Perception and representation of newcomers and immigrants The topic of migration has become particularly contentious in national and international debates. Media have a discernable impact on overall societal attitudes towards this phenomenon. Polls show time and again that immigration is one of the most important issues occupying people’s minds. This book examines the dynamic interplay between media representations of migrants and refugees on the one hand and the governmental and societal (re)actions to these on the other. Largely focusing on Belgium and Sweden, this collection of interdisciplinary research essays attempts to unravel the determinants of people’s preferences regarding migration policy, expectations towards newcomers, and economic, humanitarian and cultural concerns about immigration’s effect on the majority population’s life. Whilst migrants and refugees remain voiceless and highly underrepresented in the legacy media, this volume allows their voices to be heard. Contributors: Leen d’Haenens (KU Leuven), Willem Joris (KU Leuven), Paul Puschmann (KU Leuven/Radboud University Nijmegen), Ebba Sundin (Halmstad University), David De Coninck (KU Leuven), Rozane De Cock (KU Leuven), Valériane Mistiaen (Université libre de Bruxelles), Lutgard Lams (KU Leuven), Stefan Mertens (KU Leuven), Olivier Standaert (UC Louvain), Hanne Vandenberghe (KU Leuven), Koen Matthijs (KU Leuven), Kevin Smets (Vrije Universiteit Brussel), Jacinthe Mazzocchetti (UC Louvain), Lorraine Gerstmans (UC Louvain), Lien Mostmans (Vrije Universiteit Brussel), and François Heinderyckx (Université libre de Bruxelles) Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content). With thanks to the funding provided by Belspo (Belgian Science Policy Office), as part of the framework programme BRAIN-be (Belgian Research Action Through Interdisciplinary Networks), contract nr BR/165/A4/IM2MEDIATE.

Campt explores the affective resonances of two archives of Black European photographs for those pictured, their families, and the community. Image Matters looks at photograph collections of four Black German families taken between 1900 and the end of World War II and a set of portraits of Afro-Caribbean migrants to Britain taken at a photographic studio in Birmingham between 1948 and 1960.

For many Westerners, Eastern Europe is about as appealing as a deodorant-free French armpit. That didn't scare Francis Tapon because not only did he learn how to rough it by walking across America four times, but he is also half French, so he kind of smells too. Francis spent nearly 3 years travelling and backpacking in 25 Eastern European countries. It started with a 5-month trip in 2004. He returned in 2008 to spend 3 years exploring all the countries again. The Hidden Europe is Book Two of the WanderLearn Series.

"This is an important collection and starting point for the worthy goal of promoting a better understanding of the past that makes it less able to be manipulated for contemporary political and religious aims...Compiled out of the European past, its aim of a better understanding of traditional values ought to be useful for contemporary cultures and for the work of scholars of all cultures and continents." - Renaissance Quarterly In the last decade or so, many books have been devoted to the history of Europe.Two conceptual axes predominate in a large number of these accounts: a discourse focusing on Europe's values, and another discourse, fashioned largely in opposition to the first, which emphasizes the process of European "construction." The first conceives of Europe's past teleologically, as a process by which certain values (Christian ethics, individualism, capitalism, tolerance, republicanism, due process, etc.) were affirmed and came to define European culture. The second approach rejects the discourse on values emphasizes the post-Enlightenment emergence of the concept of Europe, and the political and ideological implications in its continuous redefinitions (and re elaborations) during the past two or more centuries. This volume offers new approaches that integrate the long temporal dimension of the values-based approach, albeit devoid of its teleological element, with the "constructivist" interpretation.

The authors of this research collection are not so much interested in what Europe thinks of itself, but rather what others think of it. They take a number of scenarios from recent history and examine how Europe has appeared to people in other parts of the world: America, China, the Arab world, for example.

Presents an astonishing view of the continent's flora and fauna and reveals the wildlife and landscapes of all 48 European countries. With a focus on conservation and reintroducing vulnerable species to their natural habitats, the accompanying texts express hope for the future of European biodiversity.

thevolume represents a significant contribution to the complex history of the conceptualization and pictorialization of the Prophet Muhammad in the West. It gives a rapid and though deep overview of the history of the making of an image of the Prophet Muhammad in Europe and thus reflects the whole history of the making of the image of Islam in the Latin West, from the early medieval times till the 19th century. The book also provides the reader with ready access to the most recent scholarship concerning the image of Muhammad in Europe, in the form of comprehensive footnotes provided throughout the text and an extensive bibliography.

Originally published under the title: God and goddesses of Old Europe, 7000-3500 B.C.

Structured around in-depth and interconnected case studies and driven by a methodology of material, contextual, and iconographic analysis, this book argues that early European single-sheet prints, in both the north and south, are best understood as highly accessible objects shaped and framed by individual viewers. Author David Areford offers a synthetic historical narrative of early prints that stresses their unusual material nature, as well as their accessibility to a variety of viewers, both lay and monastic. This volume represents a shift in the study of the early printed image, one that mirrors the widespread movement in art history away from issues of production, style, and the artist toward issues of reception, function, and the viewer. Areford's approach is intensely grounded in the object, especially the unacknowledged material complexity of the print as a portable, malleable, and accessible image that depended on a response that was not only visual but often physical, emotional, and psychological. Recognizing that early prints were not primarily designed for aesthetic appreciation, the author analyzes how their meanings stemmed from specific functions involving private devotion, protection, indulgences, the cult of saints, pilgrimage, exorcism, the art of memory, and anti-Semitic propaganda. Although the medium's first century was clearly transitional and experimental, Areford explores how its potential to impact viewers in new ways?both positive and negative?was quickly realized.