Search results for ""Author Various"

In the first major critical reading of Italian American narrative literature in two decades, Fred L. Gardaphé presents an interpretive overview of Italian American literary history. Examining works from the turn of the twentieth century to the present, he develops a new perspective—variously historical, philosophical, and cultural—by which American writers of Italian descent can be read, increasing the discursive power of an ethnic literature that has received too little serious critical attention. Gardaphé draws on Vico’s concept of history, as well as the work of Gramsci, to establish a culture-specific approach to reading Italian American literature. He begins his historical reading with narratives informed by oral traditions, primarily autobiography and autobiographical fiction written by immigrants. From these earliest social–realist narratives, Gardaphé traces the evolution of this literature through tales of “the godfather” and the mafia; the “reinvention of ethnicity” in works by Helen Barolini, Tina DeRosa, and Carole Maso; the move beyond ethnicity in fiction by Don DeLillo and Gilbert Sorrentino; to the short fiction of Mary Caponegro, which points to a new direction in Italian American writing.The result is both an ethnography of Italian American narrative and a model for reading the signs that mark the “self-fashioning” inherent in literary and cultural production. Italian Signs, American Streets promises to become a landmark in the understanding of literature and culture produced by Italian Americans. It will be of interest not only to students, critics, and scholars of this ethnic experience, but also to those concerned with American literature in general and the place of immigrant and ethnic literatures within that wide framework.

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The Japanese invasion of Shanghai in 1937 led some thirty million Chinese to flee their homes in terror, and live—in the words of artist and writer Feng Zikai—“in a sea of bitterness” as refugees. Keith Schoppa paints a comprehensive picture of the refugee experience in one province—Zhejiang, on the central Chinese coast—where the Japanese launched major early offensives as well as notorious later campaigns. He recounts stories of both heroes and villains, of choices poorly made amid war’s bewildering violence, of risks bravely taken despite an almost palpable quaking fear.As they traveled south into China’s interior, refugees stepped backward in time, sometimes as far as the nineteenth century, their journeys revealing the superficiality of China’s modernization. Memoirs and oral histories allow Schoppa to follow the footsteps of the young and old, elite and non-elite, as they fled through unfamiliar terrain and coped with unimaginable physical and psychological difficulties. Within the context of Chinese culture, being forced to leave home was profoundly threatening to one’s sense of identity. Not just people but whole institutions also fled from Japanese occupation, and Schoppa considers schools, governments, and businesses as refugees with narratives of their own.Local governments responded variously to Japanese attacks, from enacting scorched-earth policies to offering rewards for the capture of plague-infected rats in the aftermath of germ warfare. While at times these official procedures improved the situation for refugees, more often—as Schoppa describes in moving detail—they only deepened the tragedy.

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The concept of assemblage has emerged in recent decades as a central tool for describing, analysing, and transforming dynamic systems in a variety of disciplines. Coined by Deleuze and Guattari in relation to different fields of knowledge, human practices, and nonhuman arrangements, assemblage is variously applied today in the arts, philosophy, and human and social sciences, forming links not only between disciplines but also between critical thought and artistic practice. Machinic Assemblages focuses on the concept's uses, transpositions, and appropriations in the arts, bringing together the voices of artists and philosophers that have been working on and with this topic for many years with those of emerging scholar-practitioners. The volume embraces exciting new and reconceived artistic practices that discuss and challenge existing assemblages, propose new practices within given assemblages, and seek to invent totally unprecedented assemblages. Contributors: Gareth Abrahams (University of Liverpool), Katarina Andjelkovic (Atelier AG Andjelkovic, Belgrade), Ian Buchanan (University of Wollongong), Edward Campbell (University of Aberdeen), Iain Campbell (University of Edinburgh), Paul Dolan (Northumbria University, ), Guy Dubious (Independent sound artist, Tel-Aviv), Vanessa Farfan (Independent artist, Berlin), Silvio Ferraz (University of Sao Paulo), Jose Gil (Nova University of Lisbon), Barbara Glowczewski (National Scientific Research Centre, CNRS), Derek Hales and Spencer Roberts (University of Salford / University of Huddersfield), Yuk Hui (Bauhaus University, Weimar), Jan Jagodzinski (University of Alberta), Niall Dermot Kennedy (Trinity College Dublin), George Lewis (Columbia University), Quirijn Menken (Avans University of Applied Sciences), Thomas Nail (University of Denver), Tero Nauha and Llona Hongisto (University of the Arts Helsinki / Macquarie University), Alex Nowitz (Stockholm University of the Arts), Peter Pal Pelbart (Pontifical Catholic University of Sao Paulo), Anne Sauvagnargues (University of Paris Ouest Nanterre La Defense), David Savat (University of Western Australia), Chris Stover (Arizona State University)

