Naomi Campbell is a phenomenon. Still very much at the top of her game after nearly four decades in the fashion industry, news of her trailblazing work, both on and off the catwalk, continues to hit the front pages as she pushes the boundaries of the fashion world. Inspiring, creative, energetic and most definitely iconic, Campbell stands apart as a unique force.

Opening with a specially commissioned interview by Tim Blanks, this book showcases more than 20 of the most eloquent ensembles from across her career, personally selected and discussed by Campbell herself. It also explores the different facets of her success - from her work as a model, a muse and brand builder, to life beyond the catwalk as a cultural leader with her unerring support of emerging designers.

With spectacular looks from Azzedine Alaïa, Gianni Versace, Chanel, Alexander McQueen and Kenneth Ize - to name but a few - this is an exclusive look into the world of one of fashion's most talented and enduring personalities.

What is it to practice history in an age in which photographs exist? What is the impact of photographs on the core historiographical practices which define the discipline and shape its enquiry and methods? In Photographs and the Practice of History, Elizabeth Edwards proposes a new approach to historical thinking which explores these questions and redefines the practices at the heart of this discipline. Structured around key concepts in historical methodology which are recognisable to all undergraduates, the book shows that from the mid-19th century onward, photographs have influenced historical enquiry. Exposure to these mass-distributed cultural artefacts is enough to change our historical frameworks even when research is textually-based. Conceptualised as a series of 'sensibilities' rather than a methodology as such, it is intended as a companion to 'how to' approaches to visual research and visual sources. Photographs and the Practice of History not only builds on existing literature by leading scholars: it also offers a highly original approach to historiographical thinking that gives readers a foundation on which to build their own historical practices.

The status of photographs in the history of museum collections is a complex one. From its very beginnings the double capacity of photography - as a tool for making a visual record on the one hand and an aesthetic form in its own right on the other - has created tensions about its place in the hierarchy of museum objects. While major collections of 'art' photography have grown in status and visibility, photographs not designated 'art' are often invisible in museums. Yet almost every museum has photographs as part of its ecosystem, gathered as information, corroboration or documentation, shaping the understanding of other classes of objects, and many of these collections remain uncatalogued and their significance unrecognised. This volume presents a series of case studies on the historical collecting and usage of photographs in museums. Using critically informed empirical investigation, it explores substantive and historiographical questions such as what is the historical patterning in the way photographs have been produced, collected and retained by museums? How do categories of the aesthetic and evidential shape the history of collecting photographs? What has been the work of photographs in museums? What does an understanding of photograph collections add to our understanding of collections history more broadly? What are the methodological demands of research on photograph collections? The case studies cover a wide range of museums and collection types, from art galleries to maritime museums, national collections to local history museums, and international perspectives including Cuba, France, Germany, New Zealand, South Africa and the UK. Together they offer a fascinating insight into both the history of collections and collecting, and into the practices and poetics of archives across a range of disciplines, including the history of science, museum studies, archaeology and anthropology.

This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The book's contributions are drawn from disciplines including the history of photography, visual anthropology and art history, with case studies from a range of countries such as the Netherlands, North America, Australia, Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images.

This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The international contributors are drawn from disciplines including the history of photogarphy, visual anthropology and art history, and their pieces focus on areas ranging from the Netherlands, North America and Australia to Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images. Inspiring and instructive, the book can be used either as an overview of this exciting new area of investigation, or as a practical guide to the student or academic on how to understand photographs as objects in diverse contexts.

Women in Teacher Training Colleges, 1900-1960 is an intricate and fascinating investigation of the lives and experiences of women in these important educational institutions of the early twentieth century. The book provides an overview of the historical context of the development of the colleges, using detailed case studies of three colleges: Homerton, Avery Hill and Bishop Otter.
Drawing on a wealth of archival material, primary and secondary sources, and on the oral testimonies of former pupils and staff, the book examines the following key themes:
*the changing social class of women students
*the colleges culture of femininity drawn from the family organization and social practices of the middle-class home
*the conflicting public and private roles of the woman principal
*the role of the college staff and the residential context of college life
*women's sexuality
*the last days of the womens colleges.Women in Teacher Training Colleges, 1900-1960 is an essential contribution to women's history and gives a unique insight into this neglected aspect of women's experiences in the twentieth century.

