Transposed Memory: Visual Sites of National Recollection in 20th and 21st Century East Asia (Brill, 2024) explores the visual culture of national recollection in modern and contemporary East Asia by emphasizing memories that are under the continuous process of construction, reinforcement, alteration, resistance, and contestation. Expanding the discussion of memory into visual culture by exploring various visual sites of recollection, and the diverse ways commemoration is represented in visual, cultural, and material forms, this book produces cross-cultural and interdisciplinary conversations on memory and site by bringing together international scholars from the fields of art history, history, architecture, and theater and dance, examining intercultural relationships in East Asia through geopolitical conditions and visual culture.
With contributions of Rika Iezumi Hiro, Ruo Jia, Burglind Jungmann, Hong Kal, Stephen McDowall, Alison J. Miller, Jessica Nakamura, Eunyoung Park, Travis Seifman, and Linh D. Vu.

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Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril.

In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.
The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol’s Campbell's Soup Cans, and Jackson Pollock’s drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.
The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim.

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Linking histories of women, relationships to the natural environment, material culture and art, in Embroidering the Landscape: Women, Art and the Environment in British North America, 1740–1770 (Lund Humphries, 2023) Dr. Andrea Pappas presents a new, multi-dimensional view of eighteenth-century American culture from a unique perspective. This book investigates how and why women pictured the landscape in their needlework. It explores the ways their embroidered landscapes address the tumultuous environmental history of the period; how their depictions of nature differ from those made by men; and what women’s choices of motifs can tell us about their lives and their relationships to nature.

Embroidering the Landscape situates these pastoral and georgic needleworks (c. 1740-1775) at the intersection of environmental and social histories, interpreting them through ecocritical and social lenses. Dr. Pappas’ investigation draws out connections between women’s depicted landscapes and environmental and cultural history at a time when nature itself was a charged arena for changes in agriculture, husbandry, gardening, and the emerging discourses of botany and natural history. Her insights change our understanding of the relationship between culture and the environment in this period and raise new questions about the unrecognized extent of women’s engagement with nature and natural science.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.

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When it comes to Confederate monuments, there is no common ground. Polarizing debates over their meaning have intensified into legislative maneuvering to preserve the statues, legal battles to remove them, and rowdy crowds taking matters into their own hands. These conflicts have raged for well over a century—but they've never been as intense as they are today.

In No Common Ground: Confederate Monuments and the Ongoing Fight for Racial Justice (UNC Press, 2021), Dr. Karen L. Cox offers an eye-opening narrative of the efforts to raise, preserve, protest, and remove Confederate monuments. Dr. Cox depicts what these statues meant to those who erected them and how a movement arose to force a reckoning. She shows the forces that drove white southerners to construct beacons of white supremacy, as well as the ways that anti-monument sentiment, largely stifled during the Jim Crow era, returned with the civil rights movement and gathered momentum in the decades after the Voting Rights Act of 1965. Monument defenders responded with gerrymandering and "heritage" laws intended to block efforts to remove these statues, but hard as they worked to preserve the Lost Cause vision of southern history, civil rights activists, Black elected officials, and movements of ordinary people fought harder to take the story back. Timely, accessible, and essential, No Common Ground is the story of the seemingly invincible stone sentinels that are just beginning to fall from their pedestals.

Our guest is: Dr. Karen L. Cox, who is professor emeritus of history at the University of North Carolina at Charlotte. Her other books include Dreaming of Dixie: How the South Was Created in American Popular Culture and Dixie's Daughters: The United Daughters of the Confederacy and the Preservation of Confederate Culture.

Our host is: Dr. Christina Gessler, who works as a developmental editor for scholars, and is the producer of the Academic Life podcast.

Playlist for listeners:

Welcome to Academic Life, the podcast for your academic journey—and beyond! You can help support the show by downloading, assigning and sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 250+ Academic Life episodes? Find them here. And thank you for listening!

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Japanese comics, commonly known as manga, are a global sensation. Critics, scholars, and everyday readers have often viewed this artform through an Orientalist framework, treating manga as the exotic antithesis to American and European comics. In reality, the history of manga is deeply intertwined with Japan’s avid importation of Western technology and popular culture in the early twentieth century.

Comics and the Origins of Manga: A Revisionist History (Rutgers UP, 2021) reveals how popular U.S. comics characters like Jiggs and Maggie, the Katzenjammer Kids, Felix the Cat, and Popeye achieved immense fame in Japan during the 1920s and 1930s. Modern comics had earlier developed in the United States in response to new technologies like motion pictures and sound recording, which revolutionized visual storytelling by prompting the invention of devices like speed lines and speech balloons. As audiovisual entertainment like movies and record players spread through Japan, comics followed suit. Their immediate popularity quickly encouraged Japanese editors and cartoonists to enthusiastically embrace the foreign medium and make it their own, paving the way for manga as we know it today.

By challenging the conventional wisdom that manga evolved from centuries of prior Japanese art and explaining why manga and other comics around the world share the same origin story, Comics and the Origins of Manga offers a new understanding of this increasingly influential artform.

Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing.

