Vincent van Gogh's *Sunflowers* are seen by many as icons of Western European art. Two of these masterpieces — the first version painted in August 1888 (The National Gallery, London) and the painting made after it in January 1889 (Van Gogh Museum, Amsterdam) — have been the subject of a detailed comparison by an interdisciplinary team of experts. The pictures were examined in unprecedented depth using a broad array of techniques, including state-of-the-art, non-invasive imaging analytical methods, to look closely at and under the paint surface.Not only the making, but also the subsequent history of the works was reconstructed, including later campaigns of restoration. The study’s conclusions are set out in this book, along with the fascinating genesis of the paintings and the sunflower’s special significance to Van Gogh.More than 30 authors, all specialists in the field of conservation, conservation science and art history, have contributed to the research and publication presenting the outcomes of this unique project.

The Velislav Bible is one of the most beautiful medieval Bohemian manuscripts. It is a heavily illustrated manuscript that contains only short selections of the text, that instruct the reader about the story depicted. The last picture in the manuscript shows a man kneeling before St. Catherine, identified as Velislav, hence the name of the manuscript. The Bible comprises stories from the Books of Genesis and Exodus, visions of Daniel, and the stories of Samson as well as of Judith. The narrative of the Antichrist precedes the Christological part. The New Testament continues with the Book of Revelation, stories following the Ascension of Christ, and key events from the lives of St. Peter and St. Paul. The manuscript closes with the legend of St. Wenceslas, the patron saint of Bohemia. The essays in The Velislav Bible, Finest Picture-Bible of the Late Middle Ages: Biblia depicta as Devotional, Mnemonic and Study Tool analyze the manuscript from historical, textual, art-historical, and iconographic perspectives. However, a shared concern of all the authors is to think about its functions. An edition of the Latin titulis is being published here for the first time.

Characters are a vital aspect of today’s transmedia practices. Combining theories on fictional persons from Japanese and Euro-American practices, this book discusses video game characters embedded in our popular media culture in which they are constantly produced and re-imagined.

This book introduces the dynamic game character, a type of game character with a development structure that consists of multiple outcomes in a game. Through their actions and choices, players can influence these game characters’ identities and affect their possible destinies.

Games subvert the idea that fictional persons must maintain a coherent identity. This book shows that dynamic game characters challenge strategies of top-down control through close readings of the Mass Effect series, Persona 5, Hades, Animal Crossing: New Horizons and more. It is directed to all scholars interested in the topics of transmedia storytelling, video games, characters, and Japanese narratology.

Formalism is often used as an all-embracing term covering a range of ontological and methodological approaches in game studies, with little connection to the history or tradition of the approach in other fields. This dilutes the usefulness of the approach, and invites (often unfounded) criticism. Videogame Formalism addresses these issues through an exploration of the historical and theoretical roots of formalist approaches to videogame analysis, situating this approach within games studies, and arguing for its importance and applicability as a methodological toolkit and a theoretical framework for understanding the aesthetic experience of videogames. It presents an overview of how formalist approaches can provide insights into the ways games create aesthetic experiences through the use of poetic gameplay devices, and lays out a comprehensive yet flexible methodological framework for undertaking a formalist analysis of games. This approach is then demonstrated through a series of detailed examples and case studies.

Vietnam: A War, Not a Country explores the conflicting ways in which the American-Vietnamese War has been collectively remembered and represented from the perspective of the war’s three primary belligerents: the Vietnamese communists, the South Vietnamese, and the Americans. The book examines how the three different collectives memorialize this traumatizing historical event. Within each of these three groups there exists a number of competing narratives, generating not only a sense of shared meaning and community, but also impassioned social conflict. In order to trace these narratives within each collectivity, the authors develop the concept of arenas of memory, distinct discourses that are tied to specific individuals, organizations, and institutions that advocate specific narratives through specific forms of media. Their analysis leads them to make the case as to whether each of these societies experienced a cultural trauma as a result of the way in which the war is remembered.