My journey encapsulates a three year mystery that began in Edinburgh, Scotland in October 2006 in which I was led by a variety of mysterious historical symbols to learn about the life and challenges of Lady Mary Hay in Cruden Bay, Scotland, who was the 14th Countess of Errol during the years of 1711-1758. Mary Hay was the Senior Great Officer, Royal Office of Scotland and Chief of the King's Household in Scotland. She succeeded to the title in 1717 when she became Lady Hay and Baroness of Stain, 23rd Chief of the Hays (since 1171) and Mac Garaidh Mhar (a Celtic title). In 1727 she nominated John Duke of Roxburgh, to act as Her Deputy and walk in the procession for the coronation of George II. In 1745 she raised an army of Buchan men who stood for "Bonnie Prince Charlie"-Prince Charles Edward Stuart. She was close to sixty years of age at the time. At this time, Mary was a practicing Episcopalian and as this faith was persecuted by the Hanoverians she fitted out a grain store as a place of worship. This was known in Cruden Bay as Countess Mary's Girnal'. It was burnt to the ground in 1746 by English Dragoons. She succeeded her brother, Charles Hay, and was succeeded by grandnephew Lord James Boyd Kilmarnock, the grandson of her late sister Margaret.

Photography, Anthropology and History examines the complex historical relationship between photography and anthropology, and in particular the strong emergence of the contemporary relevance of historical images. Thematically organized, and focusing on the visual practices developed within anthropology as a discipline, this book brings together a range of contemporary and methodologically innovative approaches to the historical image within anthropology. Importantly, it also demonstrates the ongoing relevance of both the historical image and the notion of the archive to recent anthropological thought. As current research rethinks the relationship between photography and anthropology, this volume will serve as a stimulus to this new phase of research as an essential text and methodological reference point in any course that addresses the relationship between anthropology and visuality.

New and fresh assessments of Malory's Morte Darthur. The essays here are devoted to that seminal Arthurian work, Sir Thomas Malory's Le Morte Darthur. Developments of papers first given at the 'Malory at 550: Old and New' conference, they emphasise here the second part of its remit. Accordingly, several contributors focus new attention on Malory's style, using his stock phrases, metaphors, characterization, or manipulation of sources to argue for a deeper appreciation of his merits as an author. If, as others illustrate, Malory is a much better artist than his twentieth-century reputation allowed, then there is a renewed need to re-assess the vexed question of the possible originality of his 'Tale of Sir Gareth of Orkeney'. Similarly fresh approaches underlie those essays re-examining Malory's attitude to time and the sacred in 'The Sankgreal', the manner in which the ghosts of Lot and his sons highlight potential failures in the Round Table Oath, or the pleasures and pitfalls of Arthurian hospitality. The remaining contributions argue for new approaches to Malory's narrative gaps, Launcelot's status as a victim of sexual violence, and the importance of rejecting Victorian moral attitudes towards Gwenyvere and Isode, moralizing that still informs much recent scholarship addressing Malory's female characters. Contributors: Joyce Coleman, Elizabeth Edwards, Kristina Hildebrand, Cathy Hume, David F. Johnson, Megan Leitch, Andrew Lynch, Molly A. Martin, Cory James Rushton, Fiona Tolhurst, Michael W. Twomey

A study of the structure of the Morte, focusing on Malory's adaptation, as both redactor and translator, of traditional Arthurian material. The Morte Darthur is both a representative of the traditions of Arthurian literature, and a complex response to its stock themes and motifs. This book offers a new reading of the principles by which the Morte Darthur is structured, looking at the ways in which Malory deploys the Arthurian tradition and received narratives as both redactor and translator. The sources are considered in particular detail, and the additions and deletions which Malory makes to them: central to the investigation is the ways in which the fifteenth-century work on the one hand conserves thirteenth-century narratives such as Le Mort le Roi Artu, yet on the other reconstitutes it as something new, an approach which differs from the current critical trend of considering the Morte mainly in relation to its contemporary milieu. In so doing, the author develops a theory of "symbolic structure" to account for the principles of generation and combination of narrative elements in Malory, looking at the ways in which entire narratives can be put into motion by the power of a symbol such as Balin's sword, or the grail itself. Dr ELIZABETH EDWARDS teaches at the University of King's College, Halifax, Nova Scotia.

In July 1897, in a flourish of publicity, Sir Benjamin Stone - Birmingham industrialist, Member of Parliament and passionate, almost obsessive collector, announced the formation of the National Photographic Record Association. Its prime objective was to make a record of England for future generations, to foster "a national pride in the historical associations of the country, or neighbourhood, in family traditions, or in personal associations." Over the next 13 years, Stone and his amateur supporters deposited their photographs at the British Museum. In 2000, these were moved to the V&A. This book examines Stone's central role in the project and presents over 100 of his photographs, many of which have never been published before. It also charts the history of the NPRA and points to its legacies within photography. What is especially striking is the resonance of these pictures in our own age.