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Carmen Boullosa’s Cleopatra Dismounts tells three versions of the life of Cleopatra. In the first sequence, Marc Antony had just disemboweled himself, knowing they had lost the war against Octavian and believing that Cleopatra was dead. Hugging his corpse, Cleopatra castigates Octavian and history for its betrayal of her, recalling variously how she had herself delivered to Caesar in a roll of carpet, and bore his child (Caesarion); the twins and third child she bore to Marc Antony; the bitterness of the recent military defeat. At this point Diomedes, variously described as an informer and her official chronicler, intercedes, admitting that this version of the story is not true to the brilliant, accomplished woman who was the true Cleopatra really was. Telling of how he betrayed Cleopatra, by altering the histories of her reign and allowing Caesar and others to destroy or change her scrolls, he begins again with the story of Cleopatra’s flight from Pompey (the Roman leader who was placed in charge of Cleopatra and her brothers and sisters after Ptolemy Auletes, her father and ruler of Egypt, died). The girl queen (Cleopatra inherited the throne as a teenager) sneaks with several faithful servants out of the palace into a wagon, accompanied by a group of brightly costumed gladiators, on her way to Ascalon. She and her supporters carve the words “Queen of Kings” (Cleopatra’s motto in real history) into the boards of the wagon in which she is traveling, and leave it behind when they reach Rome. When they are beset by pirates, Cleopatra stages an elaborate show using some costumes the young gladiator Apollodorus, who has become part of her retinue, helped her buy. She convinces the pirates that she is Isis (a myth which was in reality part of her statecraft). She makes an alliance with them and is taken in peace to Cilicia. The third and longest version of the Cleopatra story is a delightful interlude in which Cleopatra goes live with the Amazons. Cleopatra is at war with the Ruling Council of her husband and brother Ptolemy (she was, historically, forced to marry her brother because she could not rule alone as a woman). The Ruling Council has sent an envoy to summon her to Alexandria to make peace, but when she realizes it is a trap, she flees with her retinue. She arrives in Pelusium, a trade center on the Mediterranean, where many merchants have been stranded by bad weather, and where, as if by magic, she sees a replica of the cart, carved with the words “Queen of Kings,” she left behind in Rome. Chased by the “reception committee” of the Ruling Council, she escapes on the back of a magical bull. He carries her across the Mediterranean to the land of the Amazons, who take her in. The Amazons welcome her into their society of women, eschewing marriage and traditional female roles to live as warriors and hunters. They sing her the stories of their joining the Amazons and of the many myths that surround them. She meets a group of aged poets, kidnapped by the Amazons to write verses for them, because they love poetry and music. She learns that one Amazon, Orthea, is in love with a god who has the power of extreme heat and cold, and who caused an earthquake that day. The Amazons go to bed, falling into each other’s arms and making love. Though initially disgusted, eventually Cleopatra falls asleep in the protective (and erotic) embrace of Hippolyta, the Amazons’ queen. The next day, the Amazons go to battle a group of rebellious male warriors who charge the Amazons and seek, ultimately, to follow the Sirens. Charging them on their horses, driving cattle at them, the Amazons battle the men. One of their prized poets, however, in an act of suicide, surrenders himself to the Sirens, who devour him before everyone. This breaks the spell and the men cease their clamoring to get to the Sirens. Cleopatra sees Orthea consummating her passion for the god, which kills her. The Cyrene male warriors, who withstood the Sirens’ onslaught in their fort by plugging the windows with rocks and mud, invite Cleopatra and the Amazons to their court to celebrate their successful protection of so many men. Hippolyta declines but sends Cleopatra with her blessing. Once there, she is joyfully reunited with the gladiator Apollodorus and her faithful maidservant and right hand Charmian. The Cyrenes offer to ally with her against her enemies in Ptolemy’s Ruling Council. The alliance between Cleopatra and Caesar (wherein she was smuggled to him rolled up in a carpet, and he assisted her in defeating her enemies in Egypt, part of history) is presaged. At the close of the piece, Cleopatra returns to bid goodbye to the Amazons. She finds them naked, covered in blood, having just sacrificed a horse. Hippolyta is holding the horse’s castrated penis. She repudiates her earlier alliance with the Amazons and returns to Cyrene alone, to her military campaign to become the queen history knows.

