The first ever large-scale synthesis on identity and social dynamics across archaic Macedonia (600-400 BC), Christos Giamakis’s book provides a detailed narrative exploring the role of power as displayed through material culture in the formation of group identities across the region. Giamakis focuses on data from nine cemeteries in the region combining multiple datasets including grave goods, osteological evidence, burial rites, tomb types and the organisation of the cemetery space in order to explore both inter- and intra-site competition that led to the emergence of different group identities across the region. By doing so, he proposes a new theoretical framework for the study of the region as an alternative to past, ethnicity-based, approaches. Identity, Power and Group Formation in Archaic Macedonia (600-400 BC) encourages the reader to explore the ways in which social inequalities, power dynamics and social interactions all affect the potency of specific identities at the expense of others. The present monograph will be of great interest to researchers working on ancient Macedonia and the wider ancient Greek world but also to scholars interested in power dynamics and identity formation in other parts of the ancient Mediterranean.

Fred Rogers is an American cultural and media icon, whose children’s television program, Mister Rogers’ Neighborhood, ran for more than thirty years (1967-2001) on the Public Broadcasting System (PBS). In this highly original book, Alexandra C. Klarén shows how Rogers captured the moral, social, and emotional imaginations of multiple generations of Americans. She explores the nuanced complexity of the thought behind the man and the program, the dialogical integration of his various influences, and the intentional ethic of care behind the creation of a program that spoke to the affective, socio-cultural, and educational needs of children (and adults) during a period of cultural upheaval. Richly informed by newly available archival materials, On Becoming Neighbors chronicles the evolution of Rogers’ thought on television, children, pedagogy, and the family through a rhetorical, cultural, and ethical lens. Klarén probes how Rogers creates the conditions for dialogue in which participants explore possibilities and questions relating to the social and material world.

Susie Hamilton’s dynamic practice is concerned with a wide range of subjects but often focuses on solitary people in impersonal public spaces or natural wildernesses. From the heroic, isolated exploits of astronauts and Arctic explorers to lone shoppers in supermarkets, all subjects are equal under her gaze. Other works turn attention towards crowds on beaches and in hotel dining rooms, who, as in Hamilton’s paintings of single figures, are invaded by blooms and veils of paint. Comprising over 300 paintings in oil and acrylic and numerous works on paper, Hamilton’s work is here divided into thematic sections that bring insight to her research. As critic and broadcaster Charlotte Mullins observes, ‘Hamilton often uses literature as a springboard for her work. Her paintings draw out the ambiguities of Shakespeare, the fragmentary chaos of TS Eliot, the melancholy of Andrew Marvell.’ From the power of her transmutative, barely human figures presented at the Ferens Art Gallery (2002), to the more recent progression of Hamilton’s solitary forms which move across desert, tundra and forests under attack from natural and unknown forces, her often otherworldly figures remain resilient.As Mullins reflects in her introduction, however, Hamilton’s work is not all ‘pain and suffering.’ Nor is it solely concerned with the human figure. Mullins writes, ‘There is joy too, particularly when she turns her probing eye to the natural world. She captures the quizzical gaze and lightning speed of monkeys, white paint splattering the surface as they race through salt flats. We see the lethal precision of a shark in the depths, the pale camouflage of an owl in a snowstorm, the perfect balance of an ape as it leaps from vine to vine.’The development of Hamilton’s work further unfolds in an enlightening interview with writer and broadcaster Louisa Buck, from the night-time desolation of motorways and petrol stations to an evolving interest in human and animal figures. Buck’s in-conversation also details Hamilton’s series ‘Plumpers’ and ‘Mutilates’, uneasy figures who border categories of abstraction and representation.Writer, editor and international curator Anna McNay, in her eight-part extended essay commissioned for the publication, discusses Hamilton’s literary influences in detail, drawing out the ways that Hamilton’s own biography shapes the work and informs her perspectives on landscapes, people and animals.Designed by Hyperkit and edited by Anneka French, the publication has been produced by Hurtwood and published by Anomie, London.Susie Hamilton (b. London, 1950) studied Fine Art at St Martins School of Art and Byam Shaw School of Art. She read English Literature at London University, gaining a PhD in Shakespeare studies (1989). She lives and works in London and has been represented by Paul Stolper Gallery since 1996. Since 2018 Hamilton has been commissioned by mental health charity Hospital Rooms to create wall-paintings in psychiatric intensive care units and made three works for the central staircase of the new Springfield Hospital, London (2022).Recent solo exhibitions include Unbound, Paul Stolper, London (2022);in atoms, Paul Stolper, London (2016);Here Comes Everybody, St Paul’s Cathedral, London (2015);Black Sun, Studio Hugo Opdal, Flø, Norway (2009);World of Light, Triumph Gallery, Moscow (2008);New Paintings, Galleri Trafo, Oslo (2007);Leisure Paintings, Paul Stolper, London (2006);Dissolve to Dew, St Edmund Hall, Oxford (2005);Immense Dawn, Paul Stolper, London (2003);Paradise Alone, Ferens Art Gallery, Hull (2002);Mutilates, St Giles’ Cripplegate Church, London (2001).Hamilton’s work is represented in collections including Government Art Collection, British Museum, Science Museum, Imperial College Healthcare Art Collection, Richard Heaton Collection, Murderme Collection, Deutsche Bank, St Paul’s Cathedral, The Women’s Art Collection, Brehman Collection, The Methodist Modern Art Collection, The Priseman Seabrook Collection and The Groucho Club.

