The New Art History provides a comprehensive introduction to the fundamental changes which have occurred in both the institutions and practice of art history over the last thirty years. Jonathan Harris examines and accounts for the new approaches to the study of art which have been grouped loosely under the term 'the new art history'. He distinguishes between these and earlier forms of 'radical' or 'critical' analysis, explores the influence of other disciplines and traditions on art history, and relates art historical ideas and values to social change. Structured around an examination of key texts by major contemporary critics, including Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key moment in the discipline of art history, tracing the development and interaction of Marxist, feminist and psychoanalytic critical theories. Individual chapters include: Capitalist Modernity, the Nation-State and Visual Representation Feminism, Art, and Art History Subjects, Identities and Visual Ideology Structures and Meanings in Art and Society The Representation of Sexuality

Very little is known about the issue of wildlife conservation within China. Even China specialists get a meager ration of stories about pandas giving birth in zoos, or poachers in some remote setting being apprehended. But what does the future hold for China's wildlife? In this thoughtful work the leading U.S. expert on wildlife projects in Western China presents a multi-faceted assessment of the topic. Richard B. Harris draws on twenty years of experience working in China, and incorporates perspectives ranging from biology through Chinese history and tradition, to interpret wildlife conservation issues in a cultural context. In non-technical language, Harris shows that, particularly in its vast western sections where most species of wildlife still have a chance to survive, China has adopted a strongly preservationist, "hands-off" approach to wildlife without confronting the larger and more difficult problem of habitat loss. This policy treats wildlife conservation as a strictly technical problem - and thus prioritizes captive breeding to meet the demand for animal products - while ignoring the manifold cultural, social, and economic dimensions that truly dictate how wild animals will fare in their interaction with the physical and human environments. The author concludes that any successes this policy achieves will be temporary.

For more than a millennium, the Byzantine Empire presided over the juncture between East and West, as well as the transition from the classical to the modern world. Jonathan Harris, a leading scholar of Byzantium, eschews the usual run-through of emperors and battles and instead recounts the empire’s extraordinary history by focusing each chronological chapter on an archetypal figure, family, place, or event.
Harris’s action-packed introduction presents a civilization rich in contrasts, combining orthodox Christianity with paganism, and classical Greek learning with Roman power. Frequently assailed by numerous armies—including those of Islam—Byzantium nonetheless survived and even flourished by dint of its somewhat unorthodox foreign policy and its sumptuous art and architecture, which helped to embed a deep sense of Byzantine identity in its people.
Enormously engaging and utilizing a wealth of sources to cover all major aspects of the empire’s social, political, military, religious, cultural, and artistic history, Harris’s study illuminates the very heart of Byzantine civilization and explores its remarkable and lasting influence on its neighbors and on the modern world.

An Introduction. The final installment in the critically-acclaimed trilogy on globalization and art explores the growing dominance of Asian centers of art.

This, the final volume in this series discusses how American art evolved from the social realism prevalent during the 1930s to a predominantly abstract art after the war, relates this change to America's growing economic and political dominance of the post-war world, and constrasts the abstraction of American art with the persistently realistic art of France. The authors then review the era of high Modernism in the 1960s and the challenge to Modernism by movements such as Minimal art, Land art, and Conceptual art, and they consider the moves to develop an art of overt social purpose in the wake of widespread criticism of Modernist claims for the autonomy of art. The book concludes by considering the implications of the Postmodernism debate for the practice of art today.