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The burbot has a unique ecology as the only member of the order of cod-like fishes found in freshwater. It is the second most widely distributed freshwater fish in the Northern Hemisphere, variously threatened, extinct or thriving across different parts of this wide paleoarctic range. Burbot were driven to extinction from Britain most probably in the 1970s, the last recorded specimen caught in 1969 in Cambridgeshire. Particularly over the past decade, a large body of work has addressed potential reintroduction of the burbot to Britain. The burbot’s diverse habitat and other needs throughout its life stages also mean that the species is a flagship for a diversity of other wildlife of restored river systems, and of the human benefits that these ecosystems can provide. Burbot is an excellent source for all those involved in freshwater fish and fisheries management, conservation and exploitation, including fish biologists (ichthyologists), environmental scientists, freshwater biologists, fisheries managers and scientists, conservation biologists, engineers and hydrologists. The libraries of all universities and research establishments where these subjects are studied and taught should have a copy. Anglers and all those interested in fishes and natural history will also benefit from this book.

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Outsourcing the Polity offers a new account of social outsourcing in post-independence Myanmar, demonstrating how the bankrupt post-socialist junta mediated market reform in the 1990s and 2000s and forced private and non-state actors to take the burden for social welfare. Informed by research during Myanmar's decade of partial civilian rule (2011–2021), Gerard McCarthy examines how ideals and practices of non-state welfare can both sustain democratic resistance and undermine social reform over time. Rather than expand government-led social action funded by direct taxation, grassroots activists and democratic leaders after 2011 variously framed government social action as ineffective, undesirable, and even corrosive of civic norms. They instead encouraged citizens to be "self-reliant" and support each other, including during disasters. Powerful tycoons filled the social gap, using public philanthropy to remake their reputations and to defend their ongoing expropriation of land and state assets from potential democratic redistribution. With non-state social actors more important than ever following Myanmar's return to dictatorship in 2021, Outsourcing the Polity casts new light on the lasting legacies of outsourcing for distributive politics.

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The digitised spectacles conjured by a word like `blockbuster’ may create a certain cognitive dissonance with received ideas about French cinema – long celebrated as a model for philosophical, economic and aesthetic resistance to globalised popular culture. While the Gallic `cultural exception’ remains a forceful current to this day, this book shows how the onslaught of Hollywood mega-franchises and new media platforms since the 1980s has also provoked an overtly commercialised response from French producers eager to redefine the stakes and scope of their own traditions. Cutting across a swath of recent French-produced cinema, French Blockbusters offers the first book-length consideration of the theoretical implications, historical impact and cultural consequences of recent popular films that are rapidly changing what it means to make – or to see – a `French’ film today. From English-language action vehicles like Valérian and the City of a Thousand Planets (Besson, 2017) to revisionist historical films like Of Gods and Men (Beauvois, 2011) and crowd-pleasing comedies like Intouchables (Tolédano & Nakache, 2011), the variously filiated `local blockbusters’ from contemporary France brim with the seeds of cultural contradiction, but also with the energy of a forceful counter-history.

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After the 1925 discovery of diamonds in the semi-desert of the northwest coast of South Africa, De Beers Consolidated Mines Ltd. virtually proclaimed its dominion over the whole region. In the town of Kleinzee, the company owns all the real estate and infrastructure, and controls and administers both the town and the industry. Peter Carstens’s In the Company of Diamonds draws a stark and startling portrait of this closed community, one that analyzes the power and hegemonic techniques used to acquire that power and maintain it. As a prototypical company town, Kleinzee is subordinated to the industry and will of the owners. Employees and workers are variously differentiated and ordered according to occupation, ethnic variation, and other social criteria, a pattern reflected most markedly in the allocation of housing. Managers live in large, ranch-style houses, while contract workers are lodged in single-sex compounds. As a community type, company towns like Kleinzee are not entirely unique, and Professor Carstens successfully draws a number of structural parallels with other closed and incomplete social formations such as Indian reservations, military bases, colleges, prisons, and mental hospitals.

