Search results for ""Àmsterdam""

In the autumn of 1988 a group of Israeli women donned prayer shawls, took up the Torah, and gathered at the Wailing Wall to pray. The religious leaders of the State of Israel were appalled and proposed that the holy relics, so defiled, be burned. The Catholic Church has steadfastly refused to ordain women as priests. Examples of exclusionary practice abound in all the major religions. In the face of such attitudes and practices, how can women share fully in the spiritual wealth of which our religions are the expression? To what extent are patriarchy, androcentrism, and sexism inherent in all religious institutions? How is the women's movement linked to the age-old quest for spirituality, the search for meaning, for ultimate values, for liberation and transcendence? Ursula King believes that in recounting their own experience, women everywhere are expressing a new view of the world and a new spirituality for themselves and a response to the needs and opportunities of the age. In this book she explores the implicit and explicit demands of feminism, and discusses themes posed by women mystics, by goddess-worship in other cultures and in our own, by historical matriarchy, by feminist theology. Women and Spirituality is concerned with important issues of personal and social change, and the perspectives they open to non-violence, peace and the protection of the ecological matrix that supports our existence. It gives a wide-ranging account of women's relations with the world's religions and the spiritual dimension of human life.

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The hegemonic meaning of depression as a universal mental illness embodied by an individualized subject is propped up by psychiatry’s clinical gaze. Cinemas of Therapeutic Activism turns to the work of contemporary filmmakers who express a shared concern for mental health under global capitalism to explore how else depression can be perceived. In taking their critical visions as intercessors for thought, Adam Szymanski proposes a thoroughly relational understanding of depression attentive to eventful, collective and contingent qualities of subjectivity. What emerges is a melancholy aesthetics attuned to the existential contours and political stakes of health. Cinemas of Therapeutic Activism adventurously builds affinities across the lines of national, linguistic and cultural difference. The films of Angela Schanelec, Kelly Reichardt, Apichatpong Weerasethakul and Kanakan Balintagos are grouped together for the first time, constituting a polystylistic common front of artist-physicians who live, work, and create on the belief that life can be more liveable.

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Empire-building did not only involve the use of excessive violence against native communities, but also required the gathering of data about the native Other. This is a book about books, which looks at the writings of Western colonial administrators, company-men and map-makers who wrote about Southeast Asia in the 19th century. In the course of their information-gathering they had also framed the people of Southeast Asia in a manner that gave rise to Orientalist racial stereotypes that would be used again and again. Data-Gathering in Colonial Southeast Asia 1800-1900: Framing the Other revisits the era of colonial data-collecting to demonstrate the workings of the imperial echo chamber, and how in the discourse of 19th century colonial-capitalism data was effectively weaponized to serve the interests of Empire.

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The common saying is that people have a culture. This book argues that people live a culture – which may explain why they are so affectively attached to it. By considering cultural interactions on a global scale, this book investigates how cultures can be understood in terms of conflict and cooperation, in relation to the nation-state, a multiplicity of worlds, society, civilization and community. It considers how culture is at the basis of the construction of individual and collective selves; how they can come to be alienated; are defined in relation to others; are perhaps in-comparable; when they are considered to be dis-abled; and whether we can speak of animal cultural selves and mechanical cultural selves. Its twelve chapters consists of two parts each that both start with a piece of music. The pieces are taken from different cultures and all connote that getting to understand cultures depends on listening, first and foremost.

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The author's investigation of early-modern Javanese law reveals that judicial authority does not come from the contents of legal titles or juridical texts, but from legal maxims and variations thereof. A century and a half ago Simon Keyzer, a recognized scholar of Javanese law, noted that understanding of that law is dependent upon a grasp of such pithy expressions, which provide the key to the whole body of suits. (Preface, C.F. Winter, Javaansche Zamenspraken, 1858, which examines hundreds of sloka, the majority of which are directed to prevailing legal practice). Drawing upon the contents of 18th century Javanese legal texts, the present work builds upon Keyzer's and Winter's references to 'sloka-phenomena', namely sloka proper (maxims) and its derivatives sinalokan (that made of sloka), aksara here meaning legal principles, and prakara (matter, case). These are usually conveyed in vignettes illustrating their function and as a group, constitute the essence of traditional Javanese written law.

