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The aims of this volume are to reflect on the fundamental issues in the theory and practice of connoisseurship of Chinese painting in particular and those of connoisseurship of art in general. One of the most important challenges facing art historians and museum professionals today is that graduate schools have produced art historians with serious weakness, particularly a lack of direct firsthand experience with works of art in the original. If we base our construction of art history on works of calligraphy and painting and on the inscriptions, colophons, and seal impressions that accompany them, we must first make sure of their authorship and identity. "This fascinating book, the first one in which connoisseurship in Chinese painting and in European painting are discussed together, enables us not only to confront several approaches in the authentication of Chinese painting, but also to benefit from the Western art studies in connoisseurial analysis and the complex nature of copywork." -Michèle Pirazzoli-t'Serstevens, formerly Curator of Far Eastern Art of the Musée Guimet, Paris, currently Directeur d'études, École Pratique des Hautes Études, Paris, author of La Civilisation du Royaume de Dian à l'époque Han, La Chine des Han:histoire et civilization, Giuseppe Castiglione (1688-1766): Peintre et Architecte à la Cour de Chine, and editor of Storia Universale dell'Arte : La Cina. "These thoughtful essays, addressing a range of historical, cultural, and philosophical issues, should remind all of us that the objectness of objects is the starting point from which all else follows." -Peter Sturman, Chair, Department of the History of Art and Architecture, University of California, Santa Barbara, and author of Mi Fu: Style and the Art of Calligraphy in Northern Song China. "Connoisseurship is the most fundamental yet often overlooked aspect of art history: it has the ability to affirm or completely change our understanding of an art work, the artist's oeuvre, or even art history itself. This volume is the first extensive investigation of Chinese connoisseurship as a general and theoretical discipline." -Pauline Lin, Bryn Mawr College, has published articles in The Review of Politics and Dictionary of Literary Biography: Classical Chinese Writers and is working on a book, Nature Inside Out: The Culture of Landscape from the City of Ye (196-240). "Connoisseurship is the necessary base of art history, for until we know who made what when, we cannot engage in interpretation of paintings. Bringing together scholars from diverse backgrounds, this volume provides the necessary basis for the most important task facing art historians today, the creation of a true world art history." - David Carrier, Champney Family Professor, Case Western Reserve University/Cleveland Institute of Art and author of Sean Scully, Museum Skepticism: A History of the Display of Art in Public Galleries, and A World Art History.

Pan-Africanism in Barbados is a pioneering work. This is the first book exclusively on Pan-Africanism within Barbados, an island that is noted for its conservatism. The book traces the development of Pan-Africanism in Barbados during the 20th century, by looking at the major socio-political Pan-African formations in Barbados: the Universal Negro Improvement Association, the Workingmen's Association, Clement Payne and the loose Pan-African organization that played a leading role in workers struggle in 1937 before the disturbances in Barbados, the People's Progressive Movement/Black Star newspaper, Black Nights, the Southern African Liberation Committee, Rastafarians, the Marcus Garvey Hundredth Anniversary Committee, the Clement Payne Movement and the Pan-African Movement of Barbados. The work also examines the creation of the Commission for Pan-African Affairs, a government created institution to helped to promote the cause of Pan-Africanism. Worrell looks at the objectives, activities, rhetoric, weaknesses, important ideologues, what caused the demise of the various groupings and the lessons to be learnt.

This is the second edition of Russian Futurism through Its Manifestoes 1912-1928, originally published by Cornell University Press (1988). Futurism as a world movement profoundly affected the course of twentieth-century art and culture. This collection made available for the first time in English the writings of the Russian Futurists, which supplied the theoretical base of their movement. In her extensive introduction, Lawton has highlighted the historical development of the movement and has related Futurism both to the Russian national scene and to avant-garde movements worldwide. She describes how the Russian Futurists declared their enmity to the aesthetic canons of nineteenth-century realism and to the mysticism of the Symbolists. Eagle's concluding essay discusses how Futurism's most significant theoretical ideas, through the medium of Russian Formalism, had a lasting impact on the subsequent development of structuralism and semiotics. The lively and imaginative translations by Lawton and Eagle capture the distinctive polemical style of the Russian Futurists-jarring, provocative, neologistic-and reproduce their often idiosyncratic typography. Among many Futurists represented are Vladimir Mayakovsky, Viktor Khlebnikov, Aleksei Kruchenykh, David Burliuk, Vadim Shershenevich, and Boris Pasternak.