In this book, Tonio Andrade tells the story of a wild and uncultivated island originally inhabited by aboriginal hunters and traders.
Whose culture, and more specifically whose objects, are the central questions in these two very different books. In modern Western legal systems, objects can have only one owner, though that owner may be a corporate or collective body. But what does it mean for a state or nation or community to own an object, and what should we make of claims to hold objects in trust for all humanity?
How do we conceptualise the African diaspora? The forced migration through the slave trade and its impact on the cultures of origin that slaves brought with them to the Americas has constituted an important area of academic research since the pioneering work of Melville Herskovits and Roger Bastide.
The history of nakedness deserves a serious history. For organised nudism or ‘naturism’ was a conscious movement initiated by Europeans at the end of the 19th century that has exerted a significant influence over society and politics in the wider world. This book is not that serious academic history. In one respect its aim is much more ambitious.
Chocolate, writes Emma Robertson in the introduction to her monograph, ‘has been invested with specific cultural meanings which are in part connected to … conditions of production’ (p. 3). At the heart of this study is a challenge to existing histories:
In this original and excellent volume Rosenfeld has succeeded in providing the reader with a political history of common sense from London in the 1680s through to almost present-day American politics. When one reads the front flap of the book, though, one gets the impression that even George W.
In Remembering the Road to World War Two Patrick Finney (a student of 20th-century international history, history and theory, and collective memory) writes an impressive and informative account, not of the origins of the Second World War, but of the way historians and others have remembered those origins.
How should we live? Roman Krznaric, in The Wonderbox: Curious Histories of How to Live, tackles a question as old as civilization itself from a position more fundamental than philosophy, religion or psychology offer on their own. This position is historical.
Firing off ideas and arguments in all directions, Jussi Parikka’s What is Media Archaeology? is an exciting and excitable contribution to cultural theory. The book begins by outlining the strands of historical and cultural enquiry, as well as the artistic practices, that currently constitute what he terms ‘media archaeology’.
In 1872 the Reverend T. DeWitt Talmage composed an essay entitled ‘After midnight’ in which he put forward the notion that night-time in the city passes through four distinct phases or ‘watches’ (pp. 55–6). Night was not one entity that lasted from dusk until dawn, instead it moved in three hour periods commencing at 6pm.