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Focusing on the interrelationship between Jacob van Loo's art, honor, and career, this book argues that Van Loo's lifelong success and unblemished reputation were by no means incompatible, as art historians have long assumed, with his specialization in painting nudes and his conviction for manslaughter. Van Loo's iconographic specialty - the nude - allowed his clientele to present themselves as judges of beauty and display their mastery of decorum, while his portraiture perfectly expressed his clients' social and political ambitions. Van Loo's honor explains why his success lasted a lifetime, whereas that of Rembrandt, Frans Hals, and Vermeer did not. Taking an interdisciplinary approach, this book reinterprets the manslaughter case as a sign that Van Loo's elite patrons recognized him as a gentleman and highly-esteemed artist.

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These books aim to present a synthesis of the currently available syntactic knowledge of the Hungarian language, rooted in theory but providing highly detailed descriptions, and intended to be of use to researchers, as well as advanced students of language and linguistics. As research in language leads to extensive changes in our understanding and representations of grammar, the Comprehensive Grammar Resources series intends to present the most current understanding of grammar and syntax as completely as possible in a way that will both speak to modern linguists and serve as a resource for the non-specialist.

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The radical youth movements of the 1960s and '70s gave rise to both militant political groups ranging from urban guerrilla groups to autonomist counterculture, as well as radical media, including radio, music, film, video, and television. This book is concerned with both of those tendencies considered as bifurcations of radical media ecologies in the 1970s. While some of the forms of media creativity and invention mapped here, such as militant film and video, pirate radio and guerrilla television, fit within conventional definitions of media, others, such as urban guerrilla groups and autonomous movements, do not. Nevertheless what was at stake in all these ventures was the use of available means of expression in order to produce transformative effects, and they were all in different ways responding to ideas and practices of guerrilla struggle and specifically of guerrilla media. This book examines these radical media ecologies as guerrilla networks, emphasising the proximity and inseparability of radical media and political practices.

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This volume presents a selection of the best papers presented at the forty-first annual Conference on Computer Applications and Quantitative Methods in Archaeology. The theme for the conference was "Across Space and Time", and the papers explore a multitude of topics related to that concept, including databases, the semantic Web, geographical information systems, data collection and management, and more.

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If mediatization has surprisingly revealed the secret life of inert matter and the ‘face of things’, the flipside of this has been the petrification of living organisms, an invasion of stone bodies in a state of suspended animation. Within a contemporary imaginary pervaded by new forms of animism, the paradigm of death looms large in many areas of artistic experimentation, pushing the modern body towards mineral modes of being which revive ancient myths of flesh-made-stone and the issue of the monument. Scholars in media, visual culture and the arts propose studies of bodies of stone, from actors simulating statues to the transmutation of the filmic body into a fossil; from the real treatment of the cadaver as a mineral living object to the rediscovery of materials such as wax; from the quest for a ‘thermal’ equivalence between stone and flesh to the transformation of the biomedical body into a living monument.

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In the early 1650s Ferdinand Bol produced a series of wall-covering paintings. This ‘painted chamber’ is a unique example of a branch of the art of painting which was extremely popular in the seventeenth century, although hardly any of it now remains. Bol’s ensemble has always been surrounded by mysteries. Who was the initial owner, what was the reason for its commission and how were the ceiling-high canvases originally placed? Through a combination of material-technical research and archival, stylistic, iconographic and cultural-historical investigation these questions have for the first time been given convincing answers. This book, with Bol’s unique ensemble in the lead role, is the account of an exciting (art) historical quest. The journey begins with apparently insignificant damage to the canvases and small remnants of old paint and varnish, passing via Biblical, classical and contemporary history to its eventual destination in the remarkable life of a particularly ambitious Utrecht widow. The reader becomes familiar with the religious beliefs, ideals and social ambitions of a remarkable woman, and sees close-up how, through Bol’s paintings, she was able to give literal expression to her endeavours in the turbulent Utrecht in the middle of the Golden Age.

