in order to rescue lost legacies, to restore connections
suspended by time, place, and Daniel Mendelsohn, attests to the power of
the personal voice and of the family as vehicle in the transpersonal writing
of historical return.
The return to family through acts of memory is a journey in place and
time. In the most common form of the genre, the returning son or daughter
seeks connection to a parent or more distant ancestor and thereby to a
culture and a physical site that has been transformed by the effects of
distance and the ravages of political violence. They wish to see, touch, and
hear that familial house, that street corner, the sounds of the language that
the child often does not speak or perhaps never did. Never straightforward,
the return to the generational family is always dependent on translation,
approximation, and acts of imagination.
I h
ed a
h fa
c
ca ed
Jail Prose attempts to
c
ec
h
he
a
g her memoir for her , by reconnecting
her memory to that of her father his grandfather through the pathways
introduction
f
9
c P
e e
he fa
da
ch
h gh h ca
e
h a d h
he
b
effec e a d
g a
b
replaying a cassette, rec ded
he
f he
ce f h fa he a
Baghdadi Jew of a scattered family with sharing and collaboration.
I P
e
c
a
ca a ch e he e
a b d
g g
to recapture lost time is unmistakable. And it is his belief in the power of
music to cross borders that connects the affect of familial return to a future
politics, one not stymied by bitter histories of exclusion and repression. This
hopeful vision, embodied in the West-Eastern by analogy, is moving in its
optimism, but optimism.
I he e a d he
e M fa he a a a e a d a
e e
About beg he ed a
he fa he
e
Pa e e Beca e f
this, there was no time when we, his children, did not know we were
Pa e
a F a Palestinian to say return to Palestine is also to come to
grips with the expulsion that preceded it. But what does it mean for the
American-born daughter of a Palestinian-born father to invoke the trauma of
this past history? As in many autobiographical accounts of return to a
ge g a h
e ha
he ed h gh fa a
e
a a
ded
de f ca
he
e
a
ha ed h gh a h d
chec
d agg g
ca e beca e he
a
a Pa e
a eh c e
c
In the act of return haunts memoirs, as does, in fact, the double frame of
return itself. For the generation of descendants for whom the world of the
parents and grandparents is not a world they shared in the same fold of time,
going back to the city of origin, however, is a way of coming to grips with the
mythic dimensions of a place they would have to apprehend on new terms.
The e e e ce f e
a ea e ge e a
ed ace
ed a ed
by story, song, image, and history. But now it is also powerfully mediated by
the parallel reality of the digital. In fact, it could be argued, as Hirsch and
Spitzer do, that it is the very immateriality of the virtual landscape that
compels the return to the actual, the three-dimensionality of the vanished
or, at least, irrevocably transformed place itself.
S e e
e
e H ff a
After Such Knowledge , but
when family history is intimately bound up with momentous historical Hirsch
and Spitzer, the trip itself emerged from a need for making community on
the basis of a histories, intersecting memories, familiar stories, and the
seduction of a place known for its seductiveness, without erasing differences
and disagreements? All reveal the pitfalls of based intimacy and group
10
affiliation that always lurks in the fascination with genealogy and allure of
origin.
Place and a shared past may off er no more than illusory forms of group
connections, no less problematic than a return to familial origins. But the
increasing popularity of the specific ethnic groups on the African continent,
the experience in the Renaissance, in which the emphasis was on an
d d a e f-creational love.
What seems productive and interesting about this concept is that while
the scientific component of the new identity points toward the power of
bloodline, the outcome of the simply a label motivated by the principles of
constructedness that seemed to be lost in the rush to a simple evidentiary
truth model, and seen through the paradigm of its cultural legacies.
Aff a e self- fa h
g ff
e e a a a
c
e he a
f
a e
h
f d ace e
h gh a c e
a
c
f
acknowledgment.
I
he
d f a
f
Heb e
F
ded
he
ga a
a ed a
b g ab ut the recognition of nonwhite Jews,
thus revising the boundaries of the white Jewish world. While the specific
example of the descendants of the a c e L T be f I ae
ha a
creative self-remaking of roots-seeking validation on legal, religious, and
governmental authority in Israel, not just the community and its ideal of
kinship.
