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Books on the topic 'Circulation and display of material culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Culture on display: The production of contemporary visitability. Open University Press, 2003.

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2

Exhibiting madness in museums: Remembering psychiatry through collections and display. Routledge, 2011.

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3

Aaron, Binkley David, and National Museum of African Art (U.S.), eds. Spectacular display: The art of Nkanu initiation rituals. Smithsonian National Museum of African Art, 2001.

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4

Dicks, Bella. Culture on Display. Open University Press, 2004.

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5

Dicks, Bella. Culture on Display. Open University Press, 2004.

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6

Wynne-Jones, Stephanie. A Material Culture. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198759317.001.0001.

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A Material Culture focuses on objects in Swahili society through the elaboration of an approach that sees both people and things as caught up in webs of mutual interaction. It therefore provides both a new theoretical intervention in some of the key themes in material culture studies, including the agency of objects and the ways they were linked to social identities, through the development of the notion of a biography of practice. These theoretical discussions are explored through the archaeology of the Swahili, on the Indian Ocean coast of eastern Africa. This coast was home to a series of "

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7

Colonial Collecting And Display Encounters With Material Culture From The Andaman And Nicobar Islands. Berghahn Books, 2013.

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8

Allan, David. Circulation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0003.

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This chapter studies how novels circulate among readers between the eighteenth and the early nineteenth centuries. The circulation of texts was plainly central to the broader culture of this period as well as to the social history of its literature. In fact, it performed many important functions in a rapidly changing environment. The mechanisms employed provided ample opportunities for sociability, for the cultivation and display of politeness, and even for genuine philanthropy. They also gave scope for the determined pursuit of self-improvement, for personal education, and, not least, for dee

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9

Gannon, Anna. The Iconography of Early Anglo-Saxon Coinage. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780199254651.001.0001.

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This is the first scholarly art-historical appraisal of Anglo-Saxon coinage, from its inception in the late sixth century to Offa's second reform of the penny c.792. Outside numismatic circles, this material has largely been ignored because of its complexity, yet artistically this is the most vibrant period of English coinage, with die-cutters showing flair and innovation and employing hundreds of different designs in their work. By analysing the iconography of the early coinage, this book intends to introduce its rich legacy to a wide audience. Anna Gannon divides the designs of the coins int

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10

Coleborne, Catharine, and Dolly MacKinnon. Exhibiting Madness in Museums: Remembering Psychiatry Through Collection and Display. Taylor & Francis Group, 2017.

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11

Aram, B., and B. Yun-Casalilla. Global Goods and the Spanish Empire, 1492-1824: Circulation, Resistance and Diversity. Palgrave Macmillan, 2014.

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12

Aram, B., and B. Yun-Casalilla. Global Goods and the Spanish Empire, 1492-1824: Circulation, Resistance and Diversity. Palgrave Macmillan, 2014.

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13

Sharlet, Jocelyn. Educated Slave Women and Gift Exchange in Abbasid Culture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190622183.003.0015.

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The chapter argues that although educated slave women played a significant role in Abbasid-era sources, their portrayal has received less attention than that of their free male counterparts. Using stories of gift exchange that feature two slave women, Utba and Inan, it demonstrates how enslaved women participated in the negotiation of their evolving status in the context of patriarchy in general, and educated female slavery in particular. The chapter uses two stories of the participation of such women in episodes of gift exchange to investigate the dynamics of the slave woman’s subjective agen

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14

Pulham, Patricia. The Sculptural Body in Victorian Literature. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693429.001.0001.

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This book contends that, in Victorian literature, transgressive desires that cannot be openly acknowledged – whether these be homosexuality, pygmalionism, necrophilia, or paedophilia – are often embedded and encrypted in sculptures. The three-dimensionality of the sculptural body, its ubiquity in Victorian popular culture, its increasing visibility in public galleries, and the full or partial nudity of classical statues on display are some of the key reasons that underpin this phenomenon. It argues that, in such literature, sculpture often functions as a form of textual ‘Secretum’ in which for

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15

Lippert, Amy K. DeFalco. “Base Falsehoods” and the Genuine Article: The Visual Economy of San Francisco. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190268978.003.0004.

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In the burgeoning urban centers of the United States in the nineteenth century, anonymous denizens interpreted one another and presented themselves through the visual medium. Publicly displayed and circulated imagery was broadly accessible to San Francisco’s diverse array of immigrants. Photographs and other illustrations provided newcomers with a universal language—a way to view and explore each other and a means of conceptualizing San Francisco. As the city developed and tents gave way to buildings, the modes of production, circulation, and display of visual ephemera grew apace, revealing th

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16

Holloway, Sally. Materializing Maternal Emotions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198802648.003.0010.