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The Handbook of Privacy Studies is the first book in the world that brings together several disciplinary perspectives on privacy, such as the legal, ethical, medical, informatics and anthropological perspective. Privacy is in the news almost every day: mass surveillance by intelligence agencies, the use of social media data for commercial profit and political microtargeting, password hacks and identity theft, new data protection regimes, questionable reuse of medical data, and concerns about how algorithms shape the way we think and decide. This book offers interdisciplinary background information about these developments and explains how to understand and properly evaluate them.The book is set up for use in interdisciplinary educational programmes. Each chapter provides a structured analysis of the role of privacy within that discipline, its characteristics, themes and debates, as well as current challenges. Disciplinary approaches are presented in such a way that students and researchers from every scientific background can follow the argumentation and enrich their own understanding of privacy issues.

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The humanities include disciplines as diverse as literary theory, linguistics, history, film studies, theology, and philosophy. Do these various fields of study have anything in common, which distinguishes them from e.g. physics or sociology? The tripartite division between the natural sciences, the social sciences and the humanities may seem self-

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Film archives have long been dedicated to preserving movies, and they've been nimble in recent years in adapting to the changing formats and technologies through which cinema is now created and presented. This collection makes the case for a further step: the need to see media technologies themselves as objects of conservation, restoration, presentation, and research, in both film archives and film studies. Contributors with a wide range of expertise in the film and media world consider the practical and theoretical challenges posed by such conservation efforts and consider their potential to generate productive new possibilities in research and education in the field.

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A pioneering figure in film studies, Christian Metz proposed countless new concepts for reflecting on cinema, rooted in his phenomenological structuralism. He also played a key role in establishing film studies as a scholarly discipline, making major contributions to its institutionalisation in universities worldwide. This book brings together a stellar roster of contributors to present a close analysis of Metz's writings, their theoretical and epistemological positions, and their ongoing influence today.

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"New...has written an untraditional book, for it approaches Canadian literature in a novel fashion, includes a whole new aspect of the national written record, places books in a supplementary chronological table...that relates them to international social and cultural events and movements, and assumes both the general reader and the scholar as its user."—Choice

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How has the Hotchkiss School managed to accommodate a hundred years of unprecedented change—a century during which horse-and-buggy trails have become less familiar than the fiery trails of space-bound vehicles, and Victorian propriety has yielded to unabashed self-expression? The short answer—carefully; certainly not without considerable tension and the constant need to mediate between the forces of tradition and innovation. Oh yes, also by following the golden rule: do not disturb the cherished memories of alumni—and, more recently, of alumnae as well.

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Rarely exhibited and in superb condition, the watercolor collection in the Fitzwilliam Museum, Cambridge is one of the finest in the world. This book contains the gems of that collection—approximately 150, all of them reproduced large and in color, mostly for the first time. The most famous artists of this, the 'Golden Age' of British watercolor art, are all represented (Turner, Cotman, DeWint, Cox, Cozens, Girtin, Palmer, Constable, Ruskin, Sandby, Towne, Varley) together with some less well known, or better known for work in other media—Wilson, Wright of Derby, Romney, Gainsborough, Holland, for example. But the collection is most remarkable for the outstanding quality of the individual paintings, and Jane Munro (Senior Assistant Keeper at the Museum) emphasizes this in a text that closely examines each particular work and locates it in the artist's career.