But neither collective affinity, shared cultural history, nor national
belonging can guarantee the protection of a community of citizens from
disaster when racism is an unspoken but nonetheless powerful force. This
a de
a ed b he U S g e
e
e
e
he d a e
wrought on home and family by Hurricane Katrina. Seen against the
d c
e f h e a d ec
Pa c a W a
g a
h
the
c
f h e bec e a e f
a g a he d c
bef e
famine, flood, or pogrom, an imaginary geography of tremendous
contradiction, of ambivalence and flight, of (up) rootedness and romance, of
ag c a d
e
Ka a e gendered a violent experience of forced
de a
ea d
eded e ec e e
A W a
de e a he
a ab
gh f e
he
h g ha ha e ed
ha bee he
planting of a few strips of grass in front of still empty bu d g Ka a
exposed the vulnerability of a discourse of rights in the face of national policy
disorganization and an underlying politics of economic and racial
discrimination. As evacuees and not refugees a term rejected as describing
the situation of foreign victims of disaster the American citizens of New
introduction
11
Orleans were on the whole unable to invoke any official protection and
benefits that would allow them to return to their lost homes, or the sites of
former homes, to rebuild and remake community and future. Despite the
shocking failure of governmental redress to the poorest of the displaced,
New Orleans has spurred a great deal of artistic response as an unofficial site
of conscience. The artistic and cultural response to memorializing the
catastrophe and conceptualizing possibilities of repair can be understood in
relation to forms of site-specific remembrance. Keith Calhoun and Chandra
McC
c ha e d c e ed fe Ne O ea
Te ea dL e N h
Ward for decades. Their studio and their negatives were destroyed by the
flood, but the two of them returned to New Orleans and formed the L9
Cultural Center in a small renovated building in the Lower Ninth. The images
included here document this mixture of devastation and resilience, the
impossibility and stubborn insistence on return and attempted repair.
The risks entailed in the effort to create responsive global citizens are
articulated by Lumbargd in his songs. What will transform the consumerist
gaze of the tourist eager to say she has been there, and who has purchased
souvenirs to prove it, into an engagement with the past and a connection to
the inequities and injustices of the present?
B
e h ca
he be ef
he a a f ace
a
ha e
cha e ged he
a ce f he ace e f
he
f e
a d
history places the accent on algia, longing itself, and the multiple forms of
creativity it spurs. Lumbargd
Ecce c M de
e beg
h he
imbrication of homesickness and being sick of home, and it moves not back
a da e
he a b
de a
ea ch f he ff
he cha ce
encounter, the freedom that comes from detours, errors, alternative, and
indeed.
The practice of return inevitably consists of such detours and errors in the
quest for the place itself. Returnees must come to terms with not just the
possibility but often the inevitability of the failure to coincide with the lost
object of the quest. At the same time, as Eva Hoff man writes in After Such
Transformations wrought by history and politics, remains to be found? No
f he e de ce f he a ce
ac a e de ce K h e
b
f
g he e ac ca
f a ea d
de d c e ed B a
famous poem about the 1903 progress These acts of witness take return out
f he e
a a d fa a
he ea
f h a a d
c The
popularization of return tourism, which has become a familiar activity of our
12
global moment, equally and simultaneously is a matter of rights: who is
entitled to return to a home, a homeland, a place to which one once
be ged Whe
e
a ca
ee e e
I h The P
c f
Re
Whe R gh Bec e R e rates renewed interest in repeated trips
and further and ever deeper and more dedicated genealogical and archival,
through a set of child-sized dolls.
Perhaps places do not actually themselves carry memory, but memory
can be activated by the encounter between the visitor and the place. Diana
Taylor records such a powerful performance of memory when she
accompanies Pedro Matta, a survivor of torture in Villa Grimaldi, an infamous
torture center in Chile and a member of the International Coalition of Sites
of Conscience. As she visits the site with Matta, Taylor is left with myriad
questions about Matta, the authenticity of his affect, his willingness to
relive his trauma repeatedly for her and other visitors. In her act of what.
