No one has written more about the African American experience in Missouri over the past four decades than Gary Kremer, and now for the first time fourteen of his best articles on the subject are available in one place with the publication of Race and Meaning: The African American Experience in Missouri. By placing the articles in chronological order of historical events rather than by publication date, Kremer combines them into one detailed account that addresses issues such as the transition from slavery to freedom for African Americans in Missouri, all-black rural communities, and the lives of African Americans seeking new opportunities in Missouri’s cities.

Rock art has long been considered an archaeological artifact reflecting activities from the past, yet it is also a phenomenon with present-day meaning and relevance to both indigenous and non-indigenous communities. Relating to Rock Art in the Contemporary World challenges traditional ways of thinking about this highly recognizable form of visual heritage and provides insight into its contemporary significance.
 
One of the most visually striking forms of material culture embedded in landscapes, rock art is ascribed different meanings by diverse groups of people including indigenous peoples, governments, tourism offices, and the general public, all of whom relate to images and sites in unique ways. In this volume, leading scholars from around the globe shift the discourse from a primarily archaeological basis to one that examines the myriad ways that symbolism, meaning, and significance in rock art are being renegotiated in various geographical and cultural settings, from Australia to the British Isles. They also consider how people manage the complex meanings, emotions, and cultural and political practices tied to rock art sites and how these factors impact processes relating to identity construction and reaffirmation today.
 
Richly illustrated and geographically diverse, Relating to Rock Art in the Contemporary World connects archaeology, anthropology, and heritage studies. The book will appeal to students and scholars of archaeology, anthropology, heritage, heritage management, identity studies, art history, indigenous studies, and visual theory, as well as professionals and amateurs who have vested or avocational interests in rock art.
 
 
Contributors: Agustín Acevedo, Manuel Bea, Jutinach Bowonsachoti, Gemma Boyle, John J. Bradley, Noelene Cole, Inés Domingo, Kurt E. Dongoske, Davida Eisenberg-Degen, Dánae Fiore, Ursula K. Frederick, Kelley Hays-Gilpin, Catherine Namono, George H. Nash, John Norder, Marianna Ocampo, Joshua Schmidt, Duangpond Singhaseni, Benjamin W. Smith, Atthasit Sukkham, Noel Hidalgo Tan, Watinee Tanompolkrang, Luke Taylor, Dagmara Zawadzka
 

A revolution is a discontinuity: one political order replaces another, typically through whatever violent means are available. Modern theories of revolutions tend neatly to bracket the French Revolution of 1789 with the fall of the Soviet Union two hundred years later, but contemporary global uprisings—with their truly multivalent causes and consequences—can overwhelm our ability to make sense of them.

In this authoritative new book, Saïd Amir Arjomand reaches back to antiquity to propose a unified theory of revolution. Revolution illuminates the stories of premodern rebellions from the ancient world, as well as medieval European revolts and more recent events, up to the Arab Spring of 2011. Arjomand categorizes revolutions in two groups: ones that expand the existing body politic and power structure, and ones that aim to erode—but paradoxically augment—their authority. The revolutions of the past, he tells us, can shed light on the causes of those of the present and future: as long as centralized states remain powerful, there will be room for greater, and perhaps forceful, integration of the politically disenfranchised.
 

How have ruins become so valued in Western culture and so central to our art and literature? Covering a vast chronological and geographical range, from ancient Egyptian inscriptions to twentieth-century memorials, Susan Stewart seeks to answer this question as she traces the appeal of ruins and ruins images, and the lessons that writers and artists have drawn from their haunting forms.

Stewart takes us on a sweeping journey through founding legends of broken covenants and original sin, the Christian appropriation of the classical past, and images of decay in early modern allegory. Stewart looks in depth at the works of Goethe, Piranesi, Blake, and Wordsworth, each of whom found in ruins a means of reinventing his art. Lively and engaging, The Ruins Lesson ultimately asks what can resist ruination—and finds in the self-transforming, ever-fleeting practices of language and thought a clue to what might truly endure.