The past hundred years of Europe are distilled in the experiences of the citizens of Strasbourg. From the turn of the twentieth century until 1945, Europe's ruling idea of nationalism rendered Strasbourg/Straßburg the prize in a tug-of-war between the two greatest continental powers, France and Germany. Then, in the immediate post-war period, ideals for European unity set up various European institutions, some headquartered in Strasbourg, which have gradually created a partially supranational Europe. At the end of the 1950s, a third theme arises: the large-scale settling in Strasbourg and other such richer, western European cities of persons from poorer lands, frequently ex-colonial territories, whose appearance and cultural practices render them essentially "different" to local eyes: expressions of racism thereby jostle with professions of multiculturalism. Now in the globalisation era, the issue of "immigration" has broadened yet further into transnationalism: the experience of persons who are embedded in varying manner in both Strasbourg and in their land of origin. Based on in-depth, lively interviews with 80 men and 80 women ranging from 101 to 20 years, and from all over the world (France, Germany, Alsace-Lorraine, Portugal, Italy, ex-Yugoslavia, Albania, Algeria, Morocco, Turkey, Cameroon, and Afghanistan amongst other countries), the author draws out of these compelling testimonies all sorts of compelling insights into issues of identity, race, nationality, culture, politics, heritage and representation, giving a unique and valuable view of what it means (and has meant over the past century) to be a European.

The past hundred years of Europe are distilled in the experiences of the citizens of Strasbourg. From the turn of the twentieth century until 1945, Europe's ruling idea of nationalism rendered Strasbourg/Straβburg the prize in a tug-of-war between the two greatest continental powers, France and Germany. Then, in the immediate post-war period, ideals for European unity set up various European institutions, some headquartered in Strasbourg, which have gradually created a partially supranational Europe. At the end of the 1950s, a third theme arises: the large-scale settling in Strasbourg and other such richer, western European cities of persons from poorer lands, frequently ex-colonial territories, whose appearance and cultural practices render them essentially "different" to local eyes: expressions of racism thereby jostle with professions of multiculturalism. Now in the globalisation era, the issue of "immigration" has broadened yet further into transnationalism: the experience of persons who are embedded in varying manner in both Strasbourg and in their land of origin. Based on in-depth, lively interviews with 80 men and 80 women ranging from 101 to 20 years, and from all over the world (France, Germany, Alsace-Lorraine, Portugal, Italy, ex-Yugoslavia, Albania, Algeria, Morocco, Turkey, Cameroon, and Afghanistan amongst other countries), the author draws out of these compelling testimonies all sorts of compelling insights into issues of identity, race, nationality, culture, politics, heritage and representation, giving a unique and valuable view of what it means (and has meant over the past century) to be a European.

The past hundred years of Europe are distilled in the experiences of the citizens of Strasbourg. From the turn of the twentieth century until 1945, Europe's ruling idea of nationalism rendered Strasbourg/Straßburg the prize in a tug-of-war between the two greatest continental powers, France and Germany. Then, in the immediate post-war period, ideals for European unity set up various European institutions, some headquartered in Strasbourg, which have gradually created a partially supranational Europe. At the end of the 1950s, a third theme arises: the large-scale settling in Strasbourg and other such richer, western European cities of persons from poorer lands, frequently ex-colonial territories, whose appearance and cultural practices render them essentially "different" to local eyes: expressions of racism thereby jostle with professions of multiculturalism. Now in the globalisation era, the issue of "immigration" has broadened yet further into transnationalism: the experience of persons who are embedded in varying manner in both Strasbourg and in their land of origin. Based on in-depth, lively interviews with 80 men and 80 women ranging from 101 to 20 years, and from all over the world (France, Germany, Alsace-Lorraine, Portugal, Italy, ex-Yugoslavia, Albania, Algeria, Morocco, Turkey, Cameroon, and Afghanistan amongst other countries), the author draws out of these compelling testimonies all sorts of compelling insights into issues of identity, race, nationality, culture, politics, heritage and representation, giving a unique and valuable view of what it means (and has meant over the past century) to be a European.

Marxism and Urban Culture is the first volume to reconcile social science and humanities perspectives on culture. Covering a range of global cities—Bologna, Buenos Aires, Guatemala City, Liverpool, London, Los Angeles, Madrid, Mahalla al-Kubra, Mexico City, Montreal, Osaka, Strasbourg, Vienna—the contributions fuse political and theoretical concerns with analyses of urban cultural practices and historical movements, as well as urban-themed literary and filmic art. Conceived as a response to the persistent rift between disciplinary Marxist approaches to culture, this book prioritizes the urban problematic and builds implicitly and explicitly on work by numerous thinkers: not only Karl Marx but also David Harvey, Henri Lefebvre, Friedrich Engels and Antonio Gramsci, among others. Rather than reanimate reductive views either of Marx or of urban theory, the chapters in Marxism and Urban Culture speak broadly to the interdisciplinary connections that are increasingly the concern of cultural scholars working across and beyond the boundaries of geography, sociology, history, political science, language and literature fields, film studies, and more. A foreword written by Andy Merrifield (the author of Metromarxism) and an introduction by Benjamin Fraser (the author of Henri Lefebvre and the Spanish Urban Experience) situate the book’s chapters firmly in interdisciplinary terrain.

The period between the French Revolution and World War II was a time of tremendous growth in both mapmaking and map reading throughout Europe. There is no better place to witness this rise of popular cartography than in Alsace-Lorraine, a disputed borderland that the French and Germans both claimed as their national territory. Desired for its prime geographical position and abundant natural resources, Alsace-Lorraine endured devastating wars from 1870 to 1945 that altered its borders four times, transforming its physical landscape and the political allegiances of its citizens. For the border population whose lives were turned upside down by the French-German conflict, maps became essential tools for finding a new sense of place and a new sense of identity in their changing national and regional communities. Turning to a previously undiscovered archive of popular maps, Cartophilia reveals Alsace-Lorraine’s lively world of citizen mapmakers that included linguists, ethnographers, schoolteachers, hikers, and priests. Together, this fresh group of mapmakers invented new genres of maps that framed French and German territory in original ways through experimental surveying techniques, orientations, scales, colors, and iconography. In focusing on the power of “bottom-up” maps to transform modern European identities, Cartophilia argues that the history of cartography must expand beyond the study of elite maps and shift its emphasis to the democratization of cartography in the modern world.

"This volume documents the Art Institute of Chicago's significant - yet relatively unknown - collection of French, Spanish, Netherlandish, English, and German paintings created before 1600. More than one hundred works, including altarpieces, private devotional works, portraits, and landscapes by such masters as Lucas Cranach, Gerard David, El Greco, Jan Gossart, and Rogier van der Weyden, receive their first in-depth analysis. More than 350 images - including comparative illustrations of underdrawings, reconstructed ensembles, and related works - accompany the entries"--BOOK JACKET