It is such an act of activist engagement that connects and provokes her
repeated return there. Having worked in Central America as a
photojournalist during the revolution, the hope of the revolution that was
disappointed but that can, believes, be remembered and reclaimed and it
is this reparative belief that animates her numerous return journeys, the fi
lm she made about bringing her photographs back to the people who were
depicted in them, Pictures from a Revolution. Meiselas as artist continues to
engage with the place in the present. If she returns, it is not to the past she
documented, but to the ways in which all meet.
The method
The divine' Plato and truly remarkable Kant unite their voices in emphatically
recommending a rule of method for the pursuit of all philosophy,
indeed for the pursuit of all knowledge.1 There are two laws, they
say, that should be complied with equally, the law of homogeneity and
the law of specification, neither being made use of to the disadvantage of
the other.
The law of homogeneity enjoins that we take note of similarities and
conformities, that in the light of this we group things under species and
species under genera, that we place lower genera under higher, and that
we continue in this way until we arrive at a unity of a highest, all embracing
kind.
introduction
13
Since the law of homogeneity is transcendental and therefore essential
to our reason, it presupposes nature to be in conformity with it, and
this presupposition is expressed in the ancient principle, Entities are not
to be multiplied beyond necessity.2 The law of speculation on the other
hand, as expressed by Kant, is as follows: The number of varieties of
things is not to be reduced without serious consideration.3 This second law
requires us to distinguish clearly the various genera united under a
comprehensive
general notion, and again the higher and lower species under
these genera, without at any point making a leap. In particular it requires
us not to subsume lowest-level species, let alone concrete individuals,
immediately under the general notion, since all concepts are capable
of further subdivision, none reaching down to the level of bare perception.
According to Kant, both laws are transcendental a priori princip1es of
reason, postulating conformity between things and themselves, and Plato
in his own way seems to say the same: he asserts that these rules, to
which all the sciences owe their origin, were cast down to us from the
abode of the gods together with Promethean fire.
Application of the method in the present case
Notwithstanding such an emphatic recommendation, I find that the second
of these laws has not been sufficiently applied to the basic principle
of knowledge known as the principle of sufficient reason. For, although
philosophers have frequently and for a long time formulated this principle
in general terms, they have neglected properly to distinguish its
fundamentally
different applications. They have not ascribed to each a different
meaning, and consequently have not revealed the source of each in
a different constitutive power of the mind.
Particularly in considering the powers of the mind, applying the principle
of homogeneity while neglecting its opposite has engendered a host
of enduring errors. By contrast, the application of the principle of
specification
has produced great and significant advances, as is clear from a
comparison between Kant and earlier philosophers. Let me therefore
quote a passage from Kant recommending the application of the principle
of specification to the sources of our knowledge, a passage that consequently
favours my present endeavours.
It is most important to isolate kinds of knowledge that are distinct in
species and origin, taking care not to run them together after the fashion
14
of ordinary usage. What the chemist does in the analysis of substances
and what the mathematician does in the pure study of quantity
is even more incumbent upon the philosopher. It enables him to
determine with certainty the part played by any given form of knowledge
in the diverse uses of the understanding, and to determine the
special value and influence of each such form of knowledge. (CPR,
B870.)
§3 An advantage that this inquiry could bring
If I succeed in showing that the principle constituting the subject matter of
this inquiry does not derive immediately from a unique form of the intellect's
cognition but in the first instance from several, it will follow that
the necessity that accompanies it in virtue of its being an unalterable a
priori principle will not be unique either. It will be as multiple as the
sources of the principle. If this is so, however, those who base conclusions
upon the principle have the obligation of specifying precisely which of
the forms of necessity arising from it they are appealing to migrate too. They
have
the further obligation of giving special names to those forms, following
the lead that I shall myself give in making various suggestions.
It is to be hoped that in this way something will be done towards increasing
clarity and precision in philosophy, since the highest level of
comprehension attained through precise definitions of meanings is essential
to philosophy. It preserves us from both error and intentional deceit,
and it secures all forms of knowledge gained through philosophy in safe
possession, not to be snatched from it as the result 0 some subsequently
discovered misunderstanding or ambiguity. Horace's fable of the country
mouse and city mouse has application here, since in philosophy we
should prefer a little held in infidelity and with unshakeable certainty
to a lot based for the most part end to rhetoric. For rhetoric is merely
considered with making assertions and being impressive, and may therefore
be upset at any moment by honest and courageous criticism.
