Theodore K. Rabb, one of the leading historians of early modern Europe, presents here the first full-scale biography of the influential English parliamentarian, colonizer, and religious thinker Sir Edwin Sandys (1561-1629). Rabb has studied Sandys's life and work for more than thirty years and shows that he played a vital role in the Jacobean Age's two most distinctive achievements: the early development of England's constitutional structure and the overseas expansion that began the British empire. Sandys made his contributions, Rabb demonstrates, in the course of an extraordinarily diverse career. Sandys sat in the House of Commons from the 1580s to the mid-1620s, becoming its elder statesman and most influential voice on economic affairs, constitutional issues, and parliamentary procedure. He was a leader of the Virginia Company and the Bermuda Company, which established and settled these two early English colonies, and was also a director of the East India Company. And in an age beset by religious extremism, Sandys wrote a book on religious toleration that was widely read and discussed throughout Europe. reassessment of parliamentary politics on the eve of the English Civil War. Rabb shows that Sandys helped shape gentry positions, independent of Crown or Court, on major political issues, which in turn gave the House of Commons a new prominence in English affairs. This long-needed work will prompt a reexamination of vital aspects of the constitutional, colonial, and religious history of the Stuart period. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

How are photographs understood as narratives? In this book twenty-two original critical essays tackle this overarching question in a series of case studies moving chronologically across the history of photography from the 1840s to the twenty-first century. The contributors explore the intersections of photography with history, memory, autobiography, time, death, mapping, the discourse of Orientalism, digital technology, and representations of race and gender. The essays range in focus from the role of photographic images in the memorialization of the Holocaust, the Argentine "Dirty Warm," and Japanese American internment camps through Man Ray's classic image "Noire et blanche" and Nan Goldin's "The Ballad of Sexual Dependency" to the function of family albums in nineteenth-century England and America.

This beautifully illustrated study recaptures the rich history of women photographers and image collectors in nineteenth-century England. Situating the practice of collecting, exchanging and displaying photographs and other images in the context of feminine sociability, Patrizia Di Bello shows that albums express Victorian women's experience of modernity. The albums of individual women, and the broader feminine culture of collecting and displaying imagesare examined, uncovering the cross-references and fertilizations between women's albums and illustrated periodicals, and demonstrating the way albums and photography, itself, were represented in women's magazines, fashion plates, and popular novels. Bringing a sophisticated eye to overlooked images such as the family photograph, Di Bello not only illustrates their significance as historical documents but elucidates the visual rhetorics at play. In doing so, she identifies the connections between Victorian album-making and the work of modern-day amateurs and artists who use digital techniques to compile and decorate albums with Victorian-style borders and patterns. At a time when photographic album-making is being re-vitalised by digital technologies, this book rewrites the history of photographic albums, placing the female collector at its centre and offering an alternative history of photography focused on its uses rather than on its aesthetic or artistic considerations. It is remarkable in elegantly connecting the history of photography with the fields of material culture and women's studies.