Explores the Safavid and Ottoman empires through the lens of gifts. When the Safavid dynasty, founded in 1501, built a state that championed Iranian identity and Twelver Shi'ism, it prompted the more established Ottoman Empire to align itself definitively with Sunni legalism. The political, religious, and military conflicts that arose have since been widely studied, but little attention has been paid to their diplomatic relationship. Sinem Arcak Casale here sets out to explore these two major Muslim empires through a surprising lens: gifts. Countless treasures—such as intricate carpets, gilded silver cups, and ivory-tusk knives—flowed from the Safavid to the Ottoman Empire throughout the sixteenth century. While only a handful now survive, records of these gifts exist in court chronicles, treasury records, poems, epistolary documents, ambassadorial reports, and travel narratives. Tracing this elaborate archive, Casale treats gifts as representative of the complicated Ottoman-Safavid coexistence, demonstrating how their rivalry was shaped as much by culture and aesthetics as it was by religious or military conflict. Gifts in the Age of Empire explores how gifts were no mere accessories to diplomacy but functioned as a mechanism of competitive interaction between these early modern Muslim courts.

This newly updated and improved edition of Bonnie G. Smith's classic textbook provides the most authoritative history available of Europe in a global context during the 20th and 21st centuries. It cleverly incorporates elements of political, social, cultural, economic and intellectual history and presents an integrated history with detailed coverage right across the continent. Including 131 images and 23 maps, Europe in the Contemporary World: 1900 to the Present is organized around key themes within a chronological chapter structure that is easy to follow. Smith's balanced treatment of the subject allows for a comprehensive assessment of the positive and negative developments in European history over the period, as well as the wider impact of this in the world at large. The book also includes picture essays and document sections, which provide variety and foreground the importance of primary sources, and useful end-of-chapter further readings for students who wish to investigate specific topics in greater depth. The enhanced 2nd edition contains: * A new chapter on the 21st-century issues that have challenged and continue to challenge Europe * More material on globalization, the end of the Cold War, European countercultures and various other topics * Historiographic updates throughout Europe in the Contemporary World: 1900 to the Present is the definitive guide to Europe and its place in the world since 1900 for students and scholars alike.

A Companion to the Flavian Age of Imperial Rome provides asystematic and comprehensive examination of the political,economic, social, and cultural nuances of the Flavian Age(69–96 CE). Includes contributions from over two dozen Classical Studiesscholars organized into six thematic sections Illustrates how economic, social, and cultural forcesinteracted to create a variety of social worlds within a compositeRoman empire Concludes with a series of appendices that provide detailedchronological and demographic information and an extensive glossaryof terms Examines the Flavian Age more broadly and inclusively than everbefore incorporating coverage of often neglected groups, such aswomen and non-Romans within the Empire

This book tells the story of HMS New Zealand, a battlecruiser paid for by the government of New Zealand at the height of its pro-Imperial ‘jingo’ era in 1909, when Britain’s ally Japan was perceived as a threat in Australasia and the Pacific. Born of the collision between New Zealand’s patriotic dreams and European politics, the tale of HMS New Zealand is further wrapped in the turbulent power-plays at the Admiralty in the years leading up to the First World War. The ship went on to have a distinguished First World War career, when she was present in all three major naval battles – Heligoland, Dogger Bank and Jutland – in the North Sea. The book ‘busts’ many of the myths associated with the ship and her construction, including the intent of the gift, New Zealand’s ability to pay, deployment, and the story behind the piupiu (skirt) and tiki (pendant) that, the crew believed, bestowed special protection upon the vessel. All is inter-woven with the human and social context to create a ‘biography’ of the ship as an expression of human endeavour, in significantly more detail than any of the summaries available in prior accounts. Extensively illustrated, this is a book with appeal to a wide audience, from naval enthusiasts and historians to the general reader with a wider interest in the story of Empire. The use of archival material available only in New Zealand, including the Ship’s Book, adds a dimension and novelty not previously included in histories of this great battlecruiser.