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The continued criminalization of same-sex sexual acts, variously labeled sodomy, buggery, or the crime against nature, is inconsistent throughout the world. The criminalization of other sexual acts, such as public sex, commercial sex, or HIV-transmission, is more common. The relationship between sexuality and criminality is not limited to a direct criminalization of sexual acts, however. The victimization of sexual minorities because of their sexuality has garnered attention in the conceptualization of hate crimes in many countries. When sexual minorities are accused of victimizing others, the criminal justice system can conflate sexual identity with the criminal acts resulting in biased convictions. Imprisonment and punishment norms can pose special problems in the context of gender minorities or for sex offenses. The papers reprinted in this volume cover doctrinal, theoretical and political analysis of the current and historical criminalization of a wide variety of sexual acts, including ones less commonly discussed. It also includes discussions of the 'homosexual panic' defense, hate crimes and domestic violence, as well as examinations of specific cases in which the sexuality of the accused became pertinent. The volume also includes discussions of the imprisonment of gender nonconforming persons in systems of sex-segregated prisons and the treatment of 'sex offenders'.

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Early Anglo-Saxon Christian Reliquaries presents a corpus and discussion of a group of Anglo-Saxon copper-alloy containers dating to the seventh and possibly eighth centuries, and variously described as work boxes, needle cases, amulet containers or Christian reliquaries. Seventy-one boxes, some incomplete or fragmentary, have been recorded from forty-nine sites across Anglo-Saxon England. A typology, material specification, drawings, design and construction principles are provided, and a nomenclature applicable to these containers is outlined. Catalogue entries give details of site location, description, decorative features and references. Three box types are identified, and a concluding discussion suggests that boxes of Types I and II had a Christian function and should be considered as reliquaries. Type III boxes had a secular function, and their purpose remains enigmatic.

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A city with a reputation to maintain, Melbourne is famous variously for being Australia’s coffee capital, the Europe of Australia and consistently ranked amongst the top most liveable cities in the world. CultureShock! Melbourne takes both long- and short-term residents through the city’s inner workings. The city offers world-class urban landscapes and experiences, spiced with a uniquely Melburnian spirit: a stroll along the Yarra River surrounded by a glittering skyline and artisanal sandwich in hand, top-drawer entertainment, restaurants helmed by celebrity chefs, or even a simple breakfast of toast with smashed avo’ and a flat white at a legendary café along a boulevard. Get the most out of your stay in Melbourne with this essential guide to one of the jazziest, most cosmopolitan cities in the world.

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Romany Gypsies have been variously portrayed as exotic strangers or as crude, violent delinquents; this book is the first real history of the Romany people, from the inside. Jeremy Harte vividly portrays the hardships of the travelling life, the skills of woodland crafts, the colourful artistic traditions, the mysteries of a lost language and the flamboyant displays of weddings and funerals, which are all still present in this secretive culture. Travellers through Time tells the dramatic story of life on the margin of society from Tudor times to today, offering vivid insights into the hidden world of England’s large Gypsy population. It will appeal to those who are curious about other cultures, as well as those who want to understand the reality behind the prejudice.

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On August 17, 1945, Indonesia proclaimed its independence from Dutch colonial rule. Five years later, the Republic of Indonesia was recognized as a unified, sovereign state. The period in between was a time of aspiration, mobilization, and violence, in which nationalists fought to expel the Dutch while also trying to come to grips with the meaning of "independence." "Rifle Reports" is an ethnographic history of this extraordinary time as it was experienced on the outskirts of the nation among Karo Batak villagers in the rural highlands of North Sumatra. Based on extensive interviews and conversations with Karo veterans, "Rifle Reports" interweaves personal and family memories, songs and stories, memoirs and local histories, photographs and monuments, to trace the variously tangled and perhaps incompletely understood ways that Karo women and men contributed to the founding of the Indonesian nation. The routes they followed are divergent, difficult, sometimes wavering, and rarely obvious, but they are clearly marked with the signs of gender. This innovative historical study of nationalism and decolonization is an anthropological exploration of the gendering of wartime experience, as well as an inquiry into the work of storytelling as memory practice and ethnographic genre.