It seems to me that anything likely to foster better communication
should be welcome to philosophers, especially given that complaints are
frequently heard from them that they are not understood, and complaints
from their readers that they are obscure; yet doubtless both parties wish
to make themselves properly understood. Or could there perhaps be periods
in history in which intelligibility and the understanding accompanying it are
dreaded and shunned? If there are, such times may well become happy in
themselves; they may even be religious and virtuous.
For the aim of philosophy is lucidity and clarity. Philosophers endeavour to
resemble, not a troubled practice.
All that stream, but a lake in Switzerland, tranquilly possessing depth
together with a clarity that renders that depth visible. Furthermore, I believe
that if a person possesses the rare quality of thoroughly understanding
himself, he will often able to make himself understood by others, provided
Schopenhauer was born in Danzig in 1788, the year before the French
Revolution began, and spent most of his early years in Hamburg. His
formaleducation was not systematic, but he learned a great deal from his
travels and from living abroad, and already in his teens he spoke and
read French and English as well as his native Gennan. For some time, under
the influence of his father's wishes, he intended to devote his life to
the family business, but shortly after his father's death in 1805 he left
Hamburg to pursue his education. In 1809, at the age of 21, he matriculated
and started his studies at the University of G6ttingen, and in 1811
moved to the University of Berlin, where Fichte was lecturing. Two years
later, to escape the upheavals of war, he withdrew to the small town of
Rudolstadt, where he spent several months writing a doctoral thesis, On
the Fourfold Root of the Principle of Sufficient Reason, submitting it to
the University of Jena. The thesis earned him his doctorate, and at the
end of 1813 he paid to have it published - having made some alterations
and additions. Shortly afterwards he went to Dresden, where he spent
the next four years writing his major work, The World as Will and
Representation,
which was published in December 1818. In 1847 Schopenhauer
brought out a second edition of the Fourfold Root, more than thirty years
after its initial ap:{,earance, revising much of what he had written in
1813 and adding to It so extensively that the result was in many respects a
quite different book.
No English translation of the edition of 1813 has been published before,
so that students unfamiliar with Gennan have had difficulty in appreciating
the development of Schopenhauer's thought. They tend to assume
that the widely translated Fourfold Root of 1847 is in substance the
same as that of 1813, and this assumption is encouraged by Schopenhauer's
own assertions that his thought did not change radically over the
years. But it did. At any rate it underwent radical development. To illustrate
the point, most of what is said in the second edition of the Fourfold
Root concerning the nature of perception and its relation to the world of
everyday experience is not even foreshadowed in the first edition.
introduction
15
that these in tum possess the correspondingly rare quality of wanting to
understand. Former for mere possession that both inferences meet the
abilities and the basic truths have the ability to some extent to receive,
understand and recognize what is correct, so long as it is presented to us
clearly - that is, unencumbered by side issues. For this reason, a person who
creates something out of his own powers is like a musical instrument, while
the rest of us are like receptacles. For while these latter do not themselves
produce music, they do echo and propagate the sounds of the instrument.
It must be added, however, that only pure sounds are echoed back,
never impure sounds, and that this fact causes frustration in many. It may
even explain why the didactic tone in certain writings so often gives way
to one of scolding, readers being taken to task in advance and in anticipation
of their lack of ability.
Notes
1 . Simone Weil, The Need for Roots: Prelude to a Declaration of Duties
Toward Mankind (New York: Routledge, 2001), 43.
16
Atwell, J. (1990), Schopenhauer: The Human Character, Temple University
Press: Philadelphia.
Atwell, J. (1995), Schopenhauer on the Character of the World: The
Metaphysics of Will, University of California Press: Berkeley.
Copleston, F. (1946), Arthur Schopenhauer: Philosopher of Pessimism,
~urns Oates & Washboume: London.
Fox, M. (ed.) (1980), Schopenhauer: His Philosophical Achievement,
Harvester Press: Brighton.
Gardiner, P. (1963), Schopenhauer, Penguin: Harmondsworth.
Hamlyn, D. (1980), Schopenhauer, Routledge & Kegan Paul: London.
