In Unseeing Empire Bakirathi Mani examines how empire continues to haunt South Asian American visual cultures. Weaving close readings of fine art together with archival research and ethnographic fieldwork at museums and galleries across South Asia and North America, Mani outlines the visual and affective relationships between South Asian diasporic artists, their photographic work, and their viewers. She notes that the desire for South Asian Americans to see visual representations of themselves is rooted in the use of photography as a form of colonial documentation and surveillance. She examines fine art photography by South Asian diasporic artists who employ aesthetic strategies such as duplication and alteration that run counter to viewers' demands for greater visibility. These works fail to deliver on viewers' desires to see themselves, producing instead feelings of alienation, estrangement, and loss. These feelings, Mani contends, allow viewers to question their own visibility as South Asian Americans in U.S. public culture and to reflect on their desires to be represented.

How have modern Jews appropriated traditional aspects of their culture and religion to sustain them in the modern world? Twenty-one distinguished scholars address this question by drawing on a range of disciplines: social and cultural history, ethnography, folklore, sociology, educational theory, and rabbinics. They examine Jewish communities from Russia to North Africa, from Israel to the United States. Among the subjects they explore are Jewish art, holiday practices, feminist ceremonies, adult education, and religious movements in Israel.

The Uses of Tradition demonstrates the persistence of tradition and the limits to continuity. It asks: How extensively can tradition be reinterpreted before it is subverted? At what point is creative reinvention an act of betrayal? How effectively can selective borrowing from tradition sustain a religious community?