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The Royal Botanic Gardens at Kew, rich in architectural and horticultural treasures, are among the most beloved of the world's gardens. Each year more than a million visitors explore the grounds and the greenhouses, seeking the beauty, the peace, the knowledge that this living laboratory and pleasure garden can give. One of the great attractions of Kew is the air of permanence that comes in large part from those architectural features that have survived the centuries, creating an oasis in a sea of change. James Bartholomew, a young Scottish-American, is perhaps the ideal photographer for Kew. At once self-taught and classic in his approach, he has spent three years compiling this timeless portrait. His photographs are carefully composed still-lifes, perceptive studies of historic buildings: the 1848 Palm House (now dismantled for restoration), the Temperate House, the splendid Pagoda. And of great trees: the whorled branches of a Norfolk Island pine, the roots of the beech at Rock Walk in Kew's Wakehurst Place gardens. Bartholomew uses Ansel Adams' Zone System for analyzing tonal range, and his photographs partake of the clarity and faithfulness of Adams' own. The Magic of Kew is an extraordinary folio of 100 beautifully realized images, bringing to us the famous and the little known in Kew, revealing a wealth of architectural detail as well as the nobility of trees and landscapes that have delighted generations of visitors. And now many of these images serve as memorials to great and ancient trees that are no more, trees destroyed by the terrible hurricane that so ravaged Kew in October of 1987. James Bartholomew was born in New York in 1960. He studied at the Parsons School of Design and at the New School for Social Research, and settled in England in 1984. His photographs have been exhibited in both the United States and in England.

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English artists have made a unique contribution to the art of watercolor painting. In no other Western country has this very attractive medium been used so consistently, or for works of such stature, as in England between 1750 and the present day. In this general survey of the whole period, Graham Reynolds, formerly Keeper of Paintings and of Prints and Drawings at the Victoria & Albert Museum, discusses the paintings of over 100 artists including the well-known watercolorists such as Cozens, Girtin, Cotman and De Wint, as well as artists who are equally known for their work in other media - Gainsborough, Turner, Constable, Sargent, Henry Moore. The 140 illustrations, 64 in color, show the work of these and lesser-known artists and reveal the versatility of this medium, so the reader will be introduced to its use for illustrative caricature and portraiture as well as to the finest examples of traditional landscape watercolors.

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This intense yet panoramic novel is based on an actual episode during the battle of Wagram, in Austria, as it appears in the diary of one of Napoleons generals: two cavalry regiments that did their best to annihilate each other before the gates of Vienna in 1809 belonged to the Prince of SaxeTeschen, and on his orders fought on opposing sides. Re-baptized SaxeSalza in the novel, the Prince, on the eve of the battle, transfers his wife's young lover from his own unit to the other regiment, so that he may kill and be killed by his brothers-in-arms. But long before that climactic moment, against the backdrop of the French Revolution, the fortunes of the Hapsburgs and the conquests of Napoleon, an exalting and terrifying love has engulfed Clemence of Saxe-Salza and Otto Apfelgrun. Diplomacy, court intrigue, the marching and countermarching of marvelously uniformed and accoutered toy soldiers, explodes in sudden carnage, and the love of Clemence and Otto is buried beneath a hundred thousand of the dying and the dead.

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This collection departs from the observation that online forms of communication—the email, blog, text message, tweet—are actually haunted by old epistolary forms: the letter and the diary. By examining the omnipresence of writing across a variety of media, the collection adds the category of Epistolary Screens to genres of self-expression, both literary (letters, diaries, auto-biographies) and screenic (romance dramas, intercultural cinema, essay films, artists’ videos and online media). The category Epistolary encapsulates an increasingly paradoxical relation between writing and the self: first, it describes selves that are written in graphic detail via letters, diaries, blogs, texts, emails and tweets; second, it acknowledges that absence complicates communication, bringing people together in an entangled rather than ordered way. The collection concerns itself with the changing visual/textual texture of screen media and examines what is at stake for our understanding of self-expression when it takes Epistolary forms.

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This book situates Alfred the Great in his hagiographic context. For 150 years, the fables told in the ninth century about Alfred’s childhood have posed interlocking disciplinary challenges to historians committed to evicting romance from history. Blending current Hagiography Studies with historical, literary, and biblical hermeneutics can help us forgo the anti-hagiographic commitments which motivated the scholars who purified the Victorian cult of Alfred by expunging his legends and salvaging his historicity. The book focusses on the typological functions of three Alfredian fables from the Old English Chronicle, the Old English Boethius, and Asser’s Vita Ælfredi, analyses the plot common to all three, critiques the psychological conjecture that Alfred’s childhood memory was their common source, and shows that synoptically they can help us see how Alfred shaped the curve of his own life’s destiny and how he engaged in the formation of his own cult to last a thousand years.

