Based on case studies spanning time and geography from the Spanish to the Nigerian civil wars, to government repression in Argentina and genocidal policies in Guatemala and Rwanda and, finally, to forced population removal in Australia and Israel, this collection represents a focused attempt to come to grips with some of the strategies used to publicly engage with traumatic memory work. The various essays offer a kaleidoscopic perspective of new approaches to show how such memory work contributes to transitional justice efforts, demonstrating the complexities of achieving justice and reconciliation through the open expression of shared memories of violence.

The Art of Darkness is a visually rich sourcebook featuring eclectic artworks that have been inspired and informed by the morbid, melancholic and macabre. Throughout history, artists have been obsessed with darkness - creating works that haunt and horrify, mesmerise and delight and play on our innermost fears. Gentileschi took revenge with paint in Judith Slaying Holofernes while Bosch depicted fearful visions of Hell that still beguile. Victorian Britain became strangely obsessed with the dead and in Norway Munch explored anxiety and fear in one of the most famous paintings in the world (The Scream, 1893). Today, the Chapman Brothers, Damien Hirst and Louise Bourgeois, as well as many lesser known artists working in the margins, are still drawn to all that is macabre. From Dreams & Nightmares to Matters of Mortality, Depravity & Destruction to Gods & Monsters - this book introduces sometimes disturbing and often beautiful artworks that indulge our greatest fears, uniting us as humans from century to century. But, while these themes might scare us - can't they also be heartening and beautiful? Exploring and examining the artworks with thoughtful and evocative text, S. Elizabeth offers insight into each artist's influences and inspirations, asking what comfort can be found in facing our demons? Why are we tempted by fear and the grotesque? And what does this tell us about the human mind? Of course, sometimes there is no good that can come from the sensibilities of darkness and the sickly shivers and sensations they evoke. These are uncomfortable feelings, and we must sit for a while with these shadows - from the safety of our armchairs. Artists covered include Pablo Picasso, Georgia O'Keeffe, Francisco de Goya, Leonora Carrington, John Everett Millais, Tracey Emin, Vincent van Gogh, Barbara Hepworth, Paul Cezanne and Salvador Dali, as well as scores more. With over 200 carefully curated artworks from across the centuries, The Art of Darkness examines all that is dark in a bid to haunt and hearten. This book is part of the Art in the Margins series, following up on The Art of the Occult, which investigates representations of the mystical, esoteric and occult in art from across different times and cultures.

This beautiful, fully illustrated book presents a compendium of artworks throughout history which have been inspired by myth, fantasy and the unreal. Artists have explored imaginary worlds and fantastical creatures for centuries, expressing the unreal and impossible, the mystical and mythical, via the medium of paint. But what draws them to the imaginary, the uncharted and the unknown? Is it merely an escape from reality? Or are they seeking a greater understanding of the human experience, or perhaps the very meaning of life itself? With myriad styles and methods of expression, what links artists through the ages? And how have these visual flights of fancy and imagination changed over the course of time? The Art of Fantasy is a visual sourcebook of all that is fantastical – from fine art to illustration, and from surrealists and symbolists to the creatives working in undefined territories. While the artists in our history books (Blake, Goya, Dali, Magritte, Ernst) first brought fantasy art to the galleries, it was the twentieth century artists who brought it to the masses. It is in this book that, for the first time, they are united and equally weighted, presenting a mesmerising and thoughtful curation of the best fantasy artwork out there. This is an inspiring collection for fans of myth, magic, fantasy and art history.

A visual feast of eclectic artwork informed and inspired by spiritual beliefs, magical techniques, mythology and otherworldly experiences. Mystical beliefs and practices have existed for millennia, but why do we still chase the esoteric? From the beginning of human creativity itself, image-makers have been drawn to these unknown spheres and have created curious artworks that transcend time and place - but what is it that attracts artists to these magical realms? From theosophy and kabbalah, to the zodiac and alchemy; spiritualism and ceremonial magic, to the elements and sacred geometry - The Art of the Occult introduces major occult themes and showcases the artists who have been influenced and led by them. Discover the symbolic and mythical images of the Pre-Raphaelites; the automatic drawing of Hilma af Klint and Madge Gill; Leonora Carrington's surrealist interpretation of myth, alchemy and kabbalah; and much more. Featuring prominent, marginalised and little-known artists, The Art of the Occult crosses mystical spheres in a bid to inspire and delight. Divided into thematic chapters (The Cosmos, Higher Beings, Practitioners), the book acts as an entertaining introduction to the art of mysticism - with essays examining each practice and over 175 artworks to discover. The art of the occult has always existed in the margins but inspired the masses, and this book will spark curiosity in all fans of magic, mysticism and the mysterious.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