Certain cocktails carry societal connotations and cultural meaning. Some drinks are regional symbols such as the mint julep, which is inextricably tied to the Kentucky Derby. Classic drinks like the old fashioned or the Manhattan tend to denote a more sophisticated or refined palate, whereas wine coolers and tropical cocktails are often associated with new or inexperienced drinkers. Enter the whiskey sour. A cocktail from the sour family, the iconic drink is usually made with bourbon whiskey, lemon juice, and sugar. While its ingredients seem strikingly similar to an old fashioned, the whiskey sour's reputation is far less revered, and in certain circles, maligned for its sweetness.The Whiskey Sour elevates the reputation of the classic cocktail by exploring its rich history— starting in the 1600s with punch, the predecessor to sours, and bringing the reader through to the twentieth century when the whiskey sour was well-established. Seasoned mixologists and new cocktail enthusiasts will be educated about the development of the traditional recipe and encouraged to make their own creations by incorporating modern riffs, syrup additions, and fun enhancements. Part historical narrative, part recipe book, this friendly and approachable guide challenges the stigma surrounding the cocktail as a drink for unrefined tastes and illustrates the elegant, romantic, and complex facets of the whiskey sour—a perfectly sweet, tart, and balanced cocktail.

American Furniture 2024 continues to publish new research on furniture made in America. The first part of this volume contains two articles that each focus on a group of mid-eighteenth century seating furniture. The first was made in the vicinity of Edenton, North Carolina and its carved ornament and construction details are compared to contemporaneous interior architectural carving and several card and writing tables. The second identifies a group most likely made in a single shop in Annapolis, Maryland and discusses its influences, related forms, and possible makers. The remaining articles examine the products of specific cabinetmakers working in Salem, Massachusetts, Hartford, and Baltimore. In Salem, the evidence from a serpentine chest made by William King sheds light on several competing shops working during the late eighteenth century; the vitality of the town’s cabinetmaking trade during the early nineteenth century is seen in the patronage of Mark Pitman by three generations of the Ropes-Orne family. Aaron Chapin’s shop in Hartford is the subject of a study that explores the size, workers, range of products, and adaptability of a large and successful cabinetmaking business around the turn of the nineteenth century. Finally, the identification of the owner of a suite of colorfully painted furniture reveals that the acquisition of “fancy” furnishings made by the Finlay shop signaled not only economic success but acceptance within the political and social elite of early nineteenth-century Baltimore.

Material and visual culture of China’s long 19th century is understandably overshadowed by the traumatic warfare, land shortages, famines and uprisings which impacted the lives of a population of around 400 million people. However, innovation can be seen in material culture (including print, painting, calligraphy, textiles, fashion, jewellery, ceramics, lacquer, glass, arms and armour, rugs, silver, money, and photography) during a century in which China’s art, literature, crafts and technology faced unprecedented exposure to global influences. Despite this however, until recently, the 19th century in China has been often defined – and dismissed – as an era of cultural decline. Building on the critically acclaimed British Museum exhibition China’s hidden century: 1796–1912, this publication seeks to redefine perceptions about 19th-century Qing arts. Essays by some of the world’s leading authorities on Qing culture reveal the social, cultural, religious, creative, economic and political history of makers, users, owners and collectors. Areas of focus include painting and patronage; calligraphy and seal carving; commerce and fashion; and craft technology and technology ensuring that the book will be a manual for the arts of China’s long 19th century.