Drawing on ethnographic research conducted at Moscow’s wholesale markets from 2013 to 2016, Vietnamese Migrants in Russia: Mobility in Times of Uncertainty provides original insights into how uncertainty shapes social practice, identity and belonging in the context of irregular migration from Vietnam to Russia. The study speaks to various debates in migration and mobility studies -- particularly those focused on brokerage networks, the political economy of sexuality, and social belonging -- deepening our knowledge of how the core social values and cultural logics that underpin Vietnamese personhood are challenged and reconstituted by the ethos of the market economy. This book sheds important light on processes of mobility and social change in post-socialist societies that continue to grapple with yawning chasms between old and new ways of life, the local and the global, policy and practice, and obsolete governance techniques and rapidly changing socio-economic realities.

This book is one of the first to examine medieval Spanish canonical works for their portrayals of disability in relationship to theological teachings, legal precepts, and medical knowledge. Connie L. Scarborough shows that physical impairments were seen differently through each lens. Theology at times taught that the disabled were "marked by God," their sins rendered on their bodies; at other times, they were viewed as important objects of Christian charity. The disabled often suffered legal restrictions, allowing them to be viewed with other distinctive groups, such as the ill or the poor. And from a medical point of view, a miraculous cure could be seen as evidence of divine intervention. This book explores all these perspectives through medieval Spain's miracle narratives, hagiographies, didactic tales, and epic poetry.

This edited volume presents a synthesis of recent research on villas and villa landscapes in the northern provinces of the Roman world. It offers an original, multi-dimensional perspective on the social, economic and cultural functioning of villas within the context of the Roman empire. Themes discussed include the economic basis of villa dominated landscapes, rural slavery, town-country dynamics, the role of monumental burials in villa landscapes, and self-representation and lifestyle of villa owners. This study offers a major contribution to the comparative research of villa landscapes and the phenomenon of regionality in Roman rural landscapes.Amsterdam Archaeological Studies is a series devoted to the study of past human societies from the prehistory up into modern times, primarily based on the study of archaeological remains. The series will include excavation reports of modern fieldwork; studies of categories of material culture; and synthesising studies with broader images of past societies, thereby contributing to the theoretical and methodological debates in archaeology.

'Trolls for Trump', virtual rape, fake news - social media discourse, including forms of virtual and real violence, has become a formidable, yet elusive, political force. What characterizes online vitriol? How do we understand the narratives generated, and also address their real-world - even life-and-death - impact? How can hatred, bullying, and dehumanization on social media platforms be addressed and countered in a post-truth world? This book unpicks discourses, metaphors, media dynamics, and framing on social media, to begin to answer these questions. Written for and by cultural and media studies scholars, journalists, political philosophers, digital communication professionals, activists and advocates, this book makes the connections between theoretical approaches from cultural and media studies and practical challenges and experiences 'from the field', providing insight into a rough media landscape.

This book argues that pre-modern societies were characterized by a common quest for human flourishing or excellence, i.e. virtue. The history of virtue is a particularly fruitful approach when studying pre-modern periods. Systems of moral philosophy and more day-to-day moral ideas and practices in which virtue was central were incredibly important in pre-modern societies within and among diverse scholarly, literary, religious and social communities. Virtue was a cornerstone of pre-modern societies, permeating society in many different ways, and on many different levels, and it was conveyed in erudite and pedagogical texts, ritual, performance and images. The construction of virtues such as wisdom, courage, and justice helped shape identities and communities, but also served to legitimize and reinforce differences pertaining to gender, social hierarchies, and nations. On a more fundamental level, studying the history of virtue helps us understand the guiding principles of historical action. Thus, we believe that the history of virtue is central to understanding these societies, and that the history of virtue, including criticisms of virtue and virtue ethics, tells us important things about how men and women thought and acted in ages past.

How did the breakdown of Roman rule in the Iberian peninsula eventually result in the formation of a Visigothic kingdom with authority centralised in Toledo? This collection of essays challenges the view that local powers were straightforwardly subjugated to the expanding central power of the monarchy. Rather than interpret countervailing events as mere 'delays' in this inevitable process, the contributors to this book interrogate these moments to uncover the hidden agency of individuals and local authorities. What emerges is a story of contested interests seeking cooperation through institutions and social practices that were flexible enough to stabilise a system that was hierarchical yet mutually beneficial for multiple social groups. By examining the Visigothic settlement, the interplay between central and local power, the use of ethnic identity, projections of authority, and the role of the Church, this book articulates a model for understanding the formation of a large and important early medieval kingdom.