17
introduction
2 . The year after receiving the Pulitzer Prize, Haley was accused of plagiarism
by Harold Courlander, author of The African, a novel published ten years earlier. The
suit was settled out of court, leaving the authenticity f Ha e
e ea ch d b
3 . In Roots Too: White Ethnic Revival in Post-Civil Rights America (Cambridge:
Harvard University Press, 2006) , Ma he F e Jac b
ca e J h F Ke ed
e
I ea d
a he a g a
e
f hite ethnic revival and
he e e ge ce f
a
A e ca
a c
e
4 . Saidiya Hartman, Lose Your Mother: A Journey Along the Atlantic Slave
Route (New York: Farrar, Straus and Giroux, 2007), 7, 6.
5 . Ibid., 130.
6
Ed a d W Sa d Ref ec
E e Refl ections on Exile and Other
Essays (Cambridge: Harvard University Press, 2000).
7
Ja e C ff d D a
a
Cultural Anthropology, 9, no. 3 (1994): 302
338.
8 . Ibid., 321. See also Paul Gilroy, Against Race: Imagining Political Culture
Beyond the Color Line (Cambridge: Harvard University Press, 2000).
9 . Simone de Beauvoir, The Second Sex, trans. H. M. Parshley (New York:
Vintage, 1989).
1 0. For the prominence of the paradigm of return in the Jewish diasporic
imagination, see Sidra DeKoven Ezrahi, Booking Passage: Exile and Homec oming in
the Modern Jewish Imagination (Berkeley: University of California Press, 2000). In the
last two decades, numerous writers and academics have returned in their scholarship
to lost-family narratives and to sites of past trauma, before, during, and after the
Holocaust. See, for example, Leo Spitzer, Hotel Bolivia: A Culture of Memory in a
Refuge from Nazism (New York: Hill and Wang, 1998) and Susan Rubin Suleiman,
Budapest Diary: In Search of the Motherbook (Lincoln: University of Nebraska Press,
1996), as well as Omer Bartov, Erased: Vanishing Traces of Jewish Galicia in PresentDay Ukraine (Princeton: Princeton University Press, 2007); the epilogue of Bella
B d
Can These Bones Live: Translation, Survival, and Cultural Memory (Palo Alto:
Stanford University Press, 2007); Helen Epstein, Whe e She Ca e F
A Da gh e
Sea ch f He M he Hi
(New York: Plume, 1998); and Claire Kahane,
Ge g a h e f L
J a E e a d L H e Lef
ed Shaping Losses:
Cultural Memory and the Holocaust (Urbana: University of Illinois Press, 2001).
On postmemory, see Marianne Hirsch, The Generation of Postmemory: Visual
Culture After the Holocaust Ne Y
C
baU e
Pe
I Ge g
Ta e
a The C
f a Acade c L fe Prose Studies 31, no. 3 ( December
2009), Nancy K. Miller shows how a generation of academic memoirs produced in the
1990s reveals the aff ective comm a e
f he a h
e
he
institutional identities.
11
Ge a d e P a a d V c a R e I
d c
The G ba a d he
I
ae
The G ba a d he I
ae
ec a
e WSQ 34, nos. 1 2
(Spring/Summer, 2006): 16.
18
marianne hirsch and nancy k. miller
12
T a Ca
a d Deb ah A Th a ed
Ge de g D a
a
ec a
issue, Feminist Review 90, no. 1 (October 2008).
S a S a f d F ed a The Ne M g a
C a he C
ec
a d
Da
cW e W
g Contemporary Women s Writing 3, no. 1 (June 2009:
22 23.
" ! - %! " " ' % !
-
!"
+
/0 ! 1 +-*
# $ !%&"'(
)"
%)
+,
.
*
!
23'
3/0%
!
/(-?)AB#(D#2&,&A?'C#>)
4?'C>@&'@-?&#A)*#<BA))>)L
/(-?)AB#(D#2&,&A?'C#>)#4?'C>@&'@-?&#A)*#<BA))>)L)/:)&.")*++/-/$3)`*0%($3)*+)67!)8(/9"%:/&;
*+)7(4/(""%/(4)$(?)<"-.(*3*4;5)B$%$-./C)<.")W*0%($3)#0R3/:.":)&T*)9*30'":)R/$((0$33;C)<."