This is an inter-disciplinary study of pathways to regional rulership and territorial lordship in early post-Roman Britain which takes as its starting point the East Anglian royal centre at Rendlesham and its contexts.This book examines the origins and development of the East Anglian kingdom in the fifth to eighth centuries AD through the lens of the elite settlement complex at Rendlesham, Suffolk using an interdisciplinary approach involving field survey, landscape history, excavation and metal-detecting finds. It also examines the wider regional context and proposes a new narrative of kingdom formation.

A fully illustrated introduction to the role, and experience, of the Panzer crewman.The German Panzerwaffe ripped up the rulebooks of war that had been laid down by the grinding slaughter of the trenches of World War I. Armored vehicles, close-air support, and bold leadership based on mission command, Auftragstaktik, cut a deadly swathe through the armies of east and west Europe. The Panzers made a significant contribution to Nazi successes; they remained steadfast in defense as their conquests slipped away their grasp from the apogee at Stalingrad and El Alamein in late 1942, through the long years of retreat to final defeat. Attrition and overwhelming odds blunted the opportunities for advances, but with increasingly powerful weaponry, the Panzerwaffe stiffened the German defensive backbone right to the end.Part of the reason for these successes was undoubtedly the Panzers themselves, but it wasn’t just the weapons that led to the Panzers’ successes—it was the way they were handled. A weapon is only as good as those who use it and the Panzertruppen—from higher command down to individual crew members—proved themselves to be very good at using their weapons. Not just the men who fought in the tanks but those who maintained them and kept them in the field, recovered and rebuilt the casualties, and dealt with the over-complexity of design and the huge variety of types of tank, weapon and ammunition. Selection and training standards—so good in the early war years—may have dropped off as wartime exigencies bit deep, but from 1939 to 1945 German Panzer crew were second to none. This Casemate Illustrated provides a full introduction to the role, and experience, of the Panzer crewman.

The story of the true savior of Little Round Top at Gettysburg—a 26-year-old Harvard-educated lawyer, who paid with his life to defend that hill.Citizen-soldier Strong Vincent was many things: Harvard graduate, lawyer, political speaker, descendent of pilgrims and religious refugees, husband, father, brother. But his greatest contribution to history is as the savior of the Federal left on the second day at Gettysburg, when he and his men held Little Round Top against overwhelming Confederate numbers. Forgotten by history in favor of his subordinate, Joshua Lawrence Chamberlain, Vincent has faded into relative obscurity in the decades since his death.This book restores Vincent to his rightful place among the heroes of the battle of Gettysburg: presenting his life story using new, never-before-published sources and archival material to bring the story of one of the most forgotten officers of the American Civil War back to the attention of readers and historians.

In the spring of 1945, simultaneously with the battle of the Seelow Heights, powerful Red Army spearheads launched three sub-offensive operations to clear German resistance for the Berlin operation. Between April 13 and 17, 1945, elements of the 2nd Belorussian Front replaced parts of the 1st Belorussian Front and began to prepare their offensive operations. Bitter fighting ensued, as German units desperately tried to hold their positions. Whilst these operations continued with unabated ferocity, Zhukov’s 1st Belorussian Front broke through the final line of the Seelow Heights and nothing but broken German formations lay between them and Berlin.On April 20, Hitler’s 56th birthday, Soviet artillery of the 1st Belorussian Front began shelling Berlin in preparation for attacking the city. At the same time the 1st Belorussian Front advanced towards the east and northeast of the Reich capital, whilst the 1st Ukrainian Front smashed through the last formations of the northern wing of the German Army Group Center. What followed was the Soviet battle for Berlin. Russian planners divided the frontal and pincer parts of the battle for Berlin in phases. Once the 1st Belorussian Front and 1st Ukrainian Front completely encircled the city, over one million Russian soldiers began attacking into the suburbs towards the center. They faced some 45,000 soldiers in several severely depleted Wehrmacht and Waffen-SS divisions. These divisions were supplemented by the Berlin Police force, and the Hitlerjugend and Volkssturm, mainly manned by teenaged boys.

US Combat Aircraft Colours over Vietnam 1964 – 1975 covers all fixed – wing combat aircraft operated by US military during the Vietnam War 1964 – 1975. Volume 1 covers aircraft operated by US Air Force, Volume 2 – by US Navy and Marines. The book is illustrated with numerous color and monochromatic photographs and color profiles, depicting various versions and paint schemes, used during various periods of the war. Essential reading for aviation enthusiasts and scale aero-modellers.

