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Brahmaputra River and that over the course of the next century several thousand photographs were taken in these mountains on the northeast- ern frontier of India. This unlikely photographic documentation of tribal life was created by many different, unrelated hands and motivated by a va- riety of aims

In: Through the Eye of Time
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In this capacity, he pho- tographed the British forces at the Crimean front in 1855–56, gaining a penchant for war photogra- phy and the military life.43 He soon embarked on his own independent career, traveling to Northern In- dia in the aftermath of the Sepoy rebellion and thereafter joining the

In: A Career of Japan
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the Ainu as a resil- ient people living in harmony with nature. From the late 1860s, European-language studies and popular accounts proliferated on the Ainu, along with a con- comitant market for their ethnographic goods and a macabre trade in skeletal remains.64 Within the con- text of this vast

In: A Career of Japan
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Recent new research conducted by the author 1 employed a prosopographical method (the study of a group with similar biographical characteristics), collecting information from a variety of sources that provided basic life path details, as well as giving greater substance to the group members

In: Applied Arts in British Exile from 1933

something more than local recognition is only a shade less crass than enumerating industries or counting factory chimneys. A chief function of the arts is the interpretative function and it must be in a truly American art that the life of America is mirrored, realized, and critically examined. And to

In: Pictorial Photography and the American West, 1900-1950

how the latter is first and foremost structured around a distinct aim or a goal that is not present in life, which is arbitrary and non-linear. The result he comes up with is a form that cannot really negotiate fiction and reality: either one can write biographies about the external reality of living

In: Spectral Memories of Post-crash Iceland

presents a process where living beings lose their identity and sense of self by becoming life-less objects. These are familiar bodies that have become unfamiliar due to the workings of the archive. The fragmented body as such brings to mind uncanny associations suggesting the image of a dismembered corpse

In: Spectral Memories of Post-crash Iceland