In contrast with historical examinations centring the evolving role of the war correspondent, Conflicting Images focuses on the contribution of photographers and photojournalists, providing an evaluative appraisal of war photography in the news and its development from the nineteenth century to the twenty-first century. Stuart Allan and Tom Allbeson critically explore diverse genres of war photography across a broad historical sweep, encompassing events from the Crimean War (1853–56) and the Civil War in the United States (1861–65) up to and including conflicts unfolding in Syria and Ukraine. This book reflects on the relevance of different types of warfare to visual reporting, from colonial conquest via trench warfare and aerial bombardment, to the ideological dimensions of the Cold War, and ‘embedding’ and ‘winning hearts and minds’ during the ‘War on Terror’ and its aftermath. In pinpointing illustrative examples, the authors examine changing dynamics of production, dissemination, and public engagement. Readers will come to understand how current efforts to rethink the future of war photography in a digital age can benefit from a close and careful consideration of war photography’s origins, early development, and gradual, uneven transformation over the years. Conflicting Images aims to invigorate ongoing enquires and inspire new, alternative trajectories for future research and practice. This book is recommended reading for researchers and advanced students of visual journalism and conflict reporting.

This collection considers how digital images and social media reconfigure the way conflicts are played out, represented and perceived around the globe. Devoted to developing original theoretical frameworks and empirical insights, the volume addresses the role of user images and social media in relation to urgent subjects such as public opinion and emotion, solidarity, evidence and verification, censorship and fake news, which are all central to the ways current conflicts are represented and unfold. Essays include a unique range of case studies from different regional and political contexts (Middle East, Europe, Asia, North America) and in connection with different conflict types (war, terror, riots, everyday resistance, etc.). They also consider performative genres such as memes, selfies and appropriations as well as images conforming to the realism and authenticity of conventional photojournalism. In this way, the collection responds to the challenges of swiftly evolving image genres as well as to the continually shifting policies and algorithms of commercial digital platforms. Together, the essays offer innovative theories and exemplary case studies as a resource for teaching and research in media, journalism and communication programmes. It is also relevant to students, teachers and researchers within sociology, political science, anthropology and related fields.

Originally published in 1989, in this remarkable conjunction of constitutional theory, jurisprudence, literary theory, constitutional law, and political theory, William Conklin first tells us what a constitution is not: it is not a text, nor a compendium of judicial and legislative decisions interpreting a text, nor a set of doctrines, nor moral/political values, nor customs, nor a priori conceptions. A constitution, he argues, is an image which exists through the legal consciousness of a community. Using a wide range of Canadian judicial decisions as examples, Conklin shows that the classic cases have been those where the boundaries of two conflicting images clashed. In each instance, the subject-matter itself collapses into a search for a coherent image of what a constitution is all about. The dominant image of a constitution in Canadian judicial discourse has been a rationalist one emanating from the Enlightenment understanding of knowledge. Turning to academic writings on Canadian federalism law, Conklin goes on to identify clearly the boundaries of three versions of rationalism, and to show that Canadian scholars have shared with judges the dominant image of rationalism. In the third part of his essay, the author makes a prescriptive claim, namely that a text such as the Canadian Charter of Rights and Freedoms arguably raises issues which the rationalist image of a constitution precludes as legitimate inquiries. He identifies a further general image of a constitution in Canadian legal discourse, a teleological one which is rooted in the writings and judgments of Ivan Rand. Finally, he uses the contours of the Rand image to work out a further image of constitution, an image that allows lawyers to entertain issues of both theory and social/cultural practice, thereby placing them in a position to alleviate the pain and suffering of those in need.

In this volume Donald Munro, author of important studies on early and contemporary China, provides a critical analysis of the doctrines of the Sung Neo-Confucian philosopher Chu Hsi (1130-1200). For nearly six centuries Confucian orthodoxy was based on Chu Hsi's commentaries on Confucian classics. These commentaries were the core of the curriculum studied by candidates for the civil service in China until 1905 and provided guidelines both for personal behavior and for official policy. Munro finds the key to the complexities of Chu Hsi's thought in his mode of discourse: the structural images of family, stream of water, mirror, body, plant, and ruler. Furthermore, he discloses the basic framework of Chu Hsi's ethics and the theory of human nature that is provided by these illustrative images. As revealed by Munro, Chu Hsi's thought is polarized between family duty and a broader altruism and between obedience to external authority and self-discovery of moral truth. To understand these tensions moves us toward clarifying the meaning of each idea in the sets. The interplay of these ideas, selectively emphasized over time by later Confucians, is a background for explaining modern Chinese thought. In it, among other things, Confucianism and Marxism-Leninism co-exist. Originally published in 1988. 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.