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Magic and Divination in Malay Illustrated Manuscripts (Brill, 2015) offers an integrated study of the texts and images of illustrated Malay manuscripts on magic and divination from private and public collections in Malaysia, the UK and Indonesia. Containing some of the rare examples of Malay painting, these manuscripts provide direct evidence for the intercultural connections between the Malay region, other parts of Southeast Asia and the rest of the world. In this richly illustrated volume many images and texts are gathered for the first time, making this book essential reading for all those interested in the practice of magic and divination, and the history of Malay, Southeast Asian and Islamic manuscript art.

Lauren Fonto is a Master's student in the program Heritage and Cultural Sciences: Heritage Conservation at the University of Pretoria, South Africa. She is currently a heritage conservation intern.

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Jesus' Crown of Thorns has become one of the most ubiquitous features of Christian religious art, but was the original crown anything like the crown of popular medieval art and piety? The image conjured by art history is that of a bloodied, beaten Jesus, wearing a cruelly fashioned, woven crown made of sharp thorns. But this image is deeply misleading, based on a fundamental misunderstanding and possible mistranslation.

In The Crown of Thorns: Humble Gods and Humiliated Kings (Bloomsbury, 2025) Dr. Faith Tibble rectifies this misunderstanding, showing how The Crown of Thorns underwent a yet unrecognized artistic evolution. Dr. Tibble tracks the artistic progression of the Crown of Thorns from its first depiction in the 4th century, until the 11th century, when it begins to exhibit the artistic trends that are still recognizable today. In doing so, Dr. Tibble adds new perspective to our understanding of the ideologies associated with medieval Christianity - victory, humility, perseverance - and how those ideologies are exemplified in depictions of the Crown of Thorns. Dr. Tibble demonstrates the profound and unintended consequences of a simple misunderstanding of the Gospels, and examines an unexpected trajectory in European art.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.

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Confessional Video Art and Subjectivity Private Experiences in Public Spaces (Bloomsbury, 2025) examines the development of the confessional subject in video art and demonstrates how it can provide a vital platform for navigating the politics of self, subjectivity, and resistance in society. In doing so, it reframes video art – the most ubiquitous and yet most understudied art form of recent decades – as an urgent socio-political tool that is increasingly popular among contemporary artists as a means of exploring a broad range of social issues, from politics and identity, to the body and technologies of self-representation.

Author Jaye Early brings together theory and practice to look afresh at contemporary video art through a Foucauldian lens. Early also brings the analysis of video art up to date by showing how social media and digital self representation has informed and further politicized time-based art practices.

Dr. Jaye Early is Lecturer in Contemporary Art at the University of New South Wales, Sydney and a practicing video artist.

The episode is hosted by Ailin Zhou, PhD student in Film & Digital Media at University of California - Santa Cruz.

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Leonardo da Vinci (1452–1519) never signed a painting, and none of his supposed self-portraits can be securely ascribed to his hand. He revealed next to nothing about his life in his extensive writings, yet countless pages have been written about him that assign him an identity: genius, entrepreneur, celebrity artist, outsider. Addressing the ethical stakes involved in studying past lives, in Leonardo da Vinci: An Untraceable Life (Princeton University Press, 2025) Dr. Stephen J. Campbell shows how this invented Leonardo has invited speculation from figures ranging from art dealers and curators to scholars, scientists, and biographers, many of whom have filled in the gaps of what can be known of Leonardo’s life with claims to decode secrets, reveal mysteries of a vanished past, or discover lost masterpieces of spectacular value.

In this original and provocative book, Dr. Campbell examines the strangeness of Leonardo’s words and works, and the distinctive premodern world of artisans and thinkers from which he emerged. Far from being a solitary genius living ahead of his time, Leonardo inhabited a vibrant network of artistic, technological, and literary exchange. By investigating the politics and cultural tensions of the era as well as the most recent scholarship on Leonardo’s contemporaries, workshop, and writings, Dr. Campbell places Leonardo back into the milieu that shaped him and was shaped by him. He shows that it is in the gaps and contradictions of what we know of Leonardo’s life that a less familiar and far more historically significant figure appears.

This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s episodes on New Books with Miranda Melcher, wherever you get your podcasts.

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Art has long played a key role in constructing how people understand and imagine America. Starting with contemporary controversies over public monuments in the United States, in Temporary Monuments: Art, Land, and America’s Racial Enterprise (University of Chicago Press, 2024), Dr. Rebecca Zorach carefully examines the place of art in the occupation of land and the upholding of White power in the US, arguing that it has been central to the design of America’s racial enterprise. Confronting closely held assumptions of art history, Zorach looks to the intersections of art, nature, race, and place, working through a series of symbolic spaces—the museum, the wild, islands, gardens, home, and walls and borders—to open and extend conversations on the political implications of art and design.

Against the backdrop of central moments in American art, from the founding of early museums to the ascendancy of abstract expressionism, Dr. Zorach shows how contemporary artists—including Dawoud Bey, Theaster Gates, Maria Gaspar, Kerry James Marshall, Alan Michelson, Dylan Miner, Postcommodity, Cauleen Smith, and Amanda Williams—have mined the relationship between environment and social justice, creating works that investigate and interrupt White supremacist, carceral, and environmentally toxic worlds. The book also draws on poetry, creative nonfiction, hip-hop videos, and Disney films to illuminate crucial topics in art history, from the racial politics of abstraction to the origins of museums and the formation of canons.

This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s episodes on New Books with Miranda Melcher, wherever you get your podcasts.

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