Christina Hellmich – författare

Painstakingly constructed by hand of plant fiber and precious feathers from endemic birds of Hawai'i, feather cloaks and capes provided spiritual protection to Hawaiian chiefs for centuries while proclaiming their royal status. Few of the artworks known as n? hulu ali'i, or royal feathers, survive today except in museums and private collections. Through photographs and scholarly essays, Royal Hawaiian Featherwork highlights approximately seventy-five rare examples of the finest featherwork extant: capes and cloaks ('ahu'ula), royal staffs (k?hili), feather lei (lei hulu manu), helmets (mahiole), feathered god images (akua hulu manu), and related paintings and works on paper. With their brilliant coloring and abstract compositions of crescents, triangles, circles, quadrilaterals, and lines, the artworks are both beautiful and rich in cultural significance. This lavishly illustrated volume also serves as the catalogue to accompany the first exhibition of Hawaiian featherwork to be staged on the U.S. continent, scheduled for a six-month run starting in August 2015 at the Fine Arts Museums of San Francisco. The book and exhibition provide an overdue opportunity for the public to discover the central role these artworks played in the culture and history of the Hawaiian Islands, to explore their unparalleled technical craftsmanship, and to discover an aesthetic tradition unique to the Hawaiian archipelago.

Despite a plethora of studies devoted to it, the current understanding of al-Qaeda and the threat it poses remains vague and ambiguous. Is al-Qaeda a rigidly structured organisation, a global network of semi-independent cells, a franchise, or simply an ideology? What role did Osama bin Laden play within the group and its terrorist campaign? What does it mean to talk about the "global Salafi-jihad" threat allegedly confronting the West? In addressing such questions many writers have sought to offer definitive answers, yet overall the truth about al-Qaeda remains elusive. This book moves beyond this traditional approach in order to investigate and critically assess how such answers reflect the particular epistemological frameworks within which they are produced. Its chapters explore the varied contexts within which the obscure entity labelled al-Qaeda is constituted as a comprehensible object of political, strategic, cultural, and scientific knowledge, and within which 'terrorism' is rendered an experience of quotidian life. This volume offers a much-needed critical reflection on Western ways of talking and of thinking about the frightening experience of global terrorism. In trying to know how we know al-Qaeda, it offers us an opportunity to try to know ourselves and our often hidden assumptions about legitimacy, violence, and political purpose.

Despite a plethora of studies devoted to it, the current understanding of al-Qaeda and the threat it poses remains vague and ambiguous. Is al-Qaeda a rigidly structured organisation, a global network of semi-independent cells, a franchise, or simply an ideology? What role did Osama bin Laden play within the group and its terrorist campaign? What does it mean to talk about the "global Salafi-jihad" threat allegedly confronting the West? In addressing such questions many writers have sought to offer definitive answers, yet overall the truth about al-Qaeda remains elusive. This book moves beyond this traditional approach in order to investigate and critically assess how such answers reflect the particular epistemological frameworks within which they are produced. Its chapters explore the varied contexts within which the obscure entity labelled al-Qaeda is constituted as a comprehensible object of political, strategic, cultural, and scientific knowledge, and within which ''terrorism'' is rendered an experience of quotidian life. This volume offers a much-needed critical reflection on Western ways of talking and of thinking about the frightening experience of global terrorism. In trying to know how we know al-Qaeda, it offers us an opportunity to try to know ourselves and our often hidden assumptions about legitimacy, violence, and political purpose.

Despite a plethora of studies devoted to it, the current understanding of al-Qaeda and the threat it poses remains vague and ambiguous. Is al-Qaeda a rigidly structured organisation, a global network of semi-independent cells, a franchise, or simply an ideology? What role did Osama bin Laden play within the group and its terrorist campaign? What does it mean to talk about the "global Salafi-jihad" threat allegedly confronting the West? In addressing such questions many writers have sought to offer definitive answers, yet overall the truth about al-Qaeda remains elusive. This book moves beyond this traditional approach in order to investigate and critically assess how such answers reflect the particular epistemological frameworks within which they are produced. Its chapters explore the varied contexts within which the obscure entity labelled al-Qaeda is constituted as a comprehensible object of political, strategic, cultural, and scientific knowledge, and within which ''terrorism'' is rendered an experience of quotidian life. This volume offers a much-needed critical reflection on Western ways of talking and of thinking about the frightening experience of global terrorism. In trying to know how we know al-Qaeda, it offers us an opportunity to try to know ourselves and our often hidden assumptions about legitimacy, violence, and political purpose.

