Loukaki's book offers a comparative analysis of archetypal spatialities and their emergence in different moments of cultural history through various media, such as poetry, painting, urban landscape and architecture, and between polarities such as past/present and East/West. The book can be read as a montage of “snapshots” (page 14) or episodes that are interconnected, even if they seem to be antithetical to one another.

In each of the four chapters Wilkes takes the work of modernist artists and writers as his point of departure to unfold the “polyvocality” of Purbeck (page 141). Always sensitive to complexity, however, Wilkes moves beyond, but still with, these creative protagonists and their various imaginaries of Purbeck. He juxtaposes such imaginaries to, for example, military structures, radar experimentation and geological thought in order to highlight the discontinuities of meaning that play out across this landscape.

In this work, Quinney presents a series of photographs and short descriptive essays, or “field notes”, recording his life between 1983 and 2001 when he lived in the town of DeKalb in northern Illinois. Through this combination of photograph and text, Quinney invites the reader on a journey through his hometown and familiar landscapes at the end of the twentieth century.

Augé’s book does not characterize itself as a novel, nor is this an ethnography. Rather, it is “ethnofiction,” an intermingling of the two, blending together both ethnographic research and fictional narrative.

This edited collection comprises the outcome of a sustained, multidisciplinary and multi-locale study of the sites known as ushnus, which broadly refer to (sometimes raised slightly, or stepped) surfaces in which physical features (drainage holes, fissures) or use referred to cosmological, political and religious practices of the Inca Empire, and whose echoes can be identified today in certain ethnographic contexts of the Peruvian and Bolivian Andes.