Katie Girl: Deadly Germs, Modern Medicine, and a Family’s Fight is the true story of a four-year-old girl with a life-threatening illness, the desperate fight of her doctors to keep her alive, and her family’s navigation of the aftermath of dramatic, life-changing events. Informative and inspiring, it offers a rare glimpse into the inner workings of a large metropolitan hospital’s pediatric intensive care unit, and the ability of individual family members to adapt to and overcome profound and unexpected changes. “An absolute must-read to all healthcare providers and parents alike. ” - Stefanie Gauguet, MD, PhD, Pediatric Intensive Care Physician“ . . . a valuable addition to curricula in medical training, providing crucial insights for healthcare providers engaged in the care of critically ill patients.” - Geoff Fitzgerald, MD, FACEP“A tribute to all those who work in the healthcare field.” - Darryl Caterine, PhD, Professor of Religious Studies, Le Moyne College.“Katie Girl is a powerful story of one family’s experience, simply and honestly told.” - Ernest Freeberg, PhD, Distinguished Professor of Humanities, University of Tennessee-Knoxville.“Enriching beyond measure.” - D. Stephen Cloniger, M.Div., PhD, Huntersville, NC.‘An important story on a hundred fronts.” - Roger Heath, Educator and former New Hampshire state Senator

Terrence Malick is the most enigmatic film director currently working. Since the early seventies, his work has won top prizes at film festivals worldwide and brought him wide recognition as the cinematic equivalent of a poet. His life is shrouded in mystery, leaving audiences with rumors, few established facts, and virtual silence from the filmmaker himself following his last published interview in 1979. This has done nothing to dim the luminous quality of his films, from Badlands (1973) and Days of Heaven (1978), to later works such as The Thin Red Line (1998), The Tree of Life (2011), and A Hidden Life (2019).The Magic Hours: The Life and Films of Terrence Malick is the first true biography of this visionary filmmaker. Through interviews and in-depth research, John Bleasdale reveals the autobiographical grounding of many of Malick's greatest films as well as the development of an experimental form of filmmaking that constantly expands the language of cinema. It is the essential account for anyone wishing to understand Malick and his work.

How can exhibitions stage encounters between art and science that not only make sense for visitors but encourage them to explore the intricate relationship between themselves and the world further? This book presents a collection of texts that explore exhibitions as a medium for new insights into connections between aesthetic and scientific knowledge production and how such insights facilitate new, more holistic understandings of entanglements between self and lifeworld. The texts all take their outset in a series of three exhibitions called Wunderkammer at Esbjerg Art Museum in Denmark from 2018 to 2022. The three main texts cover the conception, presentation, and reception of the exhibitions, respectively elaborating the curatorial process, the aesthetics of the exhibitions and the reception of the exhibitions by individual visitors. Also included is a written dialogue of a more associative nature between members of the research group of art historians who were invited to experience the exhibitions and contemplate and discuss the implications of the series of exhibitions.

Following the success of The Anomie Review of Contemporary British Painting in 2018 and The Anomie Review of Contemporary British Painting 2 in 2021, a third volume has been created to showcase solo exhibitions that have defined contemporary painting since the second volume. This new, even larger anthology presents the work of eighty-five artists born or living in Britain through documentation and discussion of solo exhibitions of their work in museums and galleries nationally and internationally. Featuring artists at different stages of their careers, from senior figures exhibiting at major museums to emerging artists presenting some of their first commercial gallery exhibitions, The Anomie Review of Contemporary British Painting 3 offers an overview of recent activity in the medium of painting in Britain. Artists and venues featured in this new volume include Andrew Cranston at Ingleby, Edinburgh; Jadé Fadojutimi at The Hepworth Wakefield; Sahara Longe at Timothy Taylor, London; Kathryn Maple at The Walker Art Gallery, Liverpool; Mohammed Sami at Camden Art Centre, London; Lucy Stein at Spike Island, Bristol; Caroline Walker at the Fitzrovia Chapel and Stephen Friedman Gallery, London; and Jonathan Wateridge at Nino Mier, Brussels.The anthology, which features cover artwork by Louise Giovanelli from her autumn 2021 exhibition at GRIMM, New York, has been selected by London-based publisher and writer Matt Price, who in addition to editing dozens of catalogues, monographs and books including Phaidon’s international anthologies of painting and drawing Vitamin P2 and Vitamin D2, authored the first two volumes of The Anomie Review of Contemporary British Painting.The publication, which has been project edited by Birmingham-based editor, curator and writer Anneka French, features text entries by Amah-Rose Abrams, Melissa Baksh, Holly Black, Lauren Dei, Yasmina Floyer, Anneka French, Kathryn Lloyd, Anna McNay, Matthew James Holman and Matt Price.