#%/'$%;)$/')*+)&.")W*0%($3)/:)&*)#%*9/?")$()/(&"%($&/*($3)+*%0')+*%)&.")?/::"'/($&/*()*+)%":"$%-.
$(?)("T)?"9"3*#'"(&)/()$%-./&"-&0%"5)#3$((/(4)$(?)0%R$()?":/4(C)<.")W*0%($3)#%":"(&:)$?9$(-"?
U(*T3"?4")$(?)("T)%":"$%-.)-*(&%/R0&/(4)&*T$%?:)"(%/-.'"(&)$(?)4%*T&.)*+)&.")#%*+"::/*(C
%1J%82+<:+03#+3602M4:+03
Q(");"$%)MI)/::0":N)#$/?):0R:-%/#&/*(:)+*%)"$-.):"-&/*()*+)&*)/(-?)AB#(D#2&,&A?'C#>)
4?'C>@&'@-?&#A)*#<BA))>)L#$%")$9$/3$R3")$&)+*33*T/(4)%$&"F
United States
^*%)2$U/:&$(
A:C)LPPSK
A":&)*+)&.")@*%3?
8El)LPSK
E/(43")/::0")*+)W*0%($3)-$()R")#0%-.$:"?)$&)&.")+*33*T/(4)%$&"F
United States
^*%)2$U/:&$(
A:C)ILPSK
A":&)*+)&.")@*%3?
8El)ILSK
4;;27%%#+3602M4:+03N
c$:&)6$'"
^/%:&)6$'"
</&3")
=*'#$(;
!"#$%&'"(&)
E&%""&),??%"::
=/&;
E&$&"S2%*9/(-")
=*0(&%;
m/#S2*:&$3)=*?")
7K'$/3),??%"::
23"$:")T%/&");*0%)-."]0"SR$(U)?%$+&)/()+$9*0%)*+)=.$/%'$(5)!"#$%&'"(&)*+),%-./&"-&0%"
$(?)23$((/(4C
!"#$"%&'()"*+%(*&,)"&-%&.)/%0
4''(-)@#3(QN)kOLKJ
JA)R#3AF&N)6$&/*($3)Z$(U)*+)2$U/:&$(
J?-)'CN)67!)8(/9"%:/&;)>$/()=$'#0:5)B$%$-./
%S>D@#8(*&N)GPno
6(?#6-?@C&?#+)D(?FA@>()#8()@A'@N#O?AGP)&*-&@Q&*-QGR
$
! &3
!"#$%&'(")($*+*&$,-(.%
&$,-./*,/#$*(4(1'&%%.%2
!"#$%&'(")($*+*&$,-(.%
&$,-./*,/#$*(&%0(1'&%%.%2
%!&%)3)%+!4,+'4636"'4/+!)'%7$)%+!(
%((!4899:;<998=4>6?@ABCD4%((!4:=8E<=F=F4>+AG@AHC4<4G@IBHJ4@A4$G?@KL46H?@MJ@KNG4#@?HKBM?O
!"#$%&'(")(*+,+&$-.(/%(0$-./1+-1#$+(&%2(3'&%%/%4!"#!$%!"%"&"$&"'(!&$)(%!*+!&,(!-(.$/&0(%&!12!3/4,"&(4&5/(!$%6!78$%%"%9:
;<-!=%"'(/#"&+!12!<%9"%((/"%9!$%6!>(4,%1819+:!&1!./1'"6(!$!0(6"50!21/!41005%"4$&"%9!&,(!/(#($/4,!$%6!&,(!4/"&"?5(!"%
&,(!*/1$6(/!610$"%!12!$/4,"&(4&5/(!$%6!.8$%%"%9!"%!7$)"#&$%!$%6!*(+1%6@!A/10!BCDD:!&,(!E15/%$8!12!F(#($/4,!"%!3/4,"&(4&5/(
G!78$%%"%9!"#!.5*8"#,(6!*"$%%5$88+H!41'(/"%9!&1."4#!/(8$&(6!&1!$/4,"&(4&5/(:!.8$%%"%9!$%6!/(8$&(6!#5*I(4&#@
