Despite a plethora of studies devoted to it, the current understanding of al-Qaeda and the threat it poses remains vague and ambiguous. Is al-Qaeda a rigidly structured organisation, a global network of semi-independent cells, a franchise, or simply an ideology? What role did Osama bin Laden play within the group and its terrorist campaign? What does it mean to talk about the "global Salafi-jihad" threat allegedly confronting the West? In addressing such questions many writers have sought to offer definitive answers, yet overall the truth about al-Qaeda remains elusive. This book moves beyond this traditional approach in order to investigate and critically assess how such answers reflect the particular epistemological frameworks within which they are produced. Its chapters explore the varied contexts within which the obscure entity labelled al-Qaeda is constituted as a comprehensible object of political, strategic, cultural, and scientific knowledge, and within which 'terrorism' is rendered an experience of quotidian life. This volume offers a much-needed critical reflection on Western ways of talking and of thinking about the frightening experience of global terrorism. In trying to know how we know al-Qaeda, it offers us an opportunity to try to know ourselves and our often hidden assumptions about legitimacy, violence, and political purpose.

Despite a plethora of studies devoted to it, the current understanding of al-Qaeda and the threat it poses remains vague and ambiguous. Is al-Qaeda a rigidly structured organisation, a global network of semi-independent cells, a franchise, or simply an ideology? What role did Osama bin Laden play within the group and its terrorist campaign? What does it mean to talk about the "global Salafi-jihad" threat allegedly confronting the West? In addressing such questions many writers have sought to offer definitive answers, yet overall the truth about al-Qaeda remains elusive. This book moves beyond this traditional approach in order to investigate and critically assess how such answers reflect the particular epistemological frameworks within which they are produced. Its chapters explore the varied contexts within which the obscure entity labelled al-Qaeda is constituted as a comprehensible object of political, strategic, cultural, and scientific knowledge, and within which 'terrorism' is rendered an experience of quotidian life. This volume offers a much-needed critical reflection on Western ways of talking and of thinking about the frightening experience of global terrorism. In trying to know how we know al-Qaeda, it offers us an opportunity to try to know ourselves and our often hidden assumptions about legitimacy, violence, and political purpose.

This vibrant examination of Paul Gauguin's life and work features more than fifty pieces from the Ny Carlsberg Glyptotek collection in Copenhagen, including paintings, wood carvings, and ceramics along with Oceanic art and Gauguin's works on paper from the Fine Arts Museums of San Francisco's permanent collections. Each piece is reproduced in exquisite detail, offering a superb opportunity to enjoy Gauguin's groundbreaking use of color, line, and form. Essays examine Gauguin's relationships and reveal the struggles, indulgences, awakenings, and betrayals of his personal and professional life. Other essays provide new insights into Gauguin's travels to the far reaches of the French colonial empire in the Pacific and explore his cultural identity, sexuality, and spirituality. Beautifully designed to complement Gauguin's extraordinary oeuvre, this book offers a refreshing take on an artist whose life and work continue to fascinate to the present day.

The battles fought in the name of the war on terror have re-ignited questions about the changing nature of war, and the experience of war for those geographically distant from its real world consequences. What is missing from our highly mediated experience of war? What are the intentional and unintentional processes of erasure through which the distortion happens? What are their consequences?

The battles fought in the name of the 'war on terror' have re-ignited questions about the changing nature of war, and the experience of war for those geographically distant from its real world consequences. What is missing from our highly mediated experience of war? What are the intentional and unintentional processes of erasure through which the distortion happens? What are their consequences? Cinema is a key site at which questions about our highly mediated experience of war can be addressed or, more significantly, elided. Looking at a range of films that have provoked debate, from award-winning features like Zero Dark Thirty and American Sniper, to documentaries like Kill List and Dirty Wars, as well as at the work of visual artists like Harun Farocki and Omer Fast, this book examines the practices of erasure in the cinematic representation of recent military interventions. Drawing on representations of war-related death, dying and bodily damage, this provocative collection addresses 'what's missing' in existing scholarly responses to modern warfare; in film studies, as well as in politics and international relations.