*Visions of Electric Media* is an historical examination into the early history of television, as it was understood during the Victorian and Machine ages. How did the television that we use today develop into a functional technology? What did Victorians expect it to become? How did the 'vision' of television change once viewers could actually see pictures on a screen? We will journey through the history of 'television': from the first indications of live communications in technology and culture in the late nineteenth century, to the development of electronic televisual systems in the early twentieth century. Along the way, we will investigate the philosophy, folklore, engineering practices, and satires that went into making television a useful medium.

Visions of Savage Paradise is the first major book-length study of the Dutch artist Albert Eckhout to be published since 1938. This book, which draws extensively on the author’s doctoral dissertation, examines the fascinating works of art produced by Eckhout while he was court painter in Dutch Brazil to the German count Johan Maurits van Nassau-Siegen.Johan Maurits, who was colonial governor from 1637-1644 of the Dutch West India Company’s Brazilian colony, supported the study and representation of natural history as part of a program to document the different peoples and natural resources present in the colony. As part of this project, Eckhout created life-size paintings of Amerindians, Africans, and peoples of mixed “racial” background for display in Vrijburg, the governor’s palace. He also made still-life paintings and hundreds of chalk sketches and oil studies on paper of the “savage”peoples, plants, and animals of his new Brazilian home.In this study, the author provides a careful analysis of these works of art, framing them with a discussion of contemporary artistic practices in the Dutch Republic. Nonetheless, the primary focus of this book is the function of these works within their original colonial context. As the author makes clear, the creation, use, and display of the Brazilian paintings and drawings by Albert Eckhout strengthened Johan Maurits’s position as a colonial and cultural leader.This work will not only be of interest to students and scholars of seventeenth-century Dutch art, but it will also be an important resource for those interested in visual anthropology and the history of the WIC.

This is the first study to bring together all twenty-nine extant copies of the medieval Commentary on the Apocalypse, which was originally written by Spanish monk Beatus of Liébana. John Williams, a renowned expert on the Commentary, shares a lifetime of study and offers new insights on these strikingly illustrated manuscripts. As he shows, the Commentary responded to differing monastic needs within the shifting context of the Middle Ages. Of special interest is a discussion of the recently discovered Geneva copy: one of only three commentaries to be written outside of the Iberian Peninsula, this manuscript shows both close affinities to the Spanish model and fascinating deviations from it in terms of its script and style of illustrations.

Vienna, with its stunning architecture and unforgettable streetscape, has long provided a backdrop for filmmakers. Visions of Vienna offers a close look at how directors such as Erich von Stroheim, Ernst Lubitsch, and Max Ophüls made use of the city, and how the nostalgic glorification of the Habsburg era can be seen as directly tied to crucial issues of modernity. Films set in Vienna, Alexandra Seibel shows, persistently articulate the experience of displacement due to emigration, changing gender relations and anti-feminism, class distinction, and anti-Semitism, themes that run counter to the ongoing mystification of Vienna as the incarnation of "waltz dreams" and schmaltz.

God's diplomat, the pope of the ecumenical movement, but also an acerbic theologian and a difficult person: this is how journalists characterised Willem Adolf Visser 't Hooft (1900-1985). He was one of the best-known Dutch theologians outside the Netherlands and he left his mark on the world church. Even at an early age he made profound efforts in support of international ecumenical youth and student organisations (Dutch Student Christian Movement, YMCA and World Student Christian Federation). He led the World Council of Churches during its formative stages (from 1938), and after its formal establishment in 1948 became its first general secretary, serving until 1966. To Visser 't Hooft, the unity of the church was both an article of faith and of a pragmatic organisation of church influence in a disunited world.