Despite a plethora of studies devoted to it, the current understanding of al-Qaeda and the threat it poses remains vague and ambiguous. Is al-Qaeda a rigidly structured organisation, a global network of semi-independent cells, a franchise, or simply an ideology? What role did Osama bin Laden play within the group and its terrorist campaign? What does it mean to talk about the "global Salafi-jihad" threat allegedly confronting the West? In addressing such questions many writers have sought to offer definitive answers, yet overall the truth about al-Qaeda remains elusive. This book moves beyond this traditional approach in order to investigate and critically assess how such answers reflect the particular epistemological frameworks within which they are produced. Its chapters explore the varied contexts within which the obscure entity labelled al-Qaeda is constituted as a comprehensible object of political, strategic, cultural, and scientific knowledge, and within which 'terrorism' is rendered an experience of quotidian life. This volume offers a much-needed critical reflection on Western ways of talking and of thinking about the frightening experience of global terrorism. In trying to know how we know al-Qaeda, it offers us an opportunity to try to know ourselves and our often hidden assumptions about legitimacy, violence, and political purpose.

The battles fought in the name of the ‘war on terror’ have re-ignited questions about the changing nature of war, and the experience of war for those geographically distant from its real world consequences. What is missing from our highly mediated experience of war? What are the intentional and unintentional processes of erasure through which the distortion happens? What are their consequences? Cinema is a key site at which questions about our highly mediated experience of war can be addressed or, more significantly, elided. Looking at a range of films that have provoked debate, from award-winning features like Zero Dark Thirty and American Sniper, to documentaries like Kill List and Dirty Wars, as well as at the work of visual artists like Harun Farocki and Omer Fast, this book examines the practices of erasure in the cinematic representation of recent military interventions. Drawing on representations of war-related death, dying and bodily damage, this provocative collection addresses ‘what’s missing’ in existing scholarly responses to modern warfare; in film studies, as well as in politics and international relations.

The battles fought in the name of the ‘war on terror’ have re-ignited questions about the changing nature of war, and the experience of war for those geographically distant from its real world consequences. What is missing from our highly mediated experience of war? What are the intentional and unintentional processes of erasure through which the distortion happens? What are their consequences? Cinema is a key site at which questions about our highly mediated experience of war can be addressed or, more significantly, elided. Looking at a range of films that have provoked debate, from award-winning features like Zero Dark Thirty and American Sniper, to documentaries like Kill List and Dirty Wars, as well as at the work of visual artists like Harun Farocki and Omer Fast, this book examines the practices of erasure in the cinematic representation of recent military interventions. Drawing on representations of war-related death, dying and bodily damage, this provocative collection addresses ‘what’s missing’ in existing scholarly responses to modern warfare; in film studies, as well as in politics and international relations.

A massive panorama of Native American art from Navajo weaving to Apache basketryPublished with Fine Arts Museums of San Francisco.Spanning nearly 1,000 years of artistic creativity, this wide-ranging volume brings together 206 artworks that exemplify both exquisite aesthetics and rich cultural histories. The majority of the collection is from the American Southwest—19th-century Navajo weavings, ancestral and historical Pueblo pottery, Hopi and Zuni carved figures, and Yavapai and Apache basketry—along with art from the Pacific Northwest and the first Plains ledger drawings to enter the museums' collections.This book, which features new research and specially commissioned essays and extended captions, developed in collaboration with cultural advisors, reflects the complex and multilayered nature of the artworks in the field of Native American art. Contributions from more than 80 authors from different disciplines and cultural backgrounds, including scholars, culture-bearers, artists, collectors and museum professionals, illuminate details about the living histories of the works. With striking new photography and full-color reproductions, this is a cornerstone publication in the field of Native American art history.