The first major publication on the art of the New Guinea Highlands, this extraordinary volume is destined to become the definitive resource on this little-known region. The Jolika Collection of New Guinea Art of the Fine Arts Museums of San Francisco consists of thousands of objects and represents hundreds of clans and villages throughout New Guinea. The first book in a projected ten-volume series, this lavishly illustrated volume focuses on the Highlands-a region of rugged mountains, fertile valleys, and a civilization that dates back more than forty thousand years. Here, in more than six hundred pages of rich color, are beautifully crafted masks, shields, headdresses, and ceremonial and personal objects, the majority of which have never before been published or exhibited. Archival and reference photographs, maps of key locations, and authoritative essays by more than a dozen preeminent scholars covering a wide range of subjects, from prehistoric agriculture to body art, make this book a collector's dream.

Since the attacks of September 11, 2001 and up to and beyond Osama bin Laden's death, al-Qaeda has come to embody the new enigmatic face of terrorism, dominating discussions of national and international security. Yet in spite of the attention it receives, conflicting assumptions about the group abound. Is al-Qaeda a rigidly structured organization, a global network of semi-independent cells, a franchise, or simply an idea whose time has come? What is meant by talk of the "global Salafi jihad" that is confronting the West? What are the implications of bin Laden's death? Christina Hellmich offers a critical examination of the widely-held notions regarding the origins and manifestations of al-Qaeda and the sources on which they rely, mapping the organization's alleged transition from what began as a regional struggle against the Soviets in Afghanistan to the increasingly leaderless jihad of the post-9/11 world. Rather than just providing yet another biography of al-Qaeda, Hellmich forensically examines discrepancies between the most common explanations and to the limits of what can realistically be known. Drawing on Arabic-language sources - some of them previously unavailable in English - "Al-Qaeda: From Global Network to Local Franchise" offers a penetrating insight into an organization which, for all its notoriety, is one of the least-understood of our time.

Since the attacks of September 11, 2001 and up to and beyond Osama bin Laden's death, al-Qaeda has come to embody the new enigmatic face of terrorism, dominating discussions of national and international security. Yet in spite of the attention it receives, conflicting assumptions about the group abound. Is al-Qaeda a rigidly structured organization, a global network of semi-independent cells, a franchise, or simply an idea whose time has come? What is meant by talk of the "global Salafi jihad" that is confronting the West? What are the implications of bin Laden's death? Christina Hellmich offers a critical examination of the widely-held notions regarding the origins and manifestations of al-Qaeda and the sources on which they rely, mapping the organization's alleged transition from what began as a regional struggle against the Soviets in Afghanistan to the increasingly leaderless jihad of the post-9/11 world. Rather than just providing yet another biography of al-Qaeda, Hellmich forensically examines discrepancies between the most common explanations and to the limits of what can realistically be known. Drawing on Arabic-language sources - some of them previously unavailable in English - "Al-Qaeda: From Global Network to Local Franchise" offers a penetrating insight into an organization which, for all its notoriety, is one of the least-understood of our time.

Painstakingly constructed by hand of plant fiber and precious feathers from endemic birds of Hawai'i, feather cloaks and capes provided spiritual protection to Hawaiian chiefs for centuries while proclaiming their royal status. Few of the artworks known as n? hulu ali'i, or royal feathers, survive today except in museums and private collections. Through photographs and scholarly essays, Royal Hawaiian Featherwork highlights approximately seventy-five rare examples of the finest featherwork extant: capes and cloaks ('ahu'ula), royal staffs (k?hili), feather lei (lei hulu manu), helmets (mahiole), feathered god images (akua hulu manu), and related paintings and works on paper. With their brilliant coloring and abstract compositions of crescents, triangles, circles, quadrilaterals, and lines, the artworks are both beautiful and rich in cultural significance. This lavishly illustrated volume also serves as the catalogue to accompany the first exhibition of Hawaiian featherwork to be staged on the U.S. continent, scheduled for a six-month run starting in August 2015 at the Fine Arts Museums of San Francisco. The book and exhibition provide an overdue opportunity for the public to discover the central role these artworks played in the culture and history of the Hawaiian Islands, to explore their unparalleled technical craftsmanship, and to discover an aesthetic tradition unique to the Hawaiian archipelago.