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German language --- -Didactic literature, German --- -German language --- -Rhetoric --- History and criticism --- Rhetoric --- Marcus --- Style --- -German didactic literature --- German literature --- Ashkenazic German language --- Hochdeutsch --- Judaeo-German language (German) --- Judendeutsch language --- Judeo-German language (German) --- Jüdisch-Deutsch language --- Jüdischdeutsch language --- Germanic languages --- Marcus von Weida --- -Literary style --- Didactic literature, German --- History and criticism. --- Rhetoric. --- Marcus, --- Marcus von Weida, --- Von Weida, Marcus, --- Weida, Marcus von, --- Literary style. --- German language - - Rhetoric - Middle High German, 1050-1500 --- -Didactic literature, German - - History and criticism --- German language - - Rhetoric - Early modern, 1500-1700 --- -Marcus - von Weida - - Style --- -Marcus - von Weida

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In 1952, there were probably fewer than 200 Baha'is in all of Africa. Today the Baha'i community claims one million followers on the continent. Yet, the Baha'i presence in Africa has been all but ignored in academic studies up to now. This is the first monograph that addresses the establishment of this New Religious Movement in Africa. Discovering an African presence at the genesis of the religion in Iran, this study seeks to explain why the movement found an appeal in colonial Africa during the 1950's and early 1960. It also explores how the Baha'i faith was influenced and Africanized by its new converts. Finally, the book seeks to make sense of the diverse and contradictory American, Iranian, British, and African elements that established a new religion in Africa.

Bahai Faith --- Bahaism --- Religions --- Babism --- History.

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The boldly political mural projects of Diego Rivera and other leftist artists in San Francisco during the 1930s and early 1940s are the focus of Anthony W. Lee's fascinating book. Led by Rivera, these painters used murals as a vehicle to reject the economic and political status quo and to give visible form to labor and radical ideologies, including Communism.Several murals, and details of others, are reproduced here for the first time. Of special interest are works by Rivera that chart a progress from mural paintings commissioned for private spaces to those produced as a public act in a public space: Allegory of California, painted in 1930-31 at the Stock Exchange Lunch Club; Making a Fresco, Showing the Building of a City, done a few months later at the California School of Fine Arts; and Pan American Unity, painted in 1940 for the Golden Gate International Exposition.Labor itself became a focus of the new murals: Rivera painted a massive representation of a construction worker just as San Francisco's workers were themselves organizing; Victor Arnautoff, Bernard Zakheim, John Langley Howard , and Clifford Wight painted panels in Coit Tower that acknowledged the resolve of the dockworkers striking on the streets below. Radical in technique as well, these muralists used new compositional strategies of congestion, misdirection, and fragmentation, subverting the legible narratives and coherent allegories of traditional murals.Lee relates the development of wall painting to San Francisco's international expositions of 1915 and 1939, the new museums and art schools, corporate patronage, and the concerns of immigrants and ethnic groups. And he examines how mural painters struggled against those forces that threatened their practice: the growing acceptance of modernist easel painting, the vagaries of New Deal patronage, and a wartime nationalism hostile to radical politics.

Mural painting and decoration, American --- Street art --- Themes, motives. --- Rivera, Diego, --- Political and social views. --- Art, Street --- Art, Wall --- Wall art --- Art and society --- Mural painting and decoration --- Performance art --- Politics in art --- Graffiti --- American mural painting and decoration --- Rivera Barrientos, Diego María, --- Barrientos, Diego María Rivera, --- ריװערא, דיעגא, --- RIVERA (DIEGO), 1886-1957 --- MURAL PAINTING AND DECORATION --- STREET ART --- MODERN ART --- 20th CENTURY --- U.S --- U.S.

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Almost immediately after the invention of photography, Scottish photographers took their clunky cameras on the road to capture the stories of peoples and communities touched by the forces of British imperialism. For the next thirty years, their journeys would take them far from their homes in the Lowlands to the Canadian wilderness and the treaty ports and rivers of China. The Global Flows of Early Scottish Photography is about the interplay between these photographers' ambitions and the needs and desires of the people they met. Anthony Lee tracks the work of several famous innovators of the art form, including the pioneering team of D.O. Hill and Robert Adamson in Edinburgh; Canada's first great photographers, the Scottish immigrants William Notman and Alexander Henderson in Montreal; the globetrotting John Thomson in Hong Kong; and Lai Afong, the first widely known Chinese photographer. Lee reveals their pictures in the context of migration and the social impact wrought by worldwide trade and competing nationalisms. A timely book, it tells of an era when cameras emerged to give shape and meaning to some of the most defining moments brought about by globalization in the nineteenth century. Beautifully written and richly illustrated in full colour, The Global Flows of Early Scottish Photography weaves stories together to show that even the earliest pictures were sites of fierce historical struggle.

Photography --- History.

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