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By almost any measure Bernardino Barbatelli, called Poccetti, was a successful and sought after painter in late sixteenth-century Florence, but his works have remained largely overlooked. This study situates representative examples of his religious painting within their respective contexts to demonstrate how Poccetti and his patrons negotiated the increasingly fraught terrain of sacred painting in the period of religious reform. These case studies demonstrate how patrons ranging from the Dominicans to the Carthusians to prominent Florentine patricians relied on Poccetti’s skill in creating compelling narratives that reflected current concerns within the Catholic world. In the process, Poccetti invoked an august Florentine tradition of fresco painting, shaping it to better address the demands placed on religious imagery at the end of the Renaissance.

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Drawing on hundreds of newly released judicial archives and court cases, this book analyzes the communist judicial system in China from its founding period to the death of Mao Zedong. It argues that the communist judicial system was built when the CCP was engaged in a life-or-death struggle with the GMD, meaning that the overriding aim of the judicial system was, from the outset, to safeguard the Party against both internal and external adversaries. This fundamental insecurity and perennial fear of loss of power obsessed the Party throughout the era of Mao and beyond, prompting it to launch numerous political campaigns, which forced communist judicial cadres to choose between upholding basic legal norms and maintaining Party order. In doing all of this, The Communist Judicial System in China, 1927-1976: Building on Fear fills a major lacuna in our understanding of communist-era China.

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Between the fifteenth and the eighteenth century, princely courts dominated the Italian political scene. These courts were effervescent centers of cultural production. As such, they became a model for European monarchies who imported Italian courtly forma del vivere (‘style of life’) to legitimize their power and to define social status. This phenomenon included architecture and painting, theater and music, manners and aesthetics, and all the objects, behaviors and beliefs that contributed to homogenize European culture in the age of the Old Regime. It involved a hemorrhage of art and a continuous circulation of people, texts and symbols. The foundational material for this process was classicism and its purpose was political. This delineates a new geography and chronology of a truly European cultural history. It also provides the key traits for the European cultural identity.

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Women Filmmakers in Sinophone World Cinema portrays a group of important contemporary women filmmakers working across the Sinophone world including Taiwan, Hong Kong, mainland China, and beyond. The book delineates and conceptualizes their cinematic and trans-media practices within an evolving, multifaceted feminist intimate-public commons. The films by these experienced and emerging filmmakers, including Huang Yu-shan, Yau Ching, Ai Xiaoming, Wen Hui, Huang Ji and others, represent some of the most innovative and socially engaged work in both fictional and non-fictional modes in Chinese-language cinema as well as global women’s cinema. Their narrative, documentary, and experimental film practices from the 1980s to the present, along with their work in sister media such as dance, theater, literature, and contemporary art, their activities as scholars, educators, activists, and film festival organizers or jurors, have significantly reshaped the landscape of Sinophone film culture and expanded the borders of world cinema.

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Diaspora transformed the urban terrain of colonial societies, creating polyglot worlds out of neighborhoods, workplaces, recreational clubs, and public spheres. It was within these spaces that communities reimagined and reshaped their public identities vis-à-vis emerging government policies and perceptions from other communities. Through a century of Macanese activities in British Hong Kong, The Macanese Diaspora in British Hong Kong: A Century of Transimperial Drifting explores how mixed-race diasporic communities survived within unequal, racialized, and biased systems beyond the colonizer-colonized dichotomy. Originating from Portuguese Macau yet living outside the control of the empire, the Macanese freely associated with more than one identity and pledged allegiance to multiple communal, political, and civic affiliations. They drew on colorful imaginations of the Portuguese and British empires in responding to a spectrum of changes encompassing Macau’s woes, Hong Kong’s injustice, Portugal’s political transitions, global developments in print culture, and the rise of new nationalisms during the inter-war period.