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A new, thoroughly updated second edition of Bradt's Australian Wildlife, covering habitats, mammals, birds, reptiles, amphibians, invertebrates, the marine environment and where to go. Wildlife writer Stella Martin combines the encyclopaedic knowledge of David Attenborough with the enthusiasm of the late Steve Irwin to offer a unique guide which, compared to others, is variously more portable and more detailed, has a broader scope, goes beyond identification notes and includes an in-depth guide to ecosystems. It also covers all regions of Australia. Background chapters explain how Australia's wildlife evolved in isolation and how the geology, soil and climate affect its natural history. There is also a close look at Australia's infamously dangerous creatures, avoiding the clichés and putting their threat into perspective: although most of the world's most venomous snakes are found in Australia, they are by no means the deadliest. Essential advice is offered for avoiding hazardous wildlife and there are also useful first aid tips. Up-to-date information on conservation is included, including fire and its role in the Australian ecology and the effect of exotic feral animals and weeds. And there are tips on how to find, enjoy and identify wildlife with a 'where to go' section featuring a state-by-state overview of key wildlife sites, with maps. With a focus on interesting information about the general biology and behaviour of the animals - with some detail about the most commonly seen species - and explaining how the different ecosystems 'work', this guide is for visitors who want to know more about what they see but don't have room for an entire library of reference books. It is a book to read in bed - and encourage you to be up at dawn.

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In 1978 the world’s first “test-tube baby” was born from in vitro fertilization (IVF), effectively ushering in a paradigm shift for infertility treatment that relied on partially disembodied human reproduction. Beyond IVF, the ability to extract, fertilize, and store reproductive cells outside of the human body has created new opportunities for family building, but also prompted new conflicts about rights to and control over reproductive cells. In collaborative forms of reproduction that build on IVF technologies, such as egg and embryo donation and gestational surrogacy, multiple women may variously contribute to conception, gestation/birth, and the legal and social responsibilities for rearing a child, creating intentionally fragmented maternities. Undoing Motherhood examines the implications of such fragmented maternities in the post-IVF reproductive era for generating maternity uncertainty—an increasing cultural ambiguity about what does and should constitute maternity. Undoing Motherhood explores this uncertainty in the social worlds of reproductive medicine and law.

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From windswept tundra to humid subtropical everglades, fromgracious coniferous forests to austere deserts, North America isblessed with an incredibly diverse array of natural environments,each supporting a unique system of plant and animal life. Thesesystems--also known as biomes--are tightly woven webs of life thathave taken millennia to evolve. This lavishly illustrated bookintroduces readers to this extraordinary array of naturalcommunities and to the subtle interactions of minerals, plants, andanimals that take place within them. Professor Eric Bolen takes a qualitative, intuitive approach to hissubject, beginning with an overview of essential ecological termsand concepts, such as competitive exclusion, taxa, niches, andsuccession. Then, biome by biome, he covers the entirety of Canadaand the United States, starting with the tundra of the far northand working his way south and then west to conclude in the desertsand chaparral of southern California. Along the way, he delves intopertinent conservation issues and features fascinating historicalvignettes and original documents detailing human impact on variousenvironments--for instance, the role of John Deere's plow insettling grasslands, and the use of fur records from Hudson's BayCompany. Throughout, he enlivens the text with dozens of exquisitephotographs and illuminating maps, graphs, charts, andtables. Ecology of North America is an ideal first text for studentsinterested in natural resources, environmental science, andbiology, and it is a useful and attractive addition to the libraryof anyone interested in understanding and protecting the naturalenvironment.

