A young couple poses before a painted backdrop depicting a modern building set in a volcanic landscape; a college student grabs his camera as he heads to a political demonstration; a man poses stiffly for his identity photograph; amateur photographers look for picturesque images in a rural village; an old woman leafs through a family album. In Refracted Visions, Karen Strassler argues that popular photographic practices such as these have played a crucial role in the making of modern national subjects in postcolonial Java. Contending that photographic genres cultivate distinctive ways of seeing and positioning oneself and others within the affective, ideological, and temporal location of Indonesia, she examines genres ranging from state identification photos to pictures documenting family rituals. Oriented to projects of selfhood, memory, and social affiliation, popular photographs recast national iconographies in an intimate register. They convey the longings of Indonesian national modernity: nostalgia for rural idylls and “tradition,” desires for the trappings of modernity and affluence, dreams of historical agency, and hopes for political authenticity. Yet photography also brings people into contact with ideas and images that transcend and at times undermine a strictly national frame. Photography’s primary practitioners in the postcolonial era have been Chinese Indonesians. Acting as cultural brokers who translate global and colonial imageries into national idioms, these members of a transnational minority have helped shape the visual contours of Indonesian belonging even as their own place within the nation remains tenuous. Refracted Visions illuminates the ways that everyday photographic practices generate visual habits that in turn give rise to political subjects and communities.
A young couple poses before a painted backdrop depicting a modern building set in a volcanic landscape; a college student grabs his camera as he heads to a political demonstration; a man poses stiffly for his identity photograph; amateur photographers look for picturesque images in a rural village; an old woman leafs through a family album. In Refracted Visions, Karen Strassler argues that popular photographic practices such as these have played a crucial role in the making of modern national subjects in postcolonial Java. Contending that photographic genres cultivate distinctive ways of seeing and positioning oneself and others within the affective, ideological, and temporal location of Indonesia, she examines genres ranging from state identification photos to pictures documenting family rituals. Oriented to projects of selfhood, memory, and social affiliation, popular photographs recast national iconographies in an intimate register. They convey the longings of Indonesian national modernity: nostalgia for rural idylls and “tradition,” desires for the trappings of modernity and affluence, dreams of historical agency, and hopes for political authenticity. Yet photography also brings people into contact with ideas and images that transcend and at times undermine a strictly national frame. Photography’s primary practitioners in the postcolonial era have been Chinese Indonesians. Acting as cultural brokers who translate global and colonial imageries into national idioms, these members of a transnational minority have helped shape the visual contours of Indonesian belonging even as their own place within the nation remains tenuous. Refracted Visions illuminates the ways that everyday photographic practices generate visual habits that in turn give rise to political subjects and communities.
Written by a Czech Jewish boy, A Boy in Terezín covers a year of Pavel Weiner's life in the Theresienstadt transit camp in the Czech town of Terezín from April 1944 until liberation in April 1945. The Germans claimed that Theresienstadt was "the town the Führer gave the Jews," and they temporarily transformed it into a Potemkin village for an International Red Cross visit in June 1944, the only Nazi camp opened to outsiders. But the Germans lied. Theresienstadt was a holding pen for Jews to be shipped east to annihilation camps. While famous and infamous figures and historical events flit across the pages, they form the background for Pavel's life. Assigned to the now-famous Czech boys' home, L417, Pavel served as editor of the magazine Ne?ar. Relationships, sports, the quest for food, and a determination to continue their education dominate the boys' lives. Pavel's father and brother were deported in September 1944; he turned thirteen (the age for his bar mitzvah) in November of that year, and he grew in his ability to express his observations and reflect on them. A Boy in Terezín registers the young boy's insights, hopes, and fears and recounts a passage into maturity during the most horrifying of times.
The most comprehensive book of enameling and enameling techniques has been completely revised to bring you this essential new reference. The wonderful world of enameling—fusing glass to metal under high-temperature conditions-- is diverse! Practically anything made from enamel-friendly metal can be enameled, from vases to jewelry to buttons to metal mesh and solid forms. In the first edition, published in 2002, Cohen explored this world as it was then, but so much knowledge has been gained in the last 17 years that it was definitely time for an update! Every chapter and project has been completely reviewed, revised, and updated; it’s a whole new book, and one you will want in your reference library. The look and organization is updated, 15 years of experience has been added, about half the projects have changed, and two types of mini-projects to expand your learning experience are included. In addition, each project has a gallery of the work of other artists working in the same technique, to give a view of other ways a technique can look and be used. Classic techniques such as champlevé, cloisonné, and plique-à-jour each have projects, as do newer approaches such as the use of graphite pencil and enameling on steel—21 project lessons in all. And you will find the extensive troubleshooting chapter indispensable. **Silver Award Winner in Foreword Reviews Indie Awards in Hobbies & Home, 2019
An Elusive Common details the fraught dynamics of rural life in the arid periphery of southeastern Morocco. Karen Rignall considers whether agrarian livelihoods can survive in the context of globalized capitalism and proposes a new way of thinking about agrarian practice, politics, and land in North Africa and the Middle East. Her book questions many of the assumptions underlying movements for land and food sovereignty, theories of the commons, and environmental governance. Global market forces, government disinvestment, political marginalization, and climate change are putting unprecedented pressures on contemporary rural life. At the same time, rural peoples are defying their exclusion by forging new economic and political possibilities. In southern Morocco, the vibrancy of rural life was sustained by creative and often contested efforts to sustain communal governance, especially of land, as a basis for agrarian livelihoods and a changing wage labor economy. An Elusive Common follows these diverse strategies ethnographically to show how land became a site for conflicts over community, political authority, and social hierarchy. Rignall makes the provocative argument that land enclosures can be an essential part of communal governance and the fight for autonomy against intrusive state power and historical inequalities.
Schooling Diaspora looks into the motivations and strategies of missionaries, colonial authorities, and Chinese reformists and revolutionaries for educating girls, as well as the impact that this education had on identity formation among overseas Chinese women and larger society.
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