She shows how narrative always echoes and redoubles this dramatic interenactment of “contentment and abjection,” and she explores the massive discourse of the cut, of rememberment and redress, that we always hear in narratives where blackness marks simultaneously the performance of the object and the performance of humanity. Hartman opens us to the problematics of everyday ritual, the stagedness of the violently (and sometimes amelioratively) quotidian-the essential drama of black life, as Zora Neale Hurston might say. Her extraordinary new book, Scenes of Subjection, allows us to think about this hypervisibility in relation to musical obscurity and to questions of tone and rhythm. Disability Services can be reached at looking and being looked at, spectacle and spectatorship, enjoyment and being enjoyed, moves the economy of what Saidiya V. Please notify us if you need any assistance. **Columbia University makes every effort to accommodate individuals with disabilities. The School of the Arts-Colombia University Institute for the Study of Sexuality & Gender-Columbia University Institute for Comparative Literature & Society-Columbia University Graduate School of Architecture, Planning and Preservation- Columbia University Presented in co-sponsorship Columbia University, Graduate School of Architecture, Planning and PreservationĬenter or the Study of Ethnicity & Race-Columbia Universityĭepartment of Art History & Archaeology -Columbia University Fuentes and Sarah Haley, notations with Cameron Rowland, and compositions by Torkwase Dyson. This 25th anniversary edition features a new preface by the author, a foreword by Keeanga-Yamahtta Taylor, an afterword by Marisa J. By attending to the withheld and overlooked at the margins of the historical archive, Hartman radically reshapes our understanding of history, in a work as resonant today as it was on first publication, now for a new generation of readers. In Scenes of Subjection, Saidiya Hartman’s first book, now revised and expanded-her singular talents and analytical framework turn away from the “terrible spectacle” and toward the forms of routine terror and quotidian violence characteristic of slavery, illuminating the intertwining of injury, subjugation, and selfhood even in abolitionist depictions of enslavement. Seating will be first come, first seated basis Online: Event Link sent with Registration Columbia University, Graduate School of Architecture, Planning and Preservation

Scene of subjection