How do photographs gain their meaning and power? John Tagg claims that, to answer this question, we must look at the ways in which everything that frames photography - the discourse that surrounds it and the institutions that circulate it - determines what counts as truth.

Traces intertribal trade relations of the Iroquois and the impact Europeans had on this in the seventeenth century.

This book provides a detailed historical and legal examination of presidential power and the theory of the unitary executive.

This book celebrates the work and career of the internationally renowned art historian, David Bindman, on the occasion of his 75th birthday, and is above all a tribute to him from his former students and colleagues. With essays on sculpture, drawings, watercolours and prints, the volume reflects the extraordinary range of Bindman's knowledge of works of art and his impact through his teaching and research on the understanding of British and European artistic developments from the eighteenth to the twentieth century. The essays cast light on questions of technique and stylistic change, patronage, collecting and iconography, and engage with issues such as the representation of race, gender, sexuality, political violence and propaganda, exile, and notions of the canon. The artists discussed here include Hogarth, Blake, Roubiliac, Thorvaldsen and Canova, all subjects of books by David Bindman, as well as Morland, Rowlandson, Gillray, Millais, Munch, Nevinson, and Heartfield.

Through sustained analysis of texts and visual sources, this volume traces the checkered career of Neo-Assyrian religious interaction with subject polities of Western Asia through both punitive measures and calculated diplomatic patronage.

Honoring the memory of Professor Alan Everitt, who advanced the fruitful notion of the county community during the 17th century, this volume proposes some modifications to Everitt's influential hypotheses in the light of the best recent scholarship. With an important reevaluation of political engagement in civil war Kent and an assessment of numerous midland and southern counties as well as Wales, this record evaluates the extraordinary impact of Everitt's book and the debate it provoked. Comprehensive and enlightening, this collection suggests future directions for research into the relationship between the center and localities in 17th-century England.

This book investigates the origins and transformations of medieval image culture and its reflections in theology, hagiography, historiography and art. It deals with a remarkable phenomenon: the fact that, after a period of 500 years of absence, the tenth century sees a revival of monumental sculpture in the Latin West. Since the end of Antiquity and the pagan use of free-standing, life-size sculptures in public and private ritual, Christians were obedient to the Second Commandment forbidding the making and use of graven images. Contrary to the West, in Byzantium, such a revival never occurred: only relief sculpture - mostly integrated within an architectural context - was used. However, Eastern theologians are the authors of highly fascinating and outstanding original theoretical reflections about the nature and efficacy of images. How can this difference be explained? Why do we find the most fascinating theoretical concepts of images in a culture that sticks to two-dimensional icons often venerated as cult-images that are copied and repeated, but only randomly varied? And why does a groundbreaking change in the culture of images - the revival of monumental sculpture - happen in a context that provides more restrained theoretical reflections upon images in their immediate theological, liturgical and artistic contexts? These are some of the questions that this book seeks to answer.The analysis and contextualization of the revival of monumental sculpture includes reflections on liturgy, architecture, materiality of minor arts and reliquaries, medieval theories of perception, and gift exchange and its impact upon practices of image veneration, aesthetics and political participation. Drawing on the historical investigation of specific objects and texts between the ninth and the eleventh century, the book outlines an occidental history of image culture, visuality and fiction, claiming that only images possess modes of visualizing what in the discourse of medieval theology can never be addressed and revealed.