This collection of case studies investigates the significance and function of national identity. The authors see national consciousness in terms of the circumstances in which it arose, and in terms of the meaning which it had for a specific group or individual. Representations of the nation could serve to legitimize or support specific political or social agendas, or to provide people with a point of fixity amidst changing circumstances. The articles in this volume trace these aspects of national consciousness in the case of a single country: The Netherlands.

Das "lange 19. Jahrhundert" der Nationalstaatenbildung ist auch das Jahrhundert der "Erfindung" der Fotografie wie auch der Geburt der modernen Archivwissenschaften. Die Fotografie wurde bald von den Nationalstaaten in ihrem Bedürfnis nach bildlicher Visualisierung in den Dienst genommen. Nach dem II. Weltkrieg, dem Zerfall der kolonialistischen Systeme und schließlich dem Fall der Berliner Mauer erlangten nationale Fragen erneut Aktualität - nun in einem globalen Rahmen. Die Beiträge in diesem Band untersuchen den Zusammenhang zwischen Fotografie/Fotoarchiven und der Idee der Nation, wobei das Objektiv sich nicht auf einzelne Ikonen, sondern auf die weitreichende Dimension des Archivs richtet.

Culled from the extensive archives of one of the most renowned graffiti photographers of all time comes this remarkable collection of previously unpublished images of New York’s graffiti scene in the 1980s. If you were a graffiti writer in 1980s New York City, you wanted Martha Cooper to document your work—and she probably did. Cooper has spent decades immortalizing art that is often overlooked, and usually illegal. Her first book, 1984’s Subway Art (a collaboration with Henry Chalfant), is affectionately referred to by graffiti artists as the “bible”. To create Spray Nation, Cooper and editor Roger Gastman pored through hundreds of thousands of 35mm Kodachrome slides, painstakingly selecting and digitizing them. The photos range from obscure tags to portraits, action shots, walls, and painted subway cars. They are accompanied by heartfelt essays celebrating Cooper’s drive, spirit, and singular vision. The images capture a gritty New York era that is gone forever. And although the original pieces (as well as many of their creators) have been lost, these powerful photos feel as immediate as a subway train thundering down the tracks.

Collection of b/w photographs depicting America's gun culture. Includes an introductory essay on the fight for gun control.

First Published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Choctaw are the largest tribe belonging to the branch of the Muskogean family that includes the Chickasaw, Creek (Muscogee), and Seminole. According to oral history, the tribe originated from Nanih Waya, a sacred hill near present-day Noxapater, Mississippi. Nanih Waya means "productive or fruitful hill, or mountain." During one of their migrations, they carried a tree that would lean, and every day the people would travel in the direction the tree was leaning. They traveled east and south for sometime until the tree quit leaning, and the people stopped to make their home at this location, in present-day Mississippi. The people have made difficult transitions throughout their history. In 1830, the Choctaw who were removed by the United States from their southeastern U.S. homeland to Indian Territory became known as the Choctaw Nation of Oklahoma.

Das "lange 19. Jahrhundert" der Nationalstaatenbildung ist auch das Jahrhundert der "Erfindung" der Fotografie wie auch der Geburt der modernen Archivwissenschaften. Die Fotografie wurde bald von den Nationalstaaten in ihrem Bedürfnis nach bildlicher Visualisierung in den Dienst genommen. Nach dem II. Weltkrieg, dem Zerfall der kolonialistischen Systeme und schließlich dem Fall der Berliner Mauer erlangten nationale Fragen erneut Aktualität - nun in einem globalen Rahmen. Die Beiträge in diesem Band untersuchen den Zusammenhang zwischen Fotografie/Fotoarchiven und der Idee der Nation, wobei das Objektiv sich nicht auf einzelne Ikonen, sondern auf die weitreichende Dimension des Archivs richtet.