In the sixteenth century, in what is now modern-day Peru and Bolivia, Andean communities were forcibly removed from their traditional villages by Spanish colonizers and resettled in planned, self-governed towns modeled after those in Spain. But rather than merely conforming to Spanish cultural and political norms, indigenous Andeans adopted and gradually refashioned the religious practices dedicated to Christian saints and political institutions imposed on them, laying claim to their own rights and the sovereignty of the collective. The People Are King shows how common Andean people produced a new kind of civil society over three centuries of colonialism, merging their traditional understanding of collective life with the Spanish notion of the comun to demand participatory democracy. S. Elizabeth Penry explores how this hybrid concept of self-rule spurred the indigenous rebellions that erupted across Latin America in the eighteenth century, not only against Spanish rulers, but against native hereditary nobility, for acting against the will of the comuneros. Through the letters and documents of the Andean people themselves, The People Are King gives voice to a vision of community-based democracy that played a central role in the Age of Atlantic Revolutions and continues to galvanize indigenous movements in Bolivia today.

Coverage of the Clinton-Lewinsky saga followed in a long trail of media exposures of the more personal details of the lives of public figures. Many commentators have seen stories like this, and TV shows like Jerry Springer's, as evidence of a decline in the standards of the mass media. This increasing interest in private lives and the falling off of coverage of serious news is often described as Otabloidization.O The essays in this book are the first serious scholarly studies of what is going on and what its implications are. Reality, it turns out, is much more complex than some of the laments suggest. As the contributors show, this is not just a U.S. problem but is repeated in country after country, and it is not certain that the media anywhere are getting more tabloid. What is more, there is no consensus about whether tabloidization is just Odumbing downO or whether it is a necessary tactic for the mass media to engage with new audiences who do not have the news habit. Tabloid Tales will be of interest to students and scholars in journalism, mass communication, political science, and cultural and media studies.

This first comprehensive study of the Nigeria-Biafra War (1967-1970) through the lens of gender explores the valiant and gallant ways women carried out old and new responsibilities in wartime and immediate postwar Nigeria. The book presents women as embodiments of vulnerability and agency, who demonstrated remarkable resilience and initiative, waging war on all fronts in the face of precarious conditions and scarcities, and maximizing opportunities occasioned by the hostilities. Women's experiences are highlighted through critical analyses of oral interviews, memoirs, life histories, fashion and material culture, international legal conventions, music, as well as governmental and non-governmental sources. The book fills the gap in the war scholarship that has minimized women's complex experiences fifty years after the hostilities ended. It highlights the cost of the conflict on Nigerian women, their participation in the hostilities, and their contributions to the survival of families, communities and the country. The chapters present counter-narratives to fictional and nonfictional accounts of the war, especially those written by men, which often peripheralize or stereotypically represent women as passive spectators or helpless victims of the conflict; and also highlight and exaggerate women's moral laxity and sensationalize their marital infidelities.

The Audience in Everyday Life argues that a media audience cannot be studied in front of the television alone - their interaction with media does not simply end when the set is turned off. Instead, we must study the daily lives of audiences to find the undercurrents of media influence in everyday life. Applying new developments in cultural anthropology and folklore to media studies, S.Elizabeth Bird offers a series of empirically based audience studies of phenomena that include media scandals, fan culture, representations of race and ethnicity, tabloid journalism, and runaway media hoaxes. Bird provides a range of useful tools and methods for scholars and students interested in the ways media is consumed in everyday life.

The Audience in Everyday Life argues that a media audience cannot be studied in front of the television alone - their interaction with media does not simply end when the set is turned off. Instead, we must study the daily lives of audiences to find the undercurrents of media influence in everyday life. S. Elizabeth Bird offers a series of empirically based audience studies of phenomena that include media scandals, fan culture, representations of race and ethnicity, tabloid journalism and runaway media hoaxes. Bird provides a host of useful tools and methods for scholars and students interested in the ways media is consumed in everyday life.