Vision is more than looking or seeing. It is integral to all human action. Visual Sense presents a series of readings which offer a range of alternatives to conventional psychological and social scientific approaches to the study of the ocular. The book highlights the multitude of ways in which vision is linked to the other senses by virtue of being embedded in complex cultural processes.Visual Sense introduces students to the analysis of a wide range of ways of experiencing sight across time and across cultures: from Renaissance Italy, Aztec Mexico and early Christian Europe, to Tibet, West Africa, Aboriginal Australia and South America, amongst others. It is arranged around broad themes of visual experience, ranging from navigating the sacred and ordering knowledge about the world to thinking creatively, socially and beyond vision into cyberspace and daydream. This unique approach allows cross-cultural and thematic connections to be made. A Guide to Further Reading allows students to expand their learning independently, and section introductions place the readings in context.Visual Sense expands the field of visual studies and explores the place of vision in the sensory world.

Vision is more than looking or seeing. It is integral to all human action. Visual Sense presents a series of readings which offer a range of alternatives to conventional psychological and social scientific approaches to the study of the ocular. The book highlights the multitude of ways in which vision is linked to the other senses by virtue of being embedded in complex cultural processes.Visual Sense introduces students to the analysis of a wide range of ways of experiencing sight across time and across cultures: from Renaissance Italy, Aztec Mexico and early Christian Europe, to Tibet, West Africa, Aboriginal Australia and South America, amongst others. It is arranged around broad themes of visual experience, ranging from navigating the sacred and ordering knowledge about the world to thinking creatively, socially and beyond vision into cyberspace and daydream. This unique approach allows cross-cultural and thematic connections to be made. A Guide to Further Reading allows students to expand their learning independently, and section introductions place the readings in context.Visual Sense expands the field of visual studies and explores the place of vision in the sensory world.

Anthropologists of the senses have long argued that cultures differ in their sensory registers. This groundbreaking volume applies this idea to material culture and the social practices that endow objects with meanings in both colonial and postcolonial relationships. It challenges the privileged position of the sense of vision in the analysis of material culture. Contributors argue that vision can only be understood in relation to the other senses. In this they present another challenge to the assumed western five-sense model, and show how our understanding of material culture in both historical and contemporary contexts might be reconfigured if we consider the role of smell, taste, touch and sound, as well as sight, in making meanings about objects.

Photographs have had an integral and complex role in many anthropological contexts, from fieldwork to museum exhibitions. This book explores how approaching anthropological photographs as 'history' can offer both theoretical and empirical insights into these roles. Photographs are thought to make problematic history because of their ambiguity and 'rawness'. In short, they have too many meanings. The author refutes this prejudice by exploring, through a series of case studies, precisely the potential of this raw quality to open up new perspectives.
Taking the nature of photography as her starting point, the author argues that photographs are not merely pictures of things but are part of a dynamic and fluid historical dialogue, which is active not only in the creation of the photograph but in its subsequent social biography in archive and museum spaces, past and present. In this context, the book challenges any uniform view of anthropological photography and its resulting archives. Drawing on a variety of examples, largely from the Pacific, the book demonstrates how close readings of photographs reveal not only western agendas, but also many layers of differing historical and cross-cultural experiences. That is, photographs can 'spring leaks' to show an alternative viewpoint. These themes are developed further by examining the dynamics of photographs and issues around them as used by contemporary artists and curators and presented to an increasingly varied public.
This book convincingly demonstrates photographs' potential to articulate histories other than those of their immediate appearances, a potential that can no longer be neglected by scholars and institutions.

Photographs have had an integral and complex role in many anthropological contexts, from fieldwork to museum exhibitions. This book explores how approaching anthropological photographs as 'history' can offer both theoretical and empirical insights into these roles. Photographs are thought to make problematic history because of their ambiguity and 'rawness'. In short, they have too many meanings. The author refutes this prejudice by exploring, through a series of case studies, precisely the potential of this raw quality to open up new perspectives.Taking the nature of photography as her starting point, the author argues that photographs are not merely pictures of things but are part of a dynamic and fluid historical dialogue, which is active not only in the creation of the photograph but in its subsequent social biography in archive and museum spaces, past and present. In this context, the book challenges any uniform view of anthropological photography and its resulting archives. Drawing on a variety of examples, largely from the Pacific, the book demonstrates how close readings of photographs reveal not only western agendas, but also many layers of differing historical and cross-cultural experiences. That is, photographs can 'spring leaks' to show an alternative viewpoint. These themes are developed further by examining the dynamics of photographs and issues around them as used by contemporary artists and curators and presented to an increasingly varied public.This book convincingly demonstrates photographs' potential to articulate histories other than those of their immediate appearances, a potential that can no longer be neglected by scholars and institutions.

