This volume explores the relationship between temporality and presence in medieval artworks from the third to the sixteenth centuries. It is the first extensive treatment of the interconnections between medieval artworks' varied presences and their ever-shifting places in time. The volume begins with reflections on the study of temporality and presence in medieval and early modern art history. A second section presents case studies delving into the different ways medieval artworks once created and transformed their original viewers' experience of the present. These range from late antique Constantinople, early Islamic Jerusalem and medieval Italy, to early modern Venice and the Low Countries. A final section explores how medieval artworks remain powerful and relevant today. This section includes case studies on reconstructing presence in medieval art through embodied experience of pilgrimage, art historical research and museum education. In doing so, the volume provides a first dialog between museum educators and art historians on the presence of medieval artifacts. It includes contributions by Hans Belting, Keith Moxey, Rika Burnham and others.

"Black," "African," "African descendant" and "of African heritage," are just some of the ways Africans and Africans in the diaspora (both old and new) describe themselves. This volume examines concepts of race, ethnicity, and identity as they are ascribed to people of colour around the world, examining different case studies of how the process of identity formation occurred and is changing. Contributors to this volume, selected from a wide range of academic and cultural backgrounds, explore issues that encourage a deeper understanding of race, ethnicity and identity. As our notions about what it means to be black or of African heritage change as a result of globalization, it is important to reassess how these issues are currently developing, and the origins from which these issues developed. Global Africans is an important and insightful book, useful to a wide range of students and scholars, particularly of African studies, sociology, diaspora studies, and race and ethnic studies.

From 1895 to the founding of the United Nations in 1945, the promising new science of ecology flourished in the British Empire. Peder Anker asks why ecology expanded so rapidly and how a handful of influential scientists and politicians established a tripartite ecology of nature, knowledge, and society. Patrons in the northern and southern extremes of the Empire, he argues, urgently needed tools for understanding environmental history as well as human relations to nature and society in order to set policies for the management of natural resources and to effect social control of natives and white settlement. Holists such as Jan Christian Smuts and mechanists such as Arthur George Tansley vied for the right to control and carry out ecological research throughout the British Empire and to lay a foundation of economic and social policy that extended from Spitsbergen to Cape Town. The enlargement of the field from botany to human ecology required a broader methodological base, and ecologists drew especially on psychology and economy. They incorporated those methodologies and created a new ecological order for environmental, economic, and social management of the Empire. Table of Contents: Acknowledgments Introduction From Social Psychology to Imperial Ecology General Smuts's Politics of Holism and Patronage of Ecology The Oxford School of Imperial Ecology Holism and the Ecosystem Controversy The Politics of Holism, Ecology, and Human Rights Planning a New Human Ecology Conclusion: A World without History An Ecology of Ecologists Notes Sources Index Reviews of this book: Peder Anker's Imperial Ecology is the unexpected story of how late-imperial British ecologists took their arcane studies of marine life off Spitzbergen or the game of southern Africa and brought them to bear on very different areas of interest. These ecologists fashioned from their studies a view of human ecology broad enough, in this telling, to embrace cycles of sexual activity in Japanese brothels, famine in central Asia, the building blocks for national economic planning and the cultural underpinnings of Nazism. An eye-opener. --Fred Pearce, New Scientist Reviews of this book: Few books are truly original; however, Anker...puts an original perspective on the history of ecology, linking two major schools of thought...to the imperial aspirations of Great Britain. The UK provided patronage (grants) to support ecologists who in turn provided important concepts strengthening Britain's imperial grip by enhancing resource management and incorporating human ecology into colonial ecosystems...This thought-provoking book provides many new insights into the history of a discipline. It will be news to most ecologists, whose knowledge of their own history is often sketchy at best. --J. Burger, Choice Anker has written a ruthlessly honest political and cultural history of ecology, setting it firmly in the world of nineteenth-century colonialism. Illusions vanish here: turn of the century ecology did not stand for a pure pacifism or an eden of natural harmony. Instead, we find that both the liberal mechanism of British ecologist Arthur George Tansley and the holistic ecology of South African statesman Jan Christian Smuts were both firmly built upon nationalism--and a nationalism that mattered a great deal, militarily, racially, and socially. This is important work and a riveting read. --Peter Galison, Harvard University

Dealing frankly with all areas of his private and professional life, and the central role his homosexuality played in them, this book paints a fascinating portrait of William Plomer (1903-73), author of Turbott Wolfe, from his beginnings in South Africa to his rise to literary and publishing prominence in England in the 1930s and 1940s.

Fiction of the New Statesman is the first study of the short stories published in the renowned British journal theNew Statesman. This book argues that New Statesman fiction advances a strong realist preoccupation with ordinary, everyday life, and shows how British domestic concerns have a strong hold on the working-class and lower-middle-class imaginative output of this period.

This collection of engaging short stories emanates from the Camdeboo region of South Africas Karoo. They are told by a traditional African griot (career storyteller), Ndabazabantu, who knows all the gossip about the enigmatic as well as the ordinary folk in his town. Partly drawn from Mzuvukiles book, Children from Exile and other Stories (featuring Oom Asval and His Donkey Cart), the stories expose both the struggle to live comfortably in South African townships of old and the harshness of having to deal with the strictures of Apartheid. The Day the Town of Xhogwana almost Collapsed, deals with this second challenge, specifically the prohibition on mixed race relations and degrading treatment of black people under Apartheids Group Areas Act; when blacks had to report to the township superintendents office when visiting places outside their registered hometowns. The author, through Ndabazabantu, tells these stories with humour, pathos and poignancy. While Camdeboo Stories is unique in style and content, the tales are somewhat reminiscent of Herman Charles Bosmans storytelling style and are valuable additions to the stories of the South African platteland.

South Africa is recognized as a site of both political turmoil and natural beauty, and yet little work has been done in connecting these defining national characteristics. Washed with Sun achieves this conjunction in its multidisciplinary study of South Africa as a space at once natural and constructed. Weaving together practical, aesthetic, and ideological analyses, Jeremy Foster examines the role of landscape in forming the cultural iconographies and spatialities that shaped the imaginary geography of emerging nationhood. Looking in particular at the years following the British victory in the second Boer War, from 1902 to 1930, Foster discusses the influence of painting, writing, architecture, and photography on the construction of a shared, romanticized landscape subjectivity that was perceived as inseparable from "being South African," and thus helped forge the imagined community of white South Africa. In its innovative approach to South Africa's history, Washed with Sun breaks important new ground, combining the persuasive theory of cultural geography with the material specificity of landscape history.