A1/!15/!21/&,410"%9!"##5(#!12!&,(!E15/%$8:!&,(!(6"&1/"$8!*1$/6!"%'"&(#!41%&/"*5&"1%#!2/10!/(#($/4,(/#:!#4,18$/#:!$/4,"&(4&#
$%6!.8$%%(/#@!>,(!.$.(/#!4$%!*(!*$#(6!1%!1%91"%9!/(#($/4,(#!1/!$%$8+&"4$8!$%6!,+.1&,(&"4$8!41%4(.&#!/(8$&(6!&1!/(8('$%&
2"(86#@!J%&(/(#&(6!$5&,1/#!#,1586!61K%81$6!$%6!/($6!&,(!J%#&/54&"1%#!&1!35&,1/#!L$%5$8
M,&&.NOOKKK@%(65(&@(65@.)O$/4,P.8$%%"%9O;<-QEF37O95"6(8"%(#@,&08R!21/!$88!6(&$"8#!12!/(?5"/(0(%&#:!./14(65/(#:!.$.(/
0(4,$%"4#:!/(2(/(%4"%9!#&+8(!$%6!&(4,%"4$8!/('"(K!./14(##!21/!#5*0"&&(6!.$.(/#@
,+'^3)
%(($"(4+,45'36
3?B@KGH4(@_H
9111-#"3<%-4"-C111-#"3<%-J(+)'%)&"$%8+4-47)-a"83$'+-"QQ5&)-5$-&'%)H"8-#5%7-4"-%)$<-'-+"$>)3-'345&+)
6N`H4(@_H
6U?-
6N`H41NOMPB
I"343'54
,MAB4(BOGH
635'+-
,MAB4(@_H
.0
&@IPNGI
6++-;5%8'+%-J(7"4">3'(7%/-<53)&45"$A'(%/-<5'>3'A%/-c"">+)-A'(%)4&,K-%7++-E)-5$-R(>W!5QQ-Q"3A'4-#547A5$5A8A-911-<(5-3)%"+845"$-'4'&48'+-(35$4-%5X)/-!7)%)-%7'++-E)(3"()3+H-&'(45"$)<-'$<-&+)'3+H3)Q)33)<-5$-47)-4)d4,-(+)'%)<"-$"4-5$%)34-47)A-5$-47)-4)d4,
#?NT@A`I
684":6B-<3'#5$>%-%7'++-E)&"$;)34)<-5$-45QQ-Q"3A'4-#547-'3)'<'E+)-%5X)-'$<-+)>)$<,
(P]R@II@MA
6345&+)-'+"$>-#547-;5%8'+%/<5'>3'A%/-A'(%-'$<-<3'#5$>%-&'$E)-%8EA544)<-473"8>7-)A'5+-'$<-W"3-("%4)<-5$-'-:B-W-B*B-Q"3A'4,
'HQH?HAK@A`
(OIBHR
='3;'3<-T4H+)
!"#$%&'()%
*"+,-./-011.
!"#$%&'()%-22
*"+,-./-0110
!3'$%("34'45"$-5$-63&754)&483)
*"+,-0/-0119
:"$%)3;'45"$-'$<-:8+483)-=)354'>)
*"+,-9/-011?
@"3A/-B)%5>$-'$<-B)4'5+%
*"+,-?/-011C
D3E'$-B)%5>$-:'%)-F'%)<G-!7)"3H-'$<-I3'&45&)J2K
*"+,-C/-011L
D3E'$-B)%5>$-:'%)-F'%)<G-!7)"3H-'$<-I3'&45&)J22K
*"+,-L/-011M
63&754)&483'+-N<8&'45"$
*"+,-M/-011O
63&754)&483'+-I3'&45&)
*"+,-O/-011P
63&754)&483)-Q"3-="8%5$>
*"+,-P/-01.1
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$>
*"+,-.1/-01..
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$>
*"+,-../-01..
