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Bangladesh today is the only nation-state in the Indian subcontinent with levels of ethnic homogeneity similar to Western or Central Europe.
The collection of essays edited for Brepols by Kate Dimitrova and Margaret Goehring, Dressing the Part: Textiles as Propaganda in the Middle Ages, addresses the significance of cloth and clothing in visual culture during the Middle Ages.
In Kimono: A Modern History, textile historian Terry Satsuki Milhaupt encourages her readers to ‘reflect deeply and broadly on what the kimono has meant at various points in its long history’ (p. 287). In this ambitious project, she identifies ‘modern’ with the period from the 1850s onwards.
With contemporary Japanese-Korean relations so inextricably entrenched within contentious politics of national identity and divergent expressions of historical consciousness, Jun Uchida’s Brokers of Empire could not be a more welcome addition to the field of modern East Asian history.
Although photography was introduced to India soon after its 1839 European invention, it was not until 1857 that the new technology proliferated in the subcontinent. In Zahid R. Chaudhary’s heavily illustrated study, focused on colonial photographic practices following the Sepoy Revolt by Indian recruits (1857–8), this proliferation is central.
This book uses the story of one family and its legal battles to uncover relationships between religion, race, gender, identity, and personal law in south India in the first half of the 19th century. Matthew Abrahams was an Indian Roman Catholic of lowly background but increasing wealth.
Some years ago, in the midst of a conversation about tourism and travelling, a friend from one of Britain’s former colonies remarked how shocked she had been to see ‘white people begging’ during her first trip abroad to Australia.
The subject of sati – more commonly known to Anglophone readers as ‘suttee’, a term which was used by 18th- and 19th-century writers to signify the self-immolation of Hindu widows on the funeral pyres of their husbands (1) – has long been of interest to historians.
In September of 1934, an incredulous (or perhaps simply amused) Dutch official wrote from Batavia to his mentor in Leiden telling of the most incredible journey made by a family of Sundanese from West Java.
It is perhaps less true today than it was a decade ago that ‘an enormous number of early photographs of China lie largely ignored or unknown’, as Regine Thiriez, one of the pioneers of the field who has spent many years collecting and studying scattered and often very small albums, wrote in 1999.(1) During the last two decades the so-called ‘pictorial turn’ in the huma