"21,000 color illustrations. $20,000,000.00 of collectible comic books. Complete cataloging system for comic books, 1935-1965. Relative value index for 50,000 comic books. Scarcity index; relative rarity of collector's comics, many illustrations in this book are of the only copy left in existence."--Dust jacket.

Much of the material unearthed by this book is ugly, states historiographer Patricia Morton who exposes profoundly dehumanizing constructions of reality embedded in American scholarship as it has attempted to render the history of the Afro-American woman. Focusing on the scholarly literature of fact rather than on fictional or popular portrayals, Disfigured Images explores the telling--and frequent mis-telling--of the story of black women during a century of American historiography beginning in the late nineteenth century and extending to the present. Morton finds that during this period, a large body of scholarly literature was generated that presented little fact and much fiction about black women's history. The book's ten chapters take long and lingering looks at the black woman's prefabricated past. Contemporary revisionist studies with their goals of discovering and articulating the real nature of the slave woman's experience and role are thoroughly examined in the conclusion. Disfigured Images complements current work by recognizing in its findings a long-needed refutation of a caricatured, mythical version of black women's history. Morton's introduction presents an overview of her subject emphasizing the mythical, ingrained nature of the black woman's image in historiography as a natural and permanent slave. The succeeding chapters use historical and social science works as primary sources to explore such issues as the foundations of sexism-racism, the writing of W.E.B. DuBois, twentieth century notions of black women, current black and women's studies, new and old images of motherhood, and more. The conclusion investigates how and why recent American historiographical scholarship has banished the old myths by presenting a more accurate history of black women. This keenly perceptive and original study should find an influential place in both women's studies and black studies programs as well as in American history, American literature, and sociology departments. With its unusually complete panorama of the period covered it would be a unique and valuable addition to courses such as slavery, the American South, women in (North) American history, Afro-American history, race and sex in American literature and discourse, and the sociology of race.

"Analogy, Attunement, and Attention brings together a uniquely contemporary and diverse set of voices to address the complex sets of relationships that the photograph creates between its viewers and their bodies, minds, and sense of the physical and metaphysical world. This volume examines our changing relationship to space and selfhood as mediated by the lens, the print, the screen, the computer, and the multitude of networked technologies built around the image"--

ICIAR 2005, the International Conference on Image Analysis and Recognition, was the second ICIAR conference, and was held in Toronto, Canada. ICIAR is organized annually, and alternates between Europe and North America. ICIAR 2004 was held in Porto, Portugal. The idea of o?ering these conferences came as a result of discussion between researchers in Portugal and Canada to encourage collaboration and exchange, mainly between these two countries, but also with the open participation of other countries, addressing recent advances in theory, methodology and applications. TheresponsetothecallforpapersforICIAR2005wasencouraging.From295 full papers submitted, 153 were ?nally accepted (80 oral presentations, and 73 posters). The review process was carried out by the Program Committee m- bersandotherreviewers;allareexpertsinvariousimageanalysisandrecognition areas. Each paper was reviewed by at least two reviewers, and also checked by the conference co-chairs. The high quality of the papers in these proceedings is attributed ?rst to the authors,and second to the quality of the reviews provided by the experts. We would like to thank the authors for responding to our call, andwewholeheartedlythankthe reviewersfor theirexcellentwork,andfortheir timely response. It is this collective e?ort that resulted in the strong conference program and high-quality proceedings in your hands.

Collects TECH JACKET #7 & 8, TECH JACKET DIGITAL #1-3. Get ready for the new TECH JACKET ongoing series with this brand new collection-featuring the previously digital-exclusive TECH JACKET DIGITAL miniseries! An intergalactic bounty hunter comes to Earth to claim the ultimate prize: Tech Jacket!

On museum visits, we pass by beautiful, well-preserved vases from ancient Greece—but how often do we understand what the images on them depict? In Image and Myth, Luca Giuliani tells the stories behind the pictures, exploring how artists of antiquity had to determine which motifs or historical and mythic events to use to tell an underlying story while also keeping in mind the tastes and expectations of paying clients. Covering the range of Greek style and its growth between the early Archaic and Hellenistic periods, Giuliani describes the intellectual, social, and artistic contexts in which the images were created. He reveals that developments in Greek vase painting were driven as much by the times as they were by tradition—the better-known the story, the less leeway the artists had in interpreting it. As literary culture transformed from an oral tradition, in which stories were always in flux, to the stability of written texts, the images produced by artists eventually became nothing more than illustrations of canonical works. At once a work of cultural and art history, Image and Myth builds a new way of understanding the visual culture of ancient Greece.

Printed images were ubiquitous in early modern Britain, and they often convey powerful messages which are all the more important for having circulated widely at the time. Yet, by comparison with printed texts, these images have been neglected, particularly by historians to whom they ought to be of the greatest interest. This volume helps remedy this state of affairs. Complementing the online digital library of British Printed Images to 1700 (www.bpi1700.org.uk), it offers a series of essays which exemplify the many ways in which such visual material can throw light on the history of the period. Ranging from religion to politics, polemic to satire, natural science to consumer culture, the collection explores how printed images need to be read in terms of the visual syntax understood by contemporaries, their full meaning often only becoming clear when they are located in the context in which they were produced and deployed. The result is not only to illustrate the sheer richness of material of this kind, but also to underline the importance of the messages which it conveys, which often come across more strongly in visual form than through textual commentaries. With contributions from many leading exponents of the cultural history of early modern Britain, including experts on religion, politics, science and art, the book's appeal will be equally wide, demonstrating how every facet of British culture in the period can be illuminated through the study of printed images.