Since its construction in the early 1960s, the hydroelectric Akosombo Dam across the Volta River has exemplified the possibilities and challenges of development in Ghana. Drawing upon a wealth of sources, A Dam for Africa investigates contrasting stories about how this dam has transformed a West African nation, while providing a model for other African countries. The massive Akosombo Dam is the keystone of the Volta River Project that includes a large manmade lake 250 miles long, the VALCO aluminum smelter, new cities and towns, a deep-sea harbor, and an electrical grid. On the local level, Akosombo has meant access to electricity for people in urban and industrial areas across southern Ghana. For others, Akosombo inflicted tremendous social and environmental costs. The dam altered the ecology of the Lower Volta, displaced 80,000 people in the Volta Basin, and affected the livelihoods of hundreds of thousands of Ghanaians. In A Dam for Africa, Stephan Miescher explores four intersecting narratives: Ghanaian debates and aspirations about modernization in the context of decolonization and Cold War; international efforts of the US aluminum industry to benefit from Akosombo through cheap electricity for their VALCO smelter; local stories of upheaval and devastation in resettlement towns; and a nation-wide quest toward electrification and energy justice during times of economic crises, droughts, and climate change.

In recent years, there has been intense debate about the reality behind the depiction of maritime cityscapes, especially harbours. Visualizing Harbours in the Classical World argues that the available textual and iconographic evidence supports the argument that these representations have a symbolic, rather than literal, meaning and message, and moreover that the traditional view, that all these media represent the reality of the contemporary cityscapes, is often unrealistic. Bridging the gap between archaeological sciences and the humanities, it ably integrates iconographic materials, epigraphic sources, history and archaeology, along with visual culture. Focusing on three main ancient ports - Alexandria, Rome and Leptis Magna - Federico Ugolini considers a range of issues around harbour iconography, from the triumphal imagery of monumental harbours and the symbolism of harbour images, their identification across the Mediterranean, and their symbolic, ideological and propagandistic messages, to the ways in which aspects of Imperial authority and control over the seas were expressed in the iconography of the Julio-Claudian, Trajan and Severii periods, how they reflected the repute, growth and power of the mercantile class during the Imperial era, and how the use of imagery reflected euergetism and paideia, which would inform the Roman audience about who had power over the sea.