Many have viewed Kaiser Wilhelm II as having personally ruled Germany, dominating its politics, and choreographing its ambitious leap to global power. But how accurate is this picture? As The Kaiser and the Colonies shows, Wilhelm II was a constitutional monarch like many other crowned heads of Europe. Rather than an expression of Wilhelm II's personal rule, Germany's global empire and its Weltpolitik had their origins in the political and economic changes undergone by the nation as German commerce and industry strained to globalise alongside other European nations. More central to Germany's imperial processes than an emperor who reigned but did not rule were the numerous monarchs around the world with whom the German Empire came into contact. In Africa, Asia, and the Pacific, kings, sultans and other paramount leaders both resisted and accommodated Germany's ambitions as they charted their own course through the era of European imperialism. The result was often violent suppression, but also complex diplomatic negotiation, attempts at manipulation, and even mutual cooperation. In vivid detail drawn from archival holdings, The Kaiser and the Colonies examines the surprisingly muted role played by Wilhelm II in the German Empire and contrasts it to the lively, varied, and innovative responses to German imperialism from monarchs around the world.

Winner of the American Association for Italian Studies Book Prize A new history explores how one of Renaissance Italy’s leading cities maintained its influence in an era of global exploration, trade, and empire. The Grand Duchy of Tuscany was not an imperial power, but it did harbor global ambitions. After abortive attempts at overseas colonization and direct commercial expansion, as Brian Brege shows, Tuscany followed a different path, one that allowed it to participate in Europe’s new age of empire without establishing an empire of its own. The first history of its kind, Tuscany in the Age of Empire offers a fresh appraisal of one of the foremost cities of the Italian Renaissance, as it sought knowledge, fortune, and power throughout Asia, the Americas, and beyond. How did Tuscany, which could not compete directly with the growing empires of other European states, establish a global presence? First, Brege shows, Tuscany partnered with larger European powers. The duchy sought to obtain trade rights within their empires and even manage portions of other states’ overseas territories. Second, Tuscans invested in cultural, intellectual, and commercial institutions at home, which attracted the knowledge and wealth generated by Europe’s imperial expansions. Finally, Tuscans built effective coalitions with other regional powers in the Mediterranean and the Islamic world, which secured the duchy’s access to global products and empowered the Tuscan monarchy in foreign affairs. These strategies allowed Tuscany to punch well above its weight in a world where power was equated with the sort of imperial possessions it lacked. By finding areas of common interest with stronger neighbors and forming alliances with other marginal polities, a small state was able to protect its own security while carving out a space as a diplomatic and intellectual hub in a globalizing Europe.

Global Gifts considers the role that the circulation of material culture played in the establishment of early modern global diplomacy.

The Late Byzantine period (1261–1453) is marked by a paradoxical discrepancy between economic weakness and cultural strength. The apparent enigma can be resolved by recognizing that later Byzantine diplomatic strategies, despite or because of diminishing political advantage, relied on an increasingly desirable cultural and artistic heritage. This book reassesses the role of the visual arts in this era by examining the imperial image and the gift as reconceived in the final two centuries of the Byzantine Empire. In particular it traces a series of luxury objects created specifically for diplomatic exchange with such courts as Genoa, Paris and Moscow alongside key examples of imperial imagery and ritual. By questioning how political decline refigured the visual culture of empire, Cecily J. Hilsdale offers a more nuanced and dynamic account of medieval cultural exchange that considers the temporal dimensions of power and the changing fates of empires.

Uses political practices and a socially-oriented approach to explain imperial formation under the Qajars in early nineteenth-century Iran.

Imperial Manchu support and patronage of Buddhism, particularly in Mongolia and Tibet, has often been dismissed as cynical political manipulation. Empire of Emptiness questions this generalization by taking a fresh look at the huge outpouring of Buddhist painting, sculpture, and decorative arts Qing court artists produced for distribution throughout the empire. It examines some of the Buddhist underpinnings of the Qing view of rulership and shows just how central images were in the carefully reasoned rhetoric the court directed toward its Buddhist allies in inner Asia. The multilingual, culturally fluid Qing emperors put an extraordinary range of visual styles into practice--Chinese, Tibetan, Nepalese, and even the European Baroque brought to the court by Jesuit artists. Their pictorial, sculptural, and architectural projects escape easy analysis and raise questions about the difference between verbal and pictorial description, the ways in which overt and covert meaning could be embedded in images through juxtaposition and collage, and the collection and criticism of paintings and calligraphy that were intended as supports for practice and not initially as works of art.