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"Lincoln's somber portraits. Lyndon Johnson's swearing in. George W. Bush's reaction to learning about the 9/11 attacks. Photography plays an indelible role in how we remember and define American presidents. Throughout history, presidents have actively participated in all aspects of photography, not only by sitting for photos but by taking and consuming them. Cara A. Finnegan ventures from a newly-discovered daguerreotype of John Quincy Adams to Barack Obama's selfies to tell the stories of how presidents have participated in the medium's transformative moments. As she shows, technological developments not only changed photography, but introduced new visual values that influence how we judge an image. At the same time, presidential photographs--as representations of leaders who symbolized the nation--sparked public debate on these values and their implications. An original journey through political history, 'Photographic Presidents' reveals the intertwined evolution of an American institution and a medium that continues to define it"--

Acknowledgements -- Introduction: no nos cabe tanta muerte [unbearable deaths] -- Framing feminicidio : the spectral politics of death in Ciudad Juárez -- Sacrificial screams : excess in Àlex Rigola's stage adaptation of 2666 -- Remember them : ethics and witnessing in artistic responses to feminicide -- Resilience and renewal in documentary film about feminicidio in Ciudad Juárez -- Toward an activist poetics in fiction about feminicidio in Ciudad Juárez -- Conclusion: notes towards the possible -- Appendix -- Index

Front Matter -- Acknowledgements -- Figures -- Preface -- Dedication -- Historical Context of Shaw, Perry and Pococke -- Literary Context of Shaw, Perry and Pococke -- Biographies and Interrelationships -- Development of the Three Travel Books -- Itineraries -- Shaw's Travels  -- Perry's View  -- Pococke's Description  -- Conclusion -- Appendix 291 -- Back Matter -- Bibliography -- General Index.

Since the early 1990s, the repeated murders of women from Ciudad Juárez, Mexico have become something of a global cause célèbre. Cultural Representations of Feminicidio at the US-Mexico Border examines creative responses to these acts of violence. It reveals how theatre, art, film, fiction and other popular cultural forms seek to remember and mourn the female victims of violent death in the city at the same time as they interrogate the political, legal and societal structures that produce the crimes.Different chapters examine the varying art forms to engage with Ciudad Juárez's feminicidal wave. Finnegan discusses Àlex Rigola's theatrical adaptation of Roberto Bolaño's novel 2666 by Teatre Lliure in Barcelona as well as painting about the victims of feminicidio by Irish painter Brian Maguire. There is analysis of documentary film about Ciudad Juárez, including Lourdes Portillo's acclaimed Señorita Extraviada (2001) The final chapter turns its attention to writing about feminicide and examines testimonial and crime fiction narratives like the mystery novel Desert Blood: The Juárez Murders by Alicia Gaspar de Alba, among other examples.By drawing on a range of artistic responses to the murders in Ciudad Juárez, Cultural Representations of Feminicidio at the US-Mexico Border shows how art, film, theatre and fiction can unsettle official narratives about the crimes and undo the static paradigms that are frequently used to interpret them.

"During the Land War of 1879-82, Galway was regarded as 'dangerously disturbed' because of the large number of agrarian incidents reported ... In an attempt to restore public order, the authorities implemented repressive legislation in the form of two Coercion Acts in 1881 and 1882. The result was the arrest and internment without trial of 166 individuals, the majority in the Loughrea and Athenry police districts ... Extensive research in primary sources, newspapers and official records places the events in the social and political context of the time and paints a rich picture of the contribution made by local activists during a tumultuous period in Irish history." Provided by publisher

Acknowledgments -- Introduction -- "Strictly a white man's country, with a white man's civilization" : lynching in Mississippi -- "To hell with the constitution" : lynching in South Carolina -- "No rights for the negro which a white man is bound to respect" : lynching and political power in Mississippi and South Carolina -- "The equal of some white men and the superior of others" : African American victims of lynching -- "An example must be made" : lynch mobs and the response of African Americans -- Conclusion -- Notes -- Index

Quoting is all around us. But do we really know what it means? How do people actually quote today, and how did our present systems come about? This book brings together a down-to-earth account of contemporary quoting with an examination of the comparative and historical background that lies behind it and the characteristic way that quoting links past and present, the far and the near. Drawing from anthropology, cultural history, folklore, cultural studies, sociolinguistics, literary studies and the ethnography of speaking, Ruth Finnegan's fascinating study sets our present conventions into cross-cultural and historical perspective. She traces the curious history of quotation marks, examines the long tradition of quotation collections with their remarkable recycling across the centuries, and explores the uses of quotation in literary, visual and oral traditions. The book tracks the changing definitions and control of quoting over the millennia and in doing so throws new light on ideas such as 'imitation', 'allusion', 'authorship', 'originality' and 'plagiarism'.

Frances Finnegan traces the history of the Magdalen Asylums in Ireland, homes founded in the 19th century for the detention of prostitutes undergoing reform, but which later received unwed mothers, wayward girls & the mentally retarded, all of them put to work as forced labour in church-run laundries

Dreams of pregnancy include the expectation that nine months of waiting will end with a joyous event. But, each year, a shattered dream occurs for thousands of couples who receive the news that their child will have a disabling condition severe enough that they may question if they are the best parents for their child. Societal expectation is that parents will raise their child or, if the condition of the child is detected prenatally, abortion is offered as an alternative. Parents who explore other options face scrutiny and, sometimes, condemnation--lonely choices.||Joanne Finnegan shares her