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The material and visual culture of the Stuart Courts, 1589–1619
Author: Jemma Field

This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.

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Counter-power in photography from slavery to Occupy Wall Street
Nicholas Mirzoeff

, because reparations for the many wrongs of slavery remain unpaid. Although the opportunity to use the Reconstruction state to compel former slave owners into bankruptcy and enable bottom-​up redistribution was lost, in places like Scanlonville, South Carolina, the freed pooled their resources and labour to create a commons, purchasing land from a bankrupt plantation. Reporting on 213 The visual commons such endeavours in 1873, the Charleston Courier rightly called it ‘colored communism’. The paper noted that ‘some of the largest plantations … are now owned and

in Image operations
Regina Lee Blaszczyk

global demand, so too did they suffer when the international economy turned sour. The end of the Franco-Prussian War left France burdened with large reparations payments to Germany. The investment boom of the Second Industrial Revolution came to an abrupt halt when panic hit the European and American exchanges in 1873. Britain, the United States and other major Western economies sank into a long deflationary period that contemporaries called the Great Depression. The effects trickled down to the little boomtown of Guiseley. In 1874, the Green Bottom Mill went up for

in Fashionability
Jemma Field

Collector’, in E. Chaney (ed.), The Evolution of English Collecting (New Haven and London, 2003), 221–239: 223, 224; Henderson, Tudor House and Garden, 149. Colvin, King’s Works, 113–114. TNA, E351/3249 (1614–1615); TNA, E351/3250 (1615–1616); Colvin, King’s Works, 113. TNA, SC6/JASI/1653. A further £600 was disbursed for reparations at Byfleet (Surrey), which Anna must have been granted sometime before September 1615, as it first appears in her Receiver General’s accounts for that year: TNA, SC6/ JASI/1651. Skovgaard, A King’s Architecture, 15; Ørum-Larsen, ‘Uraniborg

in Anna of Denmark