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A powerhouse in photographic theory—updated and with a new essay

Every day, photographic images are relied upon as documents, evidence, and records in courtrooms, hospitals, and police work. But how did such usages come to be established, and when? What agencies and institutions had the power to give them this status? And what are the consequences of photographic representation? Drawing on semiotics, cultural theory, and the work of Foucault and Althusser, John Tagg rejects the idea of photography as a record of reality and traces a history that has profound implications not only for the theory of photography but also for understanding the role of new means of representation in modern social regulation. Now with a new essay situating this volume in the changed horizon of cultural politics, The Burden of Representation argues for a rigorous analysis of the meaning, status, and effects of photographs, rooted in a historical grasp of the growth of the modern state.

As the number of women in the U.S. Senate grows, so does the number of citizens represented by women senators. At the same time, gender remains a key factor in senators’ communications to constituents as well as in news media portrayals of senators. Focusing on 32 male and female senators during the 2006 congressional election year, Kim L. Fridkin and Patrick J. Kenney examine in detail senators’ official websites, several thousand press releases and local news stories, and surveys of 18,000 citizens to discern constituents’ attitudes about their senators.

The authors conclude that gender role expectations and stereotypes do indeed constrain representational and campaign messages and influence news coverage of both candidates and elected senators. Further, while citizens appear to be less influenced by entrenched stereotypes, they pay more attention to female senators’ messages and become more knowledgeable about them, in comparison to male senators.

Electroshock. Hysterectomy. Lobotomy. These are only three of the many “cures” to which lesbians have been subjected in this century. How does a society develop such a profound aversion to a particular minority? In what ways do images in the popular media perpetuate cultural stereotypes about lesbians, and to what extent have lesbians been able to subvert and revise those images? This book addresses these and other questions by examining how lesbianism has been represented in American popular culture in the twentieth century and how conflicting ideologies have shaped lesbian experiences and identity.

In the first section, “Inventing the Lesbian,” Sherrie A. Inness explores depictions of lesbians in popular texts aimed primarily at heterosexual consumers. She moves from novels of the 1920s to books about life at women's colleges and boarding schools, to such contemporary women's magazines as Cosmopolitan, Glamour, and Vogue.

In the next section, “Forms of Resistance,” Inness probes the ways in which lesbians have refashioned texts intended for a heterosexual audience or created their own narratives. One chapter shows how lesbian readers have reinterpreted the Nancy Drew mysteries, looking at them from a distinctly “queer” perspective. Another chapter addresses the changing portrayal of lesbians in children's books over the past two decades.

The last section, “Writing in the Margins,” scrutinizes the extent to which lesbians, themselves a marginalized group, have created a society that relegates some of its own members to the outskirts. Topics include the geographic politics of lesbianism, the complex issue of "passing," and the meaning of butch identity in twentieth-century lesbian culture.

Through close readings of the painted images in a major sixteenth-century illustrated manuscript, this book demonstrates the critical role that images played in ethnic identity formation and politics in colonial Mexico.

The Relación de Michoacán (1539–1541) is one of the earliest surviving illustrated manuscripts from colonial Mexico. Commissioned by the Spanish viceroy Antonio de Mendoza, the Relación was produced by a Franciscan friar together with indigenous noble informants and anonymous native artists who created its forty-four illustrations. To this day, the Relación remains the primary source for studying the pre-Columbian practices and history of the people known as Tarascans or P’urhépecha. However, much remains to be said about how the Relación’s colonial setting shaped its final form.

By looking at the Relación in its colonial context, this study reveals how it presented the indigenous collaborators a unique opportunity to shape European perceptions of them while settling conflicting agendas, outshining competing ethnic groups, and carving a place for themselves in the new colonial society. Through archival research and careful visual analysis, Angélica Afanador-Pujol provides a new and fascinating account that situates the manuscript’s images within the colonial conflicts that engulfed the indigenous collaborators. These conflicts ranged from disputes over political posts among indigenous factions to labor and land disputes against Spanish newcomers. Afanador-Pujol explores how these tensions are physically expressed in the manuscript’s production and in its many contradictions between text and images, as well as in numerous emendations to the images. By studying representations of justice, landscape, conquest narratives, and genealogy within the Relación, Afanador-Pujol clearly demonstrates the visual construction of identity, its malleability, and its political possibilities.