This volume aims to contribute to the contemporary debate on the history of monarchy. The images of the Italian, Spanish and Portuguese crowns in the nineteenth and twentieth centuries are interpreted in accordance with classic historiographical interpretations and new methodological frontiers: roles, gender, interpretation; place, heritage and representation.

'Image Ethics in the Digital Age' brings together leading experts in the fields of journalism, media studies, & law to address the challenges presented by new technology & assess the implications for personal & societal values & behavior.

This collection examines the afterlives of early modern English and French rulers. Spanning five centuries of cultural memory, the volume offers case studies of how kings and queens were remembered, represented, and reincarnated in a wide range of sources, from contemporary pageants, plays, and visual art to twenty-first-century television, and from premodern fiction to manga and romance novels. With essays on well-known figures such as Elizabeth I and Marie Antoinette as well as lesser-known monarchs such as Francis II of France and Mary Tudor, Queen of France, Remembering Queens and Kings of Early Modern England and France brings together reflections on how rulers live on in collective memory.

What is Protestant Art? presents an introduction to Protestant visual culture from the Reformation to the present. Examining historical images as evidence of changing practices and attitudes, Andrew T. Coates explores three major themes in the history of Protestant visual culture: 1) the religious work of images, 2) the relationship between word and image, 3) the power of the Bible and its visual representation. The book analyses images such as prints, paintings, maps of the ‘Holy Land,’ and Bible illustrations to demonstrate the broad range of images that could be classified as Protestant ‘art.’ This work argues that the variety of images and visual practices throughout Protestant history might better be described by the term ‘visual culture’ than ‘art.’

Studies of the English gentleman have tended to focus mainly on the nineteenth century, encouraging the implicit assumption that this influential literary trope has less resonance for twentieth-century literature and culture. Christine Berberich challenges this notion by showing that the English gentleman has proven to be a remarkably adaptable and relevant ideal that continues to influence not only literature but other forms of representation, including the media and advertising industries. Focusing on Siegfried Sassoon, Anthony Powell, Evelyn Waugh and Kazuo Ishiguro, whose presentations of the gentlemanly ideal are analysed in their specific cultural, historical, and sociological contexts, Berberich pays particular attention to the role of nostalgia and its relationship to 'Englishness'. Though 'Englishness' and by extension the English gentleman continue to be linked to depictions of England as the green and pleasant land of imagined bygone days, Berberich counterbalances this perception by showing that the figure of the English gentleman is the medium through which these authors and many of their contemporaries critique the shifting mores of contemporary society. Twentieth-century depictions of the gentleman thus have much to tell us about rapidly changing conceptions of national, class, and gender identity.

To rule their vast new American territories, the Spanish monarchs appointed viceroys in an attempt to reproduce the monarchical system of government prevailing at the time in Europe. But despite the political significance of the figure of the viceroy, little is known about the mechanisms of viceregal power and its relation to ideas of kingship. Examining this figure, The King's Living Image challenges long-held perspectives on the political nature of Spanish colonialism, recovering, at the same time, the complexity of the political discourses and practices of Spanish rule. It does so by studying the viceregal political culture that developed in New Spain in the sixteenth and seventeenth centuries and the mechanisms, both formal and informal, of viceregal rule. In so doing, The King's Living Image questions the very existence of a "colonial state" and contends that imperial power was constituted in ritual ceremonies. It also emphasizes the viceroys' significance in carrying out the civilizing mission of the Spanish monarchy with regard to the indigenous population. The King's Living Image will redefine the ways in which scholars have traditionally looked at the viceregal administration in colonial Mexico.

Almost all museums hold photographs in their collections, and museum professionals and their audiences engage with photographs in a myriad of ways. Yet despite some three decades of critical museology and photographic theory, and an extensive debate on the politics of representation, outside art museums, almost no critical attention has been given specifically to the roles, purposes and lives of these photographs within museums. This book brings into focus the ubiquitous yet entirely unconsidered work that photographs are put to in museums. The authors' argument is that there is an economy of photographs in museums which is integral to the processes of the museum, and integral to the understanding of museums. The international contributors, drawn from curators and academics, reflect a range of visual and museological expertise. After an introduction setting out the range of questions and problems, the first part addresses broad curatorial strategies and ways of thinking about photographs in museums. Shifting the emphasis from curatorial practices and anxieties to the space of the gallery, this is followed by a series of case studies of exhibitionary practices and the museum strategies that support them. The third section focuses on the role of photographs in the museum articulation of ’difficult histories’. A final section addresses photograph collections in a digital environment. New technologies and new media have transformed the management, address and purposing in photographs in museums, from cataloguing practices to streaming on social media. These growing practices challenge both traditional hierarchies of knowledge in museums and the location of authority about photographs. The volume emerges from PhotoCLEC, a HERA funded project on museums and the photographic legacy of the colonial past in a postcolonial and multicultural Europe.