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This chapter analyses the material expression of emotion during the birth and renunciation of infants in England over the long eighteenth century. These transformative moments in the life cycle were shaped by the creation, purchase, and display of objects. The chapter focuses primarily on textiles with particular emotional or symbolic significance, exploring the changing emotional meanings of childbed linen, blankets, ribbons, cockades, and quilts. It argues that a mother’s touch provided a key means of imbuing these items with emotional value, as women carefully inked, pinned, and embroidered

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17

Bickford, Tyler. Tinkering and Tethering. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190654146.003.0004.

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This chapter considers children’s MP3 players from a “material culture” perspective. This approach reveals that children emphasized the tangibility of their MP3 players as objects more than as devices for communication or data storage. Children’s MP3 players were thoroughly domesticated within an intimate and childish material culture already characterized by playful physical interaction and portable objects such as toys, trading cards, and dolls that can be shared, manipulated, and held close, and in a culture of embodied participation that emphasizes touch, physical closeness, and movement.

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18

McDonald, Michelle Craig. Transatlantic Consumption. Edited by Frank Trentmann. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199561216.013.0006.

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The parameters of material culture studies of the 1980s and 1990s were influenced in no small part by the concurrent rise of Atlantic history and its emphasis on crossing national, regional, and imperial boundaries. Indeed, it is the circulation of goods, people, and ideas across and around the Atlantic Ocean that defined the field. Early studies traced migration, trade patterns, or specific commodities, but more recent work has focused on less tangible, but critically related, fields to consumption, such as taste and refinement, and adaptation and creolization. Like material culture studies,

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19

Neuschel, Kristen B. Living by the Sword. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501753336.001.0001.

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This book sharpens the readers' knowledge of swords as it traverses through a captivating 1,000 years of French and English history. The book reveals that warrior culture, with the sword as its ultimate symbol, was deeply rooted in ritual long before the introduction of gunpowder weapons transformed the battlefield. The book argues that objects have agency and that decoding their meaning involves seeing them in motion: bought, sold, exchanged, refurbished, written about, displayed, and used in ceremony. Drawing on evidence about swords in the possession of nobles and royalty, the book explores

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20

Fox, Adam. The Press and the People. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198791294.001.0001.

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This is the first full-length study of cheap print in early modern Scotland. It traces the production and distribution of ephemeral publications from the nation’s first presses in the early sixteenth century through to the age of Burns in the late eighteenth. It explores the development of the Scottish book trade in general and the production of slight and popular texts in particular. Focusing on the means by which these works reached a wide audience, it illuminates the nature of their circulation in both urban and rural contexts. Specific chapters examine single-sheet imprints such as ballads

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21

Munson, Kim A., ed. Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.001.0001.

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Over the last twenty years, the growing diversity in content and artistic innovation in graphic novels, comic books, and web comics combined with the popularity of films based on comics material have made comic art newly attractive to curators, museums, and university galleries. More artists identified with comics are getting big budget retrospectives, collecting institutions are mounting rich historical shows, and exhibits capitalizing on the popularity of all types of comics are popping up around the world. This book is an introduction to the history and controversies that have shaped comics

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22

Gerrard, Christopher, and Alejandra Gutiérrez, eds. The Oxford Handbook of Later Medieval Archaeology in Britain. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198744719.001.0001.

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The Middle Ages are all around us in Britain. The Tower of London and the castles of Scotland and Wales are mainstays of cultural tourism and an inspiring cross-section of later medieval finds can now be seen on display in museums across England, Scotland, and Wales. Medieval institutions from Parliament and monarchy to universities are familiar to us and we come into contact with the later Middle Ages every day when we drive through a village or town, look up at the castle on the hill, visit a local church, or wonder about the earthworks in the fields we see from the window of a train.This Ha

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23

Moore, Sean D. Slavery and the Making of Early American Libraries. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198836377.001.0001.

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Early American libraries stood at the nexus of two transatlantic branches of commerce—the book trade and the slave trade. Slavery and the Making of Early American Libraries bridges the study of these trades by demonstrating how Americans’ profits from slavery were reinvested in imported British books and providing evidence that the colonial book market was shaped, in part, by the demand of slave owners for metropolitan cultural capital. It makes these claims on the basis of recent scholarship on how participation in London cultural life was very expensive in the eighteenth century, and evidenc

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24

Woźniak, Monika, and Maria Wyke, eds. The Novel of Neronian Rome and its Multimedial Transformations. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.001.0001.

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When in 1905 the Polish writer Henryk Sienkiewicz was awarded the Nobel Prize for Literature ‘for outstanding services as an epic writer’, it was his novel Quo vadis. A Narrative of the Time of Nero that motivated the committee to bestow this notable honour. The extraordinary international success of Quo vadis catapulted the author into literary stardom, placing him at the top of international league tables for the sheer quantity of his readers. But, before long, the historical novel began to detach itself from the person of its author and to become a multimedial, mass–culture phenomenon. In t

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