One hundred members of NatChat, an electronic mail discussion group concerned with Native American issues, responded to the recent Disney release "Pocahontas" by calling on parents to boycott the movie, citing its historical inaccuracies and saying that "Disney has let us down in a cruel, irresponsible manner." Their anger was rooted in the fact that, although Disney claimed that the film's portrayal of American Indians would be "authentic," the Pocahontas story their movie told was really white cultural myth. The actual histories of the characters were replaced by mythic narratives depicting the crucial moments when aid was given to the white settlers. As reconstructed, the story serves to reassert for whites their right to be here, easing any lingering guilt about the displacement of the native inhabitants.To understand current imagery, it is essential to understand the history of its making, and these essays mesh to create a powerful, interconnected account of image creation over the past 150 years. The contributors, who represent a range of disciplines and specialties, reveal the distortions and fabrications white culture has imposed on significant historical and current events, as represented by treasured artifacts, such as photographic images taken of Sitting Bull following his surrender, the national monument at the battlefield of Little Bighorn, nineteenth-century advertising, the television phenomenon "Northern Exposure, " and the film "Dances with Wolves."Well illustrated, this volume demonstrates the complacency of white culture in its representation of its troubled relationship with American Indians.

One hundred members of NatChat, an electronic mail discussion group concerned with Native American issues, responded to the recent Disney release Pocahontas by calling on parents to boycott the movie, citing its historical inaccuracies and saying that ?Disney has let us down in a cruel, irresponsible manner.? Their anger was rooted in the fact that

Whereas some literary motifs such as the tyrant, the beggar, and the crone have equivalents in the real world, the Loathly Lady is a creature of the imagination. Yet she is not merely a whimsical fantasy. This volume concentrates on the medieval English Loathly Lady tales, which develop the motif as a vehicle for social ideology. One of the primary agendas of this collection is to promote the non-canonical Loathly Ladies as worthwhile subjects for scholarly consideration. The examinations here of the medieval English Loathly Lady tales engage with a myriad of concerns, including anxieties about virginity and sex, power and assimilation, beauty and beastliness. These broad examinations of this enigmatic literary motif are an excellent contribution to the field and will be of great interest to scholars.

In the sixteenth century, in what is now modern-day Peru and Bolivia, Andean communities were forcibly removed from their traditional villages by Spanish colonizers and resettled in planned, self-governed towns modeled after those in Spain. But rather than merely conforming to Spanish cultural and political norms, indigenous Andeans adopted and gradually refashioned the religious practices dedicated to Christian saints and political institutions imposed on them, laying claim to their own rights and the sovereignty of the collective. The People Are King shows how common Andean people produced a new kind of civil society over three centuries of colonialism, merging their traditional understanding of collective life with the Spanish notion of the comun to demand participatory democracy. S. Elizabeth Penry explores how this hybrid concept of self-rule spurred the indigenous rebellions that erupted across Latin America in the eighteenth century, not only against Spanish rulers, but against native hereditary nobility, for acting against the will of the comuneros. Through the letters and documents of the Andean people themselves, The People Are King gives voice to a vision of community-based democracy that played a central role in the Age of Atlantic Revolutions and continues to galvanize indigenous movements in Bolivia today.

In October 1967, early in the Nigerian Civil War, government troops entered Asaba in pursuit of the retreating Biafran army, slaughtering thousands of civilians and leaving the town in ruins. News of the atrocity was suppressed by the Nigerian government, with the complicity of Britain, and its significance in the subsequent progress of that conflict was misunderstood. Drawing on archival sources on both sides of the Atlantic and interviews with survivors of the killing, pillaging and rape, as well as with high-ranking Nigerian military and political leaders, S. Elizabeth Bird and Fraser M. Ottanelli offer an interdisciplinary reconstruction of the history of the Asaba Massacre, redefining it as a pivotal point in the history of the war. Through this, they also explore the long afterlife of trauma, the reconstruction of memory and how it intersects with justice, and the task of reconciliation in a nation where a legacy of ethnic suspicion continues to reverberate.

In October 1967, early in the Nigerian Civil War, government troops entered Asaba in pursuit of the retreating Biafran army, slaughtering thousands of civilians and leaving the town in ruins. News of the atrocity was suppressed by the Nigerian government, with the complicity of Britain, and its significance in the subsequent progress of that conflict was misunderstood. Drawing on archival sources on both sides of the Atlantic and interviews with survivors of the killing, pillaging and rape, as well as with high-ranking Nigerian military and political leaders, S. Elizabeth Bird and Fraser M. Ottanelli offer an interdisciplinary reconstruction of the history of the Asaba Massacre, redefining it as a pivotal point in the history of the war. Through this, they also explore the long afterlife of trauma, the reconstruction of memory and how it intersects with justice, and the task of reconciliation in a nation where a legacy of ethnic suspicion continues to reverberate.