Portrait Of Britain Volume 3

Coming at a pivotal time in UK politics, Portrait of Britain, the British Journal of Photography's annual photography exhibition, is back for 2019 and Hoxton Mini Press will once again be producing the accompanying publication. The winning photographs from this open-call competition are selected by a panel of expert judges and will be displayed on digital billboard screens nationwide at the same time as the book's launch where they are seen by over 10 million people. These captivating portraits celebrate the diversity, culture and identity of Britain at a critical time in its history.

Acclaimed portrait and documentary photographer Peter Zelewski has spent the past three years capturing the people and faces of the streets of London. His images, which have be seen in the National Portrait gallery and throughout the press, are both intimate and considered and as such are closer to art photography than snapshots. The images are accompanied by arresting quotes that reveal the inner lives of the strangers that make this the world's most colourful city.

The Black Lives Matter movement and Covid-19 have brought a tidal wave of change to Britain. These portraits and accompanying stories, full of hope and humanity, capture the individuals that make up the country's collective resilience. -- page 4 of cover (volume 3)

Brill Research Perspectives in Biblical Interpretation (RPBI) The growth of scholarly literature continues to accelerate at an exponential rate. Staying current on a variety of subjects is becoming increasingly difficult. RPBI brings a substantial range of contemporary methodological conversations about biblical literature to a wide readership. The main goal of each book is to address a particular contemporary question and/or problem of interpretive importance as it intersects with biblical scholarship, raising the issues and suggesting further directions. Race, class, gender, nationality, sexuality, geography, and ecology are examples of lenses that the authors incorporate into these discussions. These books are perfect for keeping abreast of conversations in the field, updating college and graduate-level courses with cutting-edge biblical scholarship, and exploring new and alternative approaches to long-standing questions in the field.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Slave Portraiture in the Atlantic World is the first book to focus on the individualized portrayal of enslaved people from the time of Europe's full engagement with plantation slavery in the late sixteenth century to its final official abolition in Brazil in 1888. While this period saw the emergence of portraiture as a major field of representation in Western art, 'slave' and 'portraiture' as categories appear to be mutually exclusive. On the one hand, the logic of chattel slavery sought to render the slave's body as an instrument for production, as the site of a non-subject. Portraiture, on the contrary, privileged the face as the primary visual matrix for the representation of a distinct individuality. Essays address this apparent paradox of 'slave portraits' from a variety of interdisciplinary perspectives, probing the historical conditions that made the creation of such rare and enigmatic objects possible and exploring their implications for a more complex understanding of power relations under slavery.