Other books byElizabeth Edwards
Reflections on the Burdens and Gifts of Facing...
The bestselling author of Saving Graces shares her inspirational message on the challenges and blessings of coping with adversity. She’s one of the most beloved political figures in the country, and on the surface, seems to have led a charmed life. In many ways, she has. Beautiful family. Thriving career. Supportive friendship. Loving marriage. But she’s no stranger to adversity. Many know of the strength she had shown after her son, Wade, was killed in a freak car accident when he was only sixteen years old. She would exhibit this remarkable grace and courage again when the very private matter of her husband's infidelity became public fodder. And her own life has been on the line. Days before the 2004 presidential election—when her husband John was running for vice president—she was diagnosed with breast cancer. After rounds of surgery, chemotherapy, and radiation the cancer went away—only to reoccur in 2007. While on the campaign trail, Elizabeth met many others who have had to contend with serious adversity in their lives, and in Resilience, she draws on their experiences as well as her own, crafting an unsentimental and ultimately inspirational meditation on the gifts we can find among life’s biggest challenges. This short, powerful, pocket-sized inspirational book makes an ideal gift for anyone dealing with difficulties in their life, who can find peace in knowing they are not alone, and promise that things can get better. From the Hardcover edition.
The Complete Handbook for Launching a Compeny...
Photographs, Anthropology and Museums
Photographs have had an integral and complex role in many anthropological contexts, from fieldwork to museum exhibitions. This book explores how approaching anthropological photographs as 'history' can offer both theoretical and empirical insights into these roles. Photographs are thought to make problematic history because of their ambiguity and 'rawness'. In short, they have too many meanings. The author refutes this prejudice by exploring, through a series of case studies, precisely the potential of this raw quality to open up new perspectives. Taking the nature of photography as her starting point, the author argues that photographs are not merely pictures of things but are part of a dynamic and fluid historical dialogue, which is active not only in the creation of the photograph but in its subsequent social biography in archive and museum spaces, past and present. In this context, the book challenges any uniform view of anthropological photography and its resulting archives. Drawing on a variety of examples, largely from the Pacific, the book demonstrates how close readings of photographs reveal not only western agendas, but also many layers of differing historical and cross-cultural experiences. That is, photographs can 'spring leaks' to show an alternative viewpoint. These themes are developed further by examining the dynamics of photographs and issues around them as used by contemporary artists and curators and presented to an increasingly varied public. This book convincingly demonstrates photographs' potential to articulate histories other than those of their immediate appearances, a potential that can no longer be neglected by scholars and institutions.
The Camera as Historian
Amateur Photographers and Historical...
In the late nineteenth century and early twentieth, hundreds of amateur photographers took part in the photographic survey movement in England. They sought to record the material remains of the English past so that it might be preserved for future generations. InThe Camera as Historian, the groundbreaking historical and visual anthropologist Elizabeth Edwards works with an archive of nearly 55,000 photographs taken by 1000 photographers, mostly unknown until now. She approaches the survey movement and its social and material practices ethnographically. Considering how the amateur photographers understood the value of their project, Edwards links the surveys to the rise of popular photography, concepts of leisure, and understandings of the local and the national. Her examination of how the photographers negotiated between scientific objectivity and aesthetic responses to the past leads her to argue that the survey movement was as concerned with the conditions of its own modernity and the creation of an archive for an anticipated future as it was nostalgic about the imagined past. Including more than 120 duotone images,The Camera as Historianoffers new perspectives on the forces that shaped Victorian and Edwardian Britain, as well as contemporary debates about cultural identity, nationality, empire, material practices, and art.