This edited volume provides a multifaceted investigation of the dynamic interrelations between visual arts and urbanization in contemporary Mainland China with a focus on unseen representations and urban interventions brought about by the transformations of the urban space and the various problems associated with it. Through a wide range of illuminating case studies, the authors demonstrate how innovative artistic and creative practices initiated by various stakeholders not only raise critical awareness on socio-political issues of Chinese urbanization but also actively reshape the urban living spaces. The formation of new collaborations, agencies, aesthetics and cultural production sites facilitate diverse forms of cultural activism as they challenge the dominant ways of interpreting social changes and encourage civic participation in the production of alternative meanings in and of the city. Their significance lies in their potential to question current values and power structures as well as to foster new subjectivities for disparate individuals and social groups.

Social movements are not only remembered in personal experience, but also through cultural carriers that shape how later movements see themselves and are seen by others. The present collection zooms in on the role of photography in this memory-activism nexus. How do iconographic conventions shape images of protest? Why do some images keep movements in the public eye, while others are quickly forgotten? What role do images play in linking different protests, movements, and generations of activists? Have the affordances of digital media made it easier for activists to use images in their memory politics, or has the digital production and massive online exchange of images made it harder to identify and remember a movement via a single powerful image? Bringing together experts in visual culture, cultural memory, social movements, and digital humanities, this collection presents new empirical, theoretical, and methodological insights into the visual memory of protest.

From user-generated images of streets to professional architectural renderings, and from digital maps and drone footages to representations of invisible digital ecologies, this collection of essays analyses the emergent practices of visualizing the street. Today, advancements in digital technologies of the image have given rise to the production and dissemination of imagery of streets and urban realities in multiple forms. The ubiquitous presence of digital visualizations has in turn created new forms of urban practice and modes of spatial encounter. Everyone who carries a smartphone not only plays an increasingly significant role in the production, editing and circulation of images of the street, but also relies on those images to experience urban worlds and to navigate in them. Such entangled forms of image-making and image-sharing have constructed new imaginaries of the street and have had a significant impact on theways in which contemporary and future streets are understood, imagined, documented, navigated, mediated and visualized.Visualizing the Street investigates the social and cultural significance of these new developments at the intersection of visual culture and urban space. The interdisciplinary essays provide new concepts, theories and research methods that combine close analyses of street images and imaginaries with the study of the practices of their production and circulation. The book covers a wide range of visible and invisible geographies — From Hong Kong’s streets to Rio’s favelas, from Sydney’s suburbs to London’s street markets, and from Damascus’ war-torn streets to Istanbul’s sidewalks — and engages with multiple ways in which visualizations of the street function to document street protests and urban change, to build imaginaries of urban communities and alternate worlds, and to help navigate streetscapes.

Anti-colonial literature is not necessarily ‘combat literature’ as Fanon and Déjeux have both suggested in their own writings. While it is often combative, there is also anti-colonial literature that emphasizes the human and the humane rather than the oppositional and contentious; it cannot be fair to label all anti-colonial literature as combative, even if one were to expand the definition of “combat” to include peaceful struggles against oppression or dehumanization. This book suggests that the relationship between the West and the rest of the world has been imagined as a relationship of Self (the West) to Other (the rest of the world), ordered and bordered geographically by the whims of Europeans and creating a Center-Periphery paradigm. These invented boundaries of humanity serve to separate geographical sites, but more, they serve to enclose the Empire and exoticize other cultures. Boundaries are often spatial, but more often, they are related to relationships and colonialization.

This edited collection presents fresh and original work on Vittoria Colonna, perhaps the outstanding female figure of the Italian Renaissance, a leading Petrarchist poet, and an important figure in the Italian Reform movement. Until recently best known for her close spiritual friendship with Michelangelo, she is increasingly recognized as a powerful and distinctive poetic voice, a cultural and religious icon, and an important literary model for both men and women. This volume comprises compelling new research by established and emerging scholars in the fields of literature, book history, religious history, and art history, including several studies of Colonna’s influence during the Counter-Reformation, a period long neglected by Italian cultural historiography. The Colonna who emerges from this new reading is one who challenges traditional constructions of women’s place in Italian literature; no mere imitator or follower, but an innovator and founder of schools in her own right.