The contemporary German author W. G. Sebald was a master of the fiction of recollection and observation, often exploring the reverberations of World War II on the personal and collective memories of Germans and Jews. His rich body of work earned him legions of fans across the globe, but in the wake of his death in 2001, Sebald also became the subject of extensive critical study. Literary scholars have identified a number of subjects that frequently appear in Sebald's novels: the Holocaust, trauma and memory, melancholy, photography, travel, intertextuality, and the nature and meaning of home, but they have yet to locate an overarching narrative that ties these topics to the broader historical trajectories with which Sebald's work is also fundamentally concerned.

In "W. G. Sebald: Image, Archive, Modernity," J. J. Long identifies a wider "meta-problem" in Sebald's work--the problem of modernity. The numerous archival institutions and processes that lie at the heart of modernity are repeatedly explored in Sebald's novels. Photography, museums, libraries, and other institutions for producing and preserving knowledge are among Sebald's main obsessions. Following Foucault, these systems are seen as central to the exercise of power and the constitution of subjectivity, themes embodied in Sebald's melancholy search for autonomous selfhood in an increasingly impersonal and bureaucratized age. Considering the evocation of wonder in the prose narratives of "Vertigo," family albums in "The Emigrants," the ambulatory narrative in "The Rings of Saturn," and the archival subject in "Austerlitz," Long advances a highly original interpretation of the author's oeuvre, arguing that Sebald's project needs to be understood as a response not merely to post-Holocaust trauma but to the longer history of modernity.

Over the past twenty-five years, photography has moved to centre-stage in the study of visual culture and has established itself in numerous disciplines. This trend has brought with it a diversification in approaches to the study of the photographic image.

Photography: Theoretical Snapshots offers exciting perspectives on photography theory today from some of the world s leading critics and theorists. It introduces new means of looking at photographs, with topics including:

• a community-based understanding of Spencer Tunick s controversial installations
• the tactile and auditory dimensions of photographic viewing
• snapshot photography
• the use of photography in human rights discourse.

Photography: Theoretical Snapshots also addresses the question of photography history, revisiting the work of some of the most influential theorists such as Roland Barthes, Walter Benjamin, and the October group, re-evaluating the neglected genre of the carte-de-visite photograph, and addressing photography s wider role within the ideologies of modernity. The collection opens with an introduction by the editors, analyzing the trajectory of photography studies and theory over the past three decades and the ways in which the discipline has been constituted.

Ranging from the most personal to the most dehumanized uses of photography, from the nineteenth century to the present day, from Latin America to Northern Europe, Photography: Theoretical Snapshots will be of value to all those interested in photography, visual culture, and cultural history.

Over the past twenty-five years, photography has moved to centre-stage in the study of visual culture and has established itself in numerous disciplines. This trend has brought with it a diversification in approaches to the study of the photographic image.

Photography: Theoretical Snapshots offers exciting perspectives on photography theory today from some of the world s leading critics and theorists. It introduces new means of looking at photographs, with topics including:

• a community-based understanding of Spencer Tunick s controversial installations
• the tactile and auditory dimensions of photographic viewing
• snapshot photography
• the use of photography in human rights discourse.

Photography: Theoretical Snapshots also addresses the question of photography history, revisiting the work of some of the most influential theorists such as Roland Barthes, Walter Benjamin, and the October group, re-evaluating the neglected genre of the carte-de-visite photograph, and addressing photography s wider role within the ideologies of modernity. The collection opens with an introduction by the editors, analyzing the trajectory of photography studies and theory over the past three decades and the ways in which the discipline has been constituted.

Ranging from the most personal to the most dehumanized uses of photography, from the nineteenth century to the present day, from Latin America to Northern Europe, Photography: Theoretical Snapshots will be of value to all those interested in photography, visual culture, and cultural history.