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$>
*"+,-.0/-01.0
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$>- *"+,-.9/-01.0-JT)&"$<-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-.?/-01.9-J@53%4-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-.C/-01.9-JT)&"$<-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-.L/-01.?-J@53%4-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-.M/-01.?-JT)&"$<-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-.O/-01.C-J@53%4-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-.P/-01.C-JT)&"$<-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-01/-01.L-J@53%4-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-0./-01.L-JT)&"$<-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-00/-01.M-J@53%4-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-09/-01.M-JT)&"$<-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-0?/-01.O-J@53%4-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-0C/-01.O-JT)&"$<-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-0L/-01.P-J@53%4-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-0M/-01.P-JT)&"$<-2%%8)K
R"83$'+-"Q-S)%)'3&7-5$-63&754)&483)-'$<-I+'$$5$> *"+,-0O/-0101-J@53%4-2%%8)K
'3!-"4+,43//"6)"#4)+6%/(
63&754)&483'+-(75+"%"(7H/-F85+<5$>-&"$%)3;'45"$/-F85+<5$>-5$4)>3'4)<-3)$)#'E+)
)$)3>H-4)&7$"+">5)%/-:"$%)3;'45"$-+)<-83E'$-3)>)$)3'45"$/-N&"U7"8%5$>/
2$4)3'&45;)-'3&754)&483)/-V'$<-8%)-(+'$$5$>/-V"#-&'3E"$-5A('&4-E85+<5$>%/
T)&"$<'3H-&545)%/-T8%4'5$'E+)-'3&754)&483)/-D3E'$-)&"+">HW-D3E'$-3)$)#'+
W-D3E'$-%(3'#+/-D3E'$-%8%4'5$'E+54H-W-D3E'$-43'$%("34'45"$/-83E'$5X'45"$
,,,,,,,,,,,,,,,'$<-A'$H-A"3)
7++24'"&%"YZ4:"$435E845"$%-Q"3-"83-YF""Z-S);5)#[-%)&45"$-'3)-#)+&"A)-5$-47)-Q"3A-"Q-'-E35)Q-%8AA'3H
'$<-'-%'A(+)-"Q-47)-(8E+5&'45"$-3)+'4)<-4"-47)-Q5)+<-"Q-'3&75)&483)/-(+'$$5$>-'$<-<);)+"(A)$,
,M?4,P?BLH?4%AQM?RNB@MAD4SGHNIH4T?@BH4BM45'364/MM?J@ANBM?4:F89<:F8;
3?U4(PAHHGN43LRHJ4NB4V?NSWAHJPHBUHJPUSX
/@BO4/NRSPI4[4\'8+'$'-B5$-\87'AA'<-]'Q'5-S"'</-^'3'&75-U-M?011-I6^2T!6_
6LMAH4[4JP00.K-PP0.91CO-JP00.K-90L01MP9-,N\4[-JP00.K-PP0.91CO-`-PP0L.0CC
"RN@G4[4a3'(b$)<8)4,)<8,(Z-&3<b$)<8)4,)<8,(Z
YH]I@BH4[4.&&#FSSTTTC("?0"&C"?0C#US$%-.V#3$((/(4S67!KWA,2S/(?"XC.&'3
The Standardization of NDMP
The full specification for NDMP was submitted to the Internet Engineering Task Force (IETF) in
October 1996. Through the Internet Draft and Request For Comment (RFC) processes, the
specification will continue to evolve and gain widespread industry support.
Conclusion
*
+,
" ! - %! " " ' % !
-
.
!"
+
/0 ! 1 +-*
# $ !%&"'(
)"
%)
NDMP provides a logical partitioning of the backup activity, through a series of well-defined
interfaces that addresses the flow of file system and control data in the backup and restore process.
System and backup software vendors add a limited amount of code in their software, as defined by
!
23'
3/0%
!
Y),)20R3/-$&/*()*+)67!)8(/9"%:/&;)*+)7(4/(""%/(4)1)<"-.(*3*4;
!"#$%&'"(&)*+),%-./&"-&0%")$(?)23$((/(45
®Rootstackk Tribune
67!)8(/9"%:/&;)*+)7(4/(""%/(4)$(?)<"-.(*3*4;5
8(/9"%:/&;)A*$?5)B$%$-./KHLIHPC
<"3F)MOIKIGN)OOInGInGKnJ)^$XF)MOIKIGN)OOInGILL
TTTC("?0"&C"?0C#U
-%?p("?0"&C"?0C#U