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Our understanding of human evolution is proceeding at an unprecedented rate over the last years due to spectacular fossil finds, reconstructions based on genome comparison, ancient DNA sequencing and new insights into developmental genetics. This book takes an integrative approach in which the development of the human embryo, the evolutionary history of our body, the structure of human populations, their dispersal over the world and their cultures are examined by integrating paleoanthropology, developmental biology, comparative zoology, population genetics and phylogenetic reconstruction. The authors discuss questions like: - What do we know about ancient humans? - What happens in the development of an embryo? - How did we manage to walk upright and why did we lose our hair? - What is the relationship between language, migration and evolution? - How does our body respond to the challenges of modern society? In addition to being a core text for the study of the life sciences, 'Human Evolution and Development' is an easy-to-read overview for the interested layperson.

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The Eco-Self in Early Modern English Literature tracks an important shift in early modern conceptions of selfhood, arguing that the period hosted the birth of a new subset of the human, the eco-self, which melds a deeply introspective turn with an abiding sense of humans’ embedment in the world. A confluence of cultural factors produced the relevant changes. Of paramount significance was the rapid spread of literacy in England and across Europe: reading transformed the relationship between self and world, retooled moral reasoning, and even altered human anatomy. This book pursues the salutary possibilities, including the ecological benefits, of this redesigned self by advancing fresh readings of texts by William Shakespeare, Christopher Marlowe, John Webster, and Margaret Cavendish. The eco-self offers certain refinements to ecological theory by renewing appreciation for the rational, deliberative functions that distinguish humans from other species.

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While scholars have theorized major film festivals, they have ignored smaller, ephemeral, events. In taking seriously minor European and North-American LGBTQ festivals which often only exist as traces within archival collections, this book revisits festival studies' methodological and theoretical apparatuses. As the first 'critique' of festival studies from within, LGBTQ Film Festivals argues that both festivals and queer film cultures are by definition ephemeral. The book is organized around two concepts: First, 'critical festival studies' examines the political project and disciplinary assumptions that structure festival research. Second, 'the festival as a method' pays attention to festivals' role as producers of knowledge: it argues that festivals are not mere objects of research but also actors already shaping academic, industrial, and popular cinematic knowledge. Drawing on the author's experience on the festival circuit, this book pays homage to the labour of queer organizers, critics, and scholars and opens up new avenues for festival research.

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In the ongoing aftermath of the nuclear accident in 2011, filmmakers have continued to issue warnings about the state of Japanese society and politics, which remain mired in refusal to change. Nearly a decade in the making, Japanese Filmmakers in the Wake of Fukushima is based on in-person interviews with countless filmmakers, as well as continuous dialogue with them and their work. Author Wada-Marciano has expanded these dialogues to include students, audiences at screenings, critics, and researchers, and her observations are based on down-to-earth-exchange of ideas engaged in over a long period of time. Filmmakers and artists are in the vanguard of those who grapple with what should be done regarding the struggle against fear of the invisible blight—radiation exposure. Rather than blindly following the mass media and public opinion, they have chosen to think and act independently. While repeatedly viewing and reviewing the film works from the post-Fukushima period, Wada-Marciano felt the unwavering message that emanates from them: “There must be no more nuclear weapons.” “There must be no more nuclear power generation.” The book is dedicated to convincing readers of the clarity of their message.

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This volume assembles texts dedicated to the linguistic and educational aspects of missionary and colonial enterprises, taking into account all continents and with an extended diachronic perspective (15th–20th centuries). Strictly speaking, this “linguistics” is contemporary to the colonial era, so it is primarily the work of missionaries of Catholic orders and Protestant societies. It can also belong to a retrospective outlook, following decolonization. In the first category, one mostly finds transcription, translation, and grammatization practices (typically, the production of dictionaries and grammar books). In the second category, one finds in addition descriptions of language use, of situations of diglossia, and of contact between languages. Within this framework, the volume focuses on educational and linguistic policies, language teaching and learning, and the didactics that were associated with them.

