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Digital Bodies, Data and Gifts
Kristin Bergtora Sandvik

Schüll , N. D. ( 2017 ), ‘ The Datafication of Health’ , Annual Review of Anthropology , 46 , 261 – 78 . Sandvik , K. B. ( 2012 ), ‘ Negotiating the Humanitarian Past: History, Memory, and Unstable Cityscapes in Kampala, Uganda’ , Refugee Survey Quarterly , 31 : 1

Journal of Humanitarian Affairs
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Nation-building in Germany and Vietnam

This book examines nation-building ideology in the soldered states of Vietnam and Germany. Official nation-building ideology is understood here as the government-led construction of national identity, memory and history in order to promote an 'imagined community'. This ideology aims to maintain legitimacy within territorial limits, those of the state, and defines the limits of national belonging accordingly. The German and Vietnamese experiences are similar in using regional integration not only to improve their international standing, but also their domestic legitimacy. Comparison of Vietnam and Germany shows that despite contextual disparities, common trends emerge in governments' handling of advantages and obstacles to nation-building. Both soldered states face the same challenge of post-unification state legitimation. Their governments also use both nationalist and regionalist narratives in pursuit of that goal, offering insights into the ideological construction of communities in the context of past, divergent development. In sum, the German and Vietnamese cases have been chosen for their shared experience of national division, communism and participation in regional integration projects, namely the European Union (EU) and Association of Southeast Asian Nations (ASEAN). These themes are examined through empirical examples of nation-building ideology - namely selected cityscapes, museums and textbooks - with an analytical focus on national icons, heroes and myths as nodal points of nation-building.

Elite European migrants in the British Empire

While most of the Germans who suffered expulsion during the First World War lived within British shores, the Royal Navy brought Germans from throughout the world to face incarceration in the their network of camp. This book offers a new interpretation of global migration from the early nineteenth until the early twentieth century. It examines the elite German migrants who progressed to India, especially missionaries, scholars and scientists, businessmen and travellers. The book investigates the reasons for the migration of Germans to India. An examination of the realities of German existence in India follows. It then examines the complex identities of the Germans in India in the century before the First World War. The role of the role of racism, orientalism and Christianity is discussed. The stereotypes that emerged from travelogues include: an admiration of Indian landscapes; contempt for Hinduism; criticism of the plight of women; and repulsion at cityscapes. The book moves to focus upon the transformation which took place as a result of this conflict, mirroring the plight of Germans in other parts of the world. The marginalisation which took place in 1920 closely mirrored the plight of the German communities throughout the British Empire. The unique aspect of the experience in India consisted of the birth of a national identity. Finally, the book places the experience of the Germans in India into four contexts: the global history of the nineteenth and early twentieth centuries; German history; history of the British Empire in India; and Indian history.

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Claire Sutherland

-colonial practice, only to be revolutionised once more with the desacralisation and decolonisation of space under communist rule (Drummond 2000 , 2378). The buildings, museums and monuments which marked the cityscape were invested with a new range of meanings in line with the dominant ideology, illustrating how the city can be considered a microcosm of nationalist symbolism. Symbolic capitals

in Soldered states
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Claire Sutherland

their vehicles watching for clients. The pavement is thus full of obstacles, but in constant flux too, as traders and wares, clients and passers-by come and go throughout the day. The kerbside is also a fluid space. Motorbike drivers may mount it to park, or view goods, or manoeuvre merchandise into place. Again, the multifaceted and shifting cityscape can be seen as a microcosm of all but the most authoritarian states, whose

in Soldered states
Byron and the geography of Italy
Mauro Pala

largely dispensed with in Childe Harold IV, in favour of ‘the author speaking in his own person’ as he directly encounters a range of landscapes, cityscapes and landmarks. Consequently, as W.  J.  T. Mitchell puts it, Byron’s ‘picturing, imagining, perceiving, likening and imitating’ of place are not the background to a narrative of self but rather the constitutive elements of that narrative.5 The direct experience of place becomes the basis of a whole poetic praxis, rather than an added embellishment. For Byron, as for other Romantic expatriates, Italy becomes a

in Byron and Italy
A visual narrative of the Romanian transition to capitalism
Anca Mihaela Pusca

Charles Baudelaire. The flaneur was the wanderer, the one who strolled the streets and absorbed their contrasts and intensity. Fascinated by Baudelaire’s writings, Walter Benjamin picked up his concept of the flaneur and used it to describe the streets of nineteenth-century Paris, the transformations in the industrial cityscape and the influence that these transformations had on everything from fashion to the way in which people related to their environment and each other. As a modern anthropologist, philosopher and poet at the same time, Benjamin was fascinated by how

in Revolution, democratic transition and disillusionment
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Sharon Lubkemann Allen

’s multivocal mappings of cityscapes marked by revolutionary and republican rupture. Cultural horizons of their still marginocentric capitals extend further, compounding contradictions (and thus distinguishing these cross-culturally complicated memoried modernist configurations of cultural discourse from their European counterparts). But the differences necessary to dialogism in these eccentric citytexts are also mediated by generational conflict and degeneration. Digressive, divided, dissenting, contradictory lines of eccentric cultural construction are further complicated

in EccentriCities

Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.

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Arthur Machen on screen
Mark Goodall

Machen (1863–1947) stands as an ideal representation of this theme. Machen explored the enchanted landscapes of his rural Welsh upbringing while at the same time transposing the terror of ancient traditional cultures onto the modern cityscape. Few adaptations of Machen’s writings appear on film, but this chapter will explore those that do exist, along with the film Holy Terrors

in Folk horror on film