Fresh and provocative approaches to the literature of the middle ages, offering close readings of texts from Chaucer to Henryson, and beast fable to devotional works. Jill Mann's writing, teaching, and scholarship have transformed our understanding of two distinct fields, medieval Latin and Middle English literature, as well as their intersection. Essays in this volume seek to honour this achievement by looking at entirely new aspects of these fields (the relationship of song to affect, the political valence of classical allusion, the Latin background of Middle English devotional texts). Others look again at the literary kinds and ideas most important in Mann's own work (beast fable, the nature of allegory, the nature of "nature", the relationship of economic thought and literature, satire, language as a subject for poetry) in the poets she hasbeen most drawn to (Chaucer, Langland, Henryson). All of the essays involve close readings of the most careful kind, taking as their primary method Professor Mann's repeated injunction to attend, above all, to the"words on the page". Christopher Cannon is Professor of English, New York University; Maura Nolan is Associate Professor of English, University of California, Berkeley. Contributors: Siobhain Bly Calkin, Christopher Cannon,Rebecca Davis, Peter Dronke, A.S.G. Edwards, Elizabeth B. Edwards, Maura Nolan, Paul J. Patterson, Derek Pearsall, Ad Putter, Paul Gerhard Schmidt, James Simpson, Barry Windeatt, Nicolette Zeeman

Almost all museums hold photographs in their collections, and museum professionals and their audiences engage with photographs in a myriad of ways. Yet despite some three decades of critical museology and photographic theory, and an extensive debate on the politics of representation, outside art museums, almost no critical attention has been given specifically to the roles, purposes and lives of these photographs within museums. This book brings into focus the ubiquitous yet entirely unconsidered work that photographs are put to in museums. The authors' argument is that there is an economy of photographs in museums which is integral to the processes of the museum, and integral to the understanding of museums. The international contributors, drawn from curators and academics, reflect a range of visual and museological expertise. After an introduction setting out the range of questions and problems, the first part addresses broad curatorial strategies and ways of thinking about photographs in museums. Shifting the emphasis from curatorial practices and anxieties to the space of the gallery, this is followed by a series of case studies of exhibitionary practices and the museum strategies that support them. The third section focuses on the role of photographs in the museum articulation of 'difficult histories'. A final section addresses photograph collections in a digital environment. New technologies and new media have transformed the management, address and purposing in photographs in museums, from cataloguing practices to streaming on social media. These growing practices challenge both traditional hierarchies of knowledge in museums and the location of authority about photographs. The volume emerges from PhotoCLEC, a HERA funded project on museums and the photographic legacy of the colonial past in a postcolonial and multicultural Europe.

Through thick and thin, far-flung vacations, sing-alongs, misadventures galore, and everyday home life, Lucy and Ethel are the best of friends. With this DIY gift book inspired by the pair from I Love Lucy, let your best pal know there's no one you'd rather have at your side through life's wackiest moments. This interactive book invites you to fill in what you love about your friend, with writing prompts inspired by the adventures of the original dynamic duo, Lucy and Ethel. Once completed, the book becomes a personalised gift that perfectly expresses your appreciation and records some of your greatest schemes, laughs, and heart-warming moments together. This book features black-and-white and full-color photography from I Love Lucy throughout. TM & (c) 2020 CBS Broadcasting Inc. I LOVE LUCY and related marks and logos are trademarks of CBS Broadcasting Inc. All Rights Reserved. Images of Lucille Ball and Desi Arnaz are licensed by Desilu, too, LLC.

Práctico y muy ilustrado, Manual de dermatología genital facilita a los clínicos de todos los niveles de experiencia el alcance de un diagnóstico preciso de las lesiones dermatológicas genitales, tanto habituales como infrecuentes. Con más de 500 fotografías a todo color ordenadas por aspecto para una rápida identificación, ofrece una magnífica orientación visual, incluso para afecciones no encontradas previamente. Esta referencia fácil de usar, ya en su 4.ª edición, es ideal para cualquier clínico que atienda a hombres y mujeres con afecciones en los genitales externos, incluidos dermatólogos, ginecólogos, y para urólogos, médicos de atención primaria, personal de enfermería especializado y asistentes médicos. Los libros de texto convencionales casi siempre ordenan y clasifican los trastornos según su causa (p. ej., infecciones) o fisiopatología (p. ej., enfermedades autoinmunes), y aunque esta organización puede ser intelectualmente satisfactoria, los doctores Libby Edwards y Peter J. Lynch la consideran de poca ayuda para los profesionales que se enfrentan a un trastorno desconocido. Por este motivo, han optado por un abordaje menos convencional y han ordenado los trastornos dermatológicos genitales en función de la morfología clínica. De este modo, el profesional puede consultar el capítulo adecuado, elaborar una lista de diagnósticos diferenciales, cotejar las fotografías, revisar la narrativa relacionada y, en casi todos los casos, establecer el diagnóstico más probable.