A wide-ranging study of shifting temporalities and their literary consequences in twentieth-century fiction

An intimate portrait of the postwar lives of Korean children and women Korean children and women are the forgotten population of a forgotten war. Yet during and after the Korean War, they were central to the projection of US military, cultural, and political dominance. Framed by War examines how the Korean orphan, GI baby, adoptee, birth mother, prostitute, and bride emerged at the heart of empire. Strained embodiments of war, they brought Americans into Korea and Koreans into America in ways that defined, and at times defied, US empire in the Pacific. What unfolded in Korea set the stage for US postwar power in the second half of the twentieth century and into the twenty-first. American destruction and humanitarianism, violence and care played out upon the bodies of Korean children and women. Framed by War traces the arc of intimate relations that served as these foundations. To suture a fragmented past, Susie Woo looks to US and South Korean government documents and military correspondence; US aid organization records; Korean orphanage registers; US and South Korean newspapers and magazines; and photographs, interviews, films, and performances. Integrating history with visual and cultural analysis, Woo chronicles how Americans went from knowing very little about Koreans to making them family, and how Korean children and women who did not choose war found ways to navigate its aftermath in South Korea, the United States, and spaces in between.

Coinciding with the extraordinary expansion of Britain's overseas empire under Queen Victoria, the invention of photography allowed millions to see what they thought were realistic and unbiased pictures of distant peoples and places. This supposed accuracy also helped to legitimate Victorian geography's illuminations of the "darkest" recesses of the globe with the "light" of scientific mapping techniques. But as James R. Ryan argues in Picturing Empire, Victorian photographs reveal as much about the imaginative landscapes of imperial culture as they do about the "real" subjects captured within their frames. Ryan considers the role of photography in the exploration and domestication of foreign landscapes, in imperial warfare, in the survey and classification of "racial types," in "hunting with the camera," and in teaching imperial geography to British schoolchildren. Ryan's careful exposure of the reciprocal relation between photographic image and imperial imagination will interest all those concerned with the cultural history of the British Empire.

Henry Prinsep is known as Western Australia’s first Chief Protector of Aborigines in the colonial government of Sir John Forrest, a period which saw the introduction of oppressive laws that dominated the lives of Aboriginal people for most of the twentieth century. But he was also an artist, horse-trader, member of a prominent East India Company family, and everyday citizen, whose identity was formed during his colonial upbringing in India and England. As a creator of Imperial culture, he supported the great men and women of history while he painted, wrote about and photographed the scenes around him. In terms of naked power he was a middle man, perhaps even a small man. His empire is an intensely personal place, a vast network of family and friends from every quarter of the British imperial world, engaged in the common tasks of making a home and a career, while framing new identities, new imaginings and new relationships with each other, indigenous peoples and fellow colonists. This book traces Henry Prinsep’s life from India to Western Australia and shows how these texts and images illuminate not only Prinsep the man, but the affectionate bonds that endured despite the geographic bounds of empire, and the historical, social, geographic and economic origins of Aboriginal and colonial relationships which are important to this day.

"A brilliant reconstruction of the saga of power, glory, and invasion that is the one-thousand year story of Constantinople. A truly marvelous book." —Simon Winchester Ghost Empire is a rare treasure—an utterly captivating blend of the historical and the contemporary, narrated by a master storyteller. The story is a revelation: a beautifully written ode to a lost civilization combined with a warmly observed father-son adventure far from home. In 2014, Richard Fidler and his son Joe made a journey to Istanbul. Fired by Richard's passion for the rich history of the dazzling Byzantine Empire—centered around the legendary Constantinople—we are swept into some of the most extraordinary tales in history. The clash of civilizations, the fall of empires, the rise of Christianity, revenge, lust, murder. Turbulent stories from the past are brought vividly to life at the same time as a father navigates the unfolding changes in his relationship with his son.

This book provides a major empirical analysis of differing attitudes to European integration in three of Europe's most important countries: Germany, Spain, and the United Kingdom. From its beginnings, the European Union has resounded with debate over whether to move toward a federal or intergovernmental system. However, Juan Díez Medrano argues that empirical analyses of support for integration--by specialists in international relations, comparative politics, and survey research--have failed to explain why some countries lean toward federalism whereas others lean toward intergovernmentalism. By applying frame analysis to a unique set of primary sources (in-depth interviews, newspaper articles, novels, history texts, political speeches, and survey data), Díez Medrano demonstrates the role of major historical events in transforming national cultures and thus creating new opportunities for political transformation. Clearly written and rigorously argued, Framing Europe explains differences in support for European integration between the three countries studied in light of the degree to which each realized its particular "supranational project" outside Western Europe. Only the United Kingdom succeeded in consolidating an empire and retaining it after World War II, while Germany and Spain each abandoned their corresponding aspirations. These differences meant that these countries' populations developed different degrees of identification as Europeans and, partly in consequence, different degrees of support for the building of a federal Europe.

An exploration of how an official French visual culture normalized France’s colonial project and exposed citizens and subjects to racialized ideas of life in the empire. By the end of World War I, having fortified its colonial holdings in the Caribbean, Latin America, Africa, the Indian Ocean, and Asia, France had expanded its dominion to the four corners of the earth. This volume examines how an official French visual culture normalized the country’s colonial project and exposed citizens and subjects alike to racialized ideas of life in the empire. Essays analyze aspects of colonialism through investigations into the art, popular literature, material culture, film, and exhibitions that represented, celebrated, or were created for France’s colonies across the seas. These studies draw from the rich documents and media—photographs, albums, postcards, maps, posters, advertisements, and children’s games—related to the nineteenth- and twentieth-century French empire that are held in the Getty Research Institute’s Association Connaissance de l’histoire de l’Afrique contemporaine (ACHAC) collections. ACHAC is a consortium of scholars and researchers devoted to exploring and promoting discussions of race, iconography, and the colonial and postcolonial periods of Africa and Europe.