Contemporary Media Culture and the Remnants of a Colonial Past examines contemporary representations of colonialism, by developing a historically and culturally specific theory of neocolonialism in U.S. media culture. Noting how colonialism never officially ended in the United States, Kent A. Ono draws together race, gender, sexuality, and nation to examine neocolonialism in popular media narratives. The book asks, «What are the lingering traces within contemporary culture that provide evidence not only of what colonialism was but also of what it continues to be today?» Offering five case studies on Buffy the Vampire Slayer, the sale of the Seattle Mariners, Mighty Morphin Power Rangers, Pocahontas, and Star Trek: The Next Generation--and providing current media examples in the introduction and conclusion, the book documents the persistence of colonialism in media culture. White vigilantism, prototypical colonial rescue plots, and cloaked and not-so-hidden anxieties about racial and national miscegenation all contribute towards a continuation of colonialism and a neocolonial mind-set. The book's critical examination from a historical and cultural perspective makes it possible to alter colonialism for future generations.

Stone speaks a rich visual language of texture, colour and patter that no other material can convey. It has inspired American builders for more than three centuries, and architects continue to refer to the traditional construction methods and regional styles that connect stone structures to their natural surroundings.

This book explores the work of artists based in the global south whose practices and methods interrogate and explore the residue of Empire. In doing so, it highlights the way that contemporary art can assist in the un-forgetting of colonial violence and oppression that has been systemically minimized. The research draws from various fields including memory studies; postcolonial and decolonial strategies of resistance; activism; theories of the global south; the intersection between colonialism and the Anthropocene, as well as practice-led research methodologies in the visual arts. Told through the author’s own perspective as an artist and examining the work of Julie Gough, Yuki Kihara, Megan Cope, Yhonnie Scarce, Lisa Reihana and Karla Dickens, the book develops a number of unique theories for configuring the relationship between art and a troubled past.

This book provides the first systematic genealogy of postcolonial and decolonial practices emerging from Iberian art spaces. The title redefines Iberian Studies through a decolonial lens. It expands current debates on curating and contemporary art by exploring how cultural programming has engaged with the legacies and continuities of colonialism in contemporary European societies.

Presents a collection of black-and-white and full-coclor photographs, drawings, and paintings by a number of deaf artists in America and includes illustrations and descriptions of each selection.

Colonial legacies in knowledge production affect the way the world is represented and understood today. However, the subject is rarely attended. The book, Colonial Legacies and Contemporary Studies of China and Chineseness: Unlearning Binaries, Strategizing Self, is about the colonial construction of intellectual perspectives of the colonized population in terms of the latter's approach to China and Chineseness in the modern world. Relying on the available oral histories of senior China scholars primarily in Asia, authors from various postcolonial and colonial sites present these multiple routs of self-constitution and reconstitution through the use of China and Chineseness as category. The revealed manipulation of this third category, romantically as well as antagonistically, is easier than straightforward self-reflection for us all to accept that, coming to identities and relations, none, even subaltern, is politically innocent or capable of epistemological monopoly. Through comparative studies, it shows a way of self-understanding that does not always require discursive construction of border or cultural consumption of any specific 'other'.With US-China rivalry possibly lasting for decades, this book offers extremely rich and contrasting practices from the subaltern worlds for anyone in a quest for humanist alternatives. This interdisciplinary and transnational project contributes to post-colonial studies, cultural studies, international relations, China and Chinese studies, and the comparative histories of East Asia, Southeast Asia, and South Asia.

From the Colonial to the Contemporary explores the representation of law, images and justice in the first three colonial high courts of India at Calcutta, Bombay and Madras. It is based upon ethnographic research work and data collected from interviews with judges, lawyers, court staff, press reporters and other persons associated with the courts. Observing the courts through the in vivo, in trial and practice, the book asks questions at different registers, including the impact of the architecture of the courts, the contestation around the renaming of the high courts, the debate over the use of English versus regional languages, forms of addressing the court, the dress worn by different court actors, rules on photography, video recording, live telecasting of court proceedings, use of CCTV cameras and the alternatives to courtroom sketching, and the ceremony and ritual that exists in daily court proceedings. The three colonial high courts studied in this book share a recurring historical tension between the Indian and British notions of justice. This tension is apparent in the semiotics of the legal spaces of these courts and is transmitted through oral history as narrated by those interviewed. The contemporary understandings of these court personnel are therefore seen to have deep historical roots. In this context, the architecture and judicial iconography of the high courts helps to constitute, preserve and reinforce the ambivalent relationship that the court shares with its own contested image.

This book brings together two key themes that have not been addressed together previously in any sustained way: domestic service and colonization. Existing studies of domestic service rarely make mention of colonization, but colonization offers a rich and exciting new paradigm for analysing the phenomenon of domestic labour by non-family workers, paid and otherwise. Scholars in diverse fields and disciplines here share new and stimulating insights on the various connections between domestic employment and the processes of colonization, both past and present, in a range of original essays.

Although France has changed much in recent decades, colonial-era imagery continues to circulate widely in comics, in part because the colonial archives are easily accessible, and through the republication of colonial-era comics that are viewed as classics. The latter include the Tintin series of comic books, by the Belgian artist Herg , and the "Zig and Puce" series by Alain Saint-Ogan, a Frenchman. In this important new study Mark McKinney situates comics in debates about French colonialism, arguing that cartoonists still use representations of colonial history in their comics as a way of intervening in debates about contemporary France and its current relationships to its former colonies. McKinney argues that comics offer unique opportunities to both reproduce and thereby perpetuate colonial ideologies, images and discourses, as well as to deconstruct and contest them. The ways, and the degree to which, they do one or the other tell us a great deal about the heritage of imperialism and colonialism

Discusses the lives of major southern women authors and presents an example of the work of each.