Das "lange 19. Jahrhundert" der Nationalstaatenbildung ist auch das Jahrhundert der "Erfindung" der Fotografie wie auch der Geburt der modernen Archivwissenschaften. Die Fotografie wurde bald von den Nationalstaaten in ihrem Bedürfnis nach bildlicher Visualisierung in den Dienst genommen. Nach dem II. Weltkrieg, dem Zerfall der kolonialistischen Systeme und schließlich dem Fall der Berliner Mauer erlangten nationale Fragen erneut Aktualität - nun in einem globalen Rahmen. Die Beiträge in diesem Band untersuchen den Zusammenhang zwischen Fotografie/Fotoarchiven und der Idee der Nation, wobei das Objektiv sich nicht auf einzelne Ikonen, sondern auf die weitreichende Dimension des Archivs richtet.

Exhibition includes approximately 2% of the acquisitions made during the 1990s.

Culled from the extensive archives of one of the most renowned graffiti photographers of all time comes this remarkable collection of previously unpublished images of New York’s graffiti scene in the 1980s. If you were a graffiti writer in 1980s New York City, you wanted Martha Cooper to document your work—and she probably did. Cooper has spent decades immortalizing art that is often overlooked, and usually illegal. Her first book, 1984’s Subway Art (a collaboration with Henry Chalfant), is affectionately referred to by graffiti artists as the “bible”. To create Spray Nation, Cooper and editor Roger Gastman pored through hundreds of thousands of 35mm Kodachrome slides, painstakingly selecting and digitizing them. The photos range from obscure tags to portraits, action shots, walls, and painted subway cars. They are accompanied by heartfelt essays celebrating Cooper’s drive, spirit, and singular vision. The images capture a gritty New York era that is gone forever. And although the original pieces (as well as many of their creators) have been lost, these powerful photos feel as immediate as a subway train thundering down the tracks.

Collection of b/w photographs depicting America's gun culture. Includes an introductory essay on the fight for gun control.

Archival images help trace the history of the Shasta Nation, profiling the people, places, and events that have shaped its development.

Choctaw are the largest tribe belonging to the branch of the Muskogean family that includes the Chickasaw, Creek (Muscogee), and Seminole. According to oral history, the tribe originated from Nanih Waya, a sacred hill near present-day Noxapater, Mississippi. Nanih Waya means "productive or fruitful hill, or mountain." During one of their migrations, they carried a tree that would lean, and every day the people would travel in the direction the tree was leaning. They traveled east and south for sometime until the tree quit leaning, and the people stopped to make their home at this location, in present-day Mississippi. The people have made difficult transitions throughout their history. In 1830, the Choctaw who were removed by the United States from their southeastern U.S. homeland to Indian Territory became known as the Choctaw Nation of Oklahoma.

By taking corporate marketing concepts and applying it to countries, “nation branding” is a way for these regions to enhance their reputations and project a desired image for international recognition. New modes of publicity and marketing geared towards geographic location fall into this category, leading nation branding to have vast benefits for the economics and societies of countries. New marketing strategies have emerged and are being adopted to consequently brand countries with this purpose of economic growth. By studying these emerging strategies and methods, nations can best develop a desired brand and reputation to foster growth and prosperity. The Handbook of Research on Future Policies and Strategies for Nation Branding discusses how exactly nation branding works to benefit the function and mission of these nations along with showing how nation branding can be used as a strategic asset for the redesign of economic, political, and social characteristics of a country. The chapters outline the given situation of nations and the nature and implications of the brand that is required, measure branding inference, and propose future steps for nation branding. This book is a critical reference source for brand managers, tourism professionals, marketers, advertisers, government officials, travel agencies, academicians, researchers, and students working in the fields of international relations, economics, social sciences, business studies, marketing, and entrepreneurship.

A magnificent one volume pictorial and narrative history of the United States with more than five hundred exceptional illustrations, many reproduced here for the first time.

“A compelling read” that reveals how maps became informational tools charting everything from epidemics to slavery (Journal of American History). In the nineteenth century, Americans began to use maps in radically new ways. For the first time, medical men mapped diseases to understand and prevent epidemics, natural scientists mapped climate and rainfall to uncover weather patterns, educators mapped the past to foster national loyalty among students, and Northerners mapped slavery to assess the power of the South. After the Civil War, federal agencies embraced statistical and thematic mapping in order to profile the ethnic, racial, economic, moral, and physical attributes of a reunified nation. By the end of the century, Congress had authorized a national archive of maps, an explicit recognition that old maps were not relics to be discarded but unique records of the nation’s past. All of these experiments involved the realization that maps were not just illustrations of data, but visual tools that were uniquely equipped to convey complex ideas and information. In Mapping the Nation, Susan Schulten charts how maps of epidemic disease, slavery, census statistics, the environment, and the past demonstrated the analytical potential of cartography, and in the process transformed the very meaning of a map. Today, statistical and thematic maps are so ubiquitous that we take for granted that data will be arranged cartographically. Whether for urban planning, public health, marketing, or political strategy, maps have become everyday tools of social organization, governance, and economics. The world we inhabit—saturated with maps and graphic information—grew out of this sea change in spatial thought and representation in the nineteenth century, when Americans learned to see themselves and their nation in new dimensions.

A mother stitches a few lines of prayer into a bedcover for her son serving in the Union army during the Civil War. A formerly enslaved African American woman creates a quilt populated by Biblical figures alongside celestial events. A Diné women weaves a blanket for a U.S. Army soldier stationed in the Southwest. A quilted Lady Liberty, George Washington, and Abraham Lincoln mark the resignation of Richard Nixon. These are just a few of the diverse and sometimes hidden stories of the American experience told by quilts and bedcovers from the collection of the Museum of Fine Arts, Boston. Spanning more than four hundred years, the fifty-six works of textile art in this book express the personal narratives of their makers and owners and connect to broader stories of global trade, immigration, industry, marginalization, and territorial and cultural expansion. Made by Americans of European, African, Native, and Hispanic heritage, these engaging works of art range from family heirlooms to acts of political protest, each with its own story to tell.