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The importance of place – as a unique spatial identity – has been recognized since antiquity. Ancient references to the 'genius loci', or spirit of place, evoked not only the location of a distinct atmosphere or environment, but also the protection of this location, and implicitly, its making and construction. This volume examines the concept of place as it relates to architectural production and building knowledge in early modern Europe (1400-1800). The places explored in the book's ten essays take various forms, from an individual dwelling to a cohesive urban development to an extensive political territory. Within the scope of each study, the authors draw on primary source documents and original research to demonstrate the distinctive features of a given architectural place, and how these are related to a geographic location, social circumstances, and the contributions of individual practitioners. The essays underscore the distinct techniques, practices and organizational structures by which physical places were made in the early modern period.

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Hands on Film is a comprehensive study of the representations and on-screen uses of the human limb, spanning the history of the cinema from its birth to contemporary times. It examines how filmmakers have framed the hand for a variety of effects, from stylistic to thematic, and for the development of characterisation and narrative. The book offers insights into how films have created meaning by focusing on that part of the anatomy and, in turn, proposes a variety of ways in which its on-screen appearances might shed light on what it means to be sentient, cultured, and creative beings in the world.

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The project of European integration has undergone a succession of shocks, beginning with the Eurozone crisis, followed by reactions to the sudden growth of irregular migration, and, most recently, the coronavirus pandemic. These shocks have politicised questions related to the governance of borders and markets that for decades had been beyond the realm of contestation. For some time, these questions have been spilling over into domestic and European electoral politics, with the rise of “populist” and Eurosceptic parties. Increasingly, however, the crises have begun to reshape the liberal narratives that have been central to the European project. This book charts the rise of contestation over the meaning of “Europe”, particularly in light of the coronavirus crisis and Brexit. Drawing together cutting edge, interdisciplinary scholarship from across the continent, it questions not merely the traditional conflict between European and nationalist politics, but the impact of contestation on the assumed “cosmopolitan” values of Europe.

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After the First World War, the effects of financial crisis could be felt in all corners of the newly formed Weimar Republic. The newly interconnected world economy was barely understood and yet it was increasingly made visible in the films of the time. The complexities of this system were reflected on screen to both the everyday spectator as well as a new class of financial workers who looked to popular depictions of speculation and crisis to make sense of their own place on the shifting ground of modern life. Finance and the World Economy in Weimar Cinema turns to the many underexamined depictions of finance capital that appear in the films of 1920s Germany. The representation of finance capital in these films is essential to our understanding of the culture of the Weimar Republic – particularly in the relation between finance and ideas of gender, nation and modernity. As visual records, these films reveal the stock exchange as a key space of modernity and coincide with the abstraction of finance as a vast labour of representation in its own right. In so doing, they introduce core visual tropes that have become essential to our understanding of finance and capitalism throughout the twentieth century.

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Centered on moral critiques of wealth and the unequal distribution of risks and rewards in the lengthy voyages required by the East Indies trade, this book examines the debates surrounding England’s earliest global trading ventures. Arguments over the staggering loss of lives and national resources and struggles over control of the new trade in luxuries reveal the forging of rationales justifying the new capitalist inequalities. Yet Company servants traveling abroad to conduct the risky trade resisted this newly coalescing social formation through strategic disobedience to their masters’ will, controlling information and promoting ignorance when it served their financial and sexual purposes. Conflicting Claims to East India Company Wealth, 1600–1650 interrogates the forces that shaped England’s earliest forays into capitalist imperialism by tracing the battles over corporate control of men’s finances, marriages, and bare survival at the dawn of its global trade.

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The Fame of Sor Juana Inés de la Cruz traces the meteoric trajectory of the Mexican Tenth Muse’s renown and studies how her worldly celebrity was altered posthumously by elegists in her Fama y obras póstumas [Fame and Posthumous Works] of 1700. In this study of a polyphonic, transatlantic volume, the didactic framework of early modern fame is pushed to its limits as panegyrists inscribe the nun into an evolving world-view that could trade in the fictions of the saintly exemplar, the Tenth Muse or a New World treasure, but could not preserve a woman’s renown on the grounds of authorship. Only by making her legible could she vie for the promise of posthumous fame. In flushing out the machinations of Sor Juana’s role as agent of her own celebrity as well as the negotiations of her contemporaries, this book opens new lines of inquiry in the study of early modern fame and print culture and the role of writers, panegyrists and editors as cultural agents in the transatlantic literary relationship between Mexico and Spain.

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This book explores what’s happening to ways of seeing urban spaces in the contemporary moment, when so many of the technologies through which cities are visualised are digital. Cities have always been pictured, in many media and for many different purposes. This edited collection explores how that picturing is changing in an era of digital visual culture. Analogue visual technologies like film cameras were understood as creating some sort of a trace of the real city. Digital visual technologies, in contrast, harvest and process digital data to create images that are constantly refreshed, modified and circulated. Each of the chapters in this volume examines a different example of how this processual visuality is reconfiguring the spatial and temporal organisation of urban life.

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Genevra Sforza (ca. 1441-1507) lived her long life near the apex of Italian Renaissance society as wife of two successive de facto rulers of Bologna: Sante Bentivoglio then Giovanni II Bentivoglio. Placed there twice without a dowry by Duke Francesco Sforza as part of a larger Milanese plan, Genevra served the Bentivoglio by fulfilling the gendered role demanded of her by society, most notably by contributing eighteen children, accepting many illegitimates born to Giovanni II, and helping arrange their futures for the success of the family at large. Based on contemporary archival research conducted across Italy, this biography presents Genevra as the object of academic study for the first time. The book also explores how Genevra’s life-story, filled with a multitude of successes appropriate for an elite fifteenth-century female, has been transformed into a farraginous body of misogynistic legends claiming she destroyed the Bentivoglio and the city of Bologna.

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"So you're the one getting this gift? Lucky you! Someone who knows you has visited the museum. They searched out things they thought you would care about, and they took photos and left messages for you." This is the welcoming message for the Gift app, designed to create a very personal museum visit. Hybrid Museum Experiences use new technologies to augment, expand or alter the physical experience of visiting the museum. They are designed to be experienced in close relation to the physical space and exhibit. In this book we discuss three forms of hybridity in museum experiences: Incorporating the digital and the physical, creating social, yet personal and intimate experiences, and exploring ways to balance visitor participation and museum curation. This book reports on a 3-year cross-disciplinary research project in which artists, design researchers and museum professionals have collaborated to create technology-mediated experiences that merge with the museum environment.

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In the 21st century, governments around the globe are faced with the question on how to tackle new migratory mobilities. Governments increasingly become aware of irregular immigration and are forced to re-negotiate the dilemma of open but secure borders. Rethinking Authority in China’s Border Regime: Regulating the Irregular investigates the Chinese government’s response to this phenomenon. Hence, this book presents a comprehensive analysis of the Chinese border regime. It explores the regulatory framework of border mobility in China by analysing laws, institutions, and discourses as part of an ethnographic border regime analysis. It argues that the Chinese state deliberately creates ‘zones of exception’ along its border. In these zones, local governments function as ‘scalar managers’ that establish cross-border relations to facilitate cross-border mobility and create local migration systems that build on their own notion of legality by issuing locally valid border documents. The book presents an empirically rich story of how border politics are implemented and theoretically contributes to debates on territoriality and sovereignty as well as to the question of how authority is exerted through border management. Empirically, the analysis builds on two case studies at the Sino-Myanmar and Sino-North Korean borders to illustrate how local practices are embedded in multiscalar mobility regulation including regional organizations such as the Greater Mekong Subregion and the Greater Tumen Initiative.

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The narrative of the birth of internet culture often focuses on the achievements of American entrepreneurs in Silicon Valley, but there is an alternative history of internet pioneers in Europe who developed their own model of network culture in the early 1990s. Drawing from their experiences in the leftist and anarchist movements of the ’80s, they built DIY networks that give us a glimpse into what internet culture could have been if it were in the hands of squatters, hackers, punks, artists, and activists. In the Dutch scene, the early internet was intimately tied to the aesthetics and politics of squatting. Untethered from profit motives, these artists and activists aimed to create a decentralized tool that would democratize culture and promote open and free exchange of information.

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