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This is the first anthology ever devoted to early modern Japanese literature, spanning the period from 1600 to 1900, known variously as the Edo or the Tokugawa, one of the most creative epochs of Japanese culture. This anthology, which will be of vital interest to anyone involved in this era, includes not only fiction, poetry, and drama, but also essays, treatises, literary criticism, comic poetry, adaptations from Chinese, folk stories and other non-canonical works. Many of these texts have never been translated into English before, and several classics have been newly translated for this collection. Early Modern Japanese Literature introduces English readers to an unprecedented range of prose fiction genres, including dangibon (satiric sermons), kibyoshi (satiric and didactic picture books), sharebon (books of wit and fashion), yomihon (reading books), kokkeibon (books of humor), gokan (bound books), and ninjobon (books of romance and sentiment). The anthology also offers a rich array of poetry-waka, haiku, senryu, kyoka, kyoshi-and eleven plays, which range from contemporary domestic drama to historical plays and from early puppet theater to nineteenth century kabuki. Since much of early modern Japanese literature is highly allusive and often elliptical, this anthology features introductions and commentary that provide the critical context for appreciating this diverse and fascinating body of texts. One of the major characteristics of early modern Japanese literature is that almost all of the popular fiction was amply illustrated by wood-block prints, creating an extensive text-image phenomenon. In some genres such as kibyoshi and gokan the text in fact appeared inside the woodblock image. Woodblock prints of actors were also an important aspect of the culture of kabuki drama. A major feature of this anthology is the inclusion of over 200 woodblock prints that accompanied the original texts and drama.

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This title is inspired by the courage of a young woman, known variously as "Khwezi" and "the complainant", who took a principled decision to lay a charge of rape against Jacob Zuma, a man who was to her a father-figure, a family friend, a comrade, and the Deputy President of South Africa. She took on the fight against considerable odds. Zuma is one of the most popular and powerful political leaders of his time. She could not have known, however, the immense strength she would need to face the prolonged public attacks on her. As the Zuma supporters spat the words "Burn the Bitch" outside the courtroom, the young woman faced an interrogation inside. Her accusers, and the judge, concurred that having worn a kanga that evening, the complainant had, like so many other women, "asked for it'. This title speaks truth to power - not just male power, but political power, religious and cultural power, imperial and military power. By using the trial of Jacob Zuma as a mirror, the title reveals the hidden yet public forms of violence against women in their homes, marriages, churches and political organisations. Caught in the crossfire of the nation's political succession battle, the young woman refused to back down. By speaking out, she amplified the muffled screams of many other women who have been raped by those who parade their power in the corridors of parliament, government, corporations, and religious and traditional institutions. Crushed and conquered by the mechanics of power, she was forced by a so-called free country to flee into exile. We hope that in reading the story of this trial and seeing the particular ways in which women can be subjugated by power, South Africans will have the opportunity to reflect on, and demand better of, the kind of leaders and leadership they deserve.

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Variously described as ‘the average pilgrim’, a ‘wanderer’, and ‘a Buddha preaching in European clothes’, Charlie Marlow is the voice behind Joseph Conrad’s ‘Youth’ (1898), Heart of Darkness (1899), Lord Jim (1900) and Chance (1912). Conrad’s Marlow offers a comprehensive account and critical analysis of one of Conrad’s most celebrated creations, asking both who and what is Marlow: a character or a narrator, a biographer or an autobiographical screen, a messenger or an interpreter, a bearer of truth or a misguided liar?Reading Conrad’s fiction alongside the work of Walter Benjamin, Maurice Blanchot, Jacques Derrida and Martin Heidegger, and offering an investigation into the connection between narrative and death, this book argues that Marlow’s essence is located in his liminality – in his constantly shifting position – and that the emergence of meaning in his stories is at all points bound up with the process of his storytelling.

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Over the past few centuries, as Western civilization has enjoyed an expansive and flexible geographic domain, Westerners have observed other cultures with little interest in a return gaze. In turn, these other civilizations have been similarly disinclined when they have held sway. Clearly, though, an external frame of reference outstrips introspection we cannot see ourselves as others see us. Unprecedented in its scope, What the Rest Think of the West provides a rich historical look through the eyes of outsiders as they survey and scrutinize the politics, science, technology, religion, family practices, and gender roles of civilizations not their own. The book emphasizes the broader figurative meaning of looking west in the scope of history. Focusing on four civilizations Islamic, Japanese, Chinese, and South Asian Nader has collected observations made over centuries by scholars, diplomats, missionaries, travelers, merchants, and students reflecting upon their own Wests." These writings derive from a range of purposes and perspectives, such as the seventh-century Chinese Buddhist who goes west to India, the missionary from Baghdad who travels up the Volga in the tenth century and meets the Vikings, and the Egyptian imam who in 1826 is sent to Paris to study the French. The accounts variously express critique, adoration, admiration, and fear, and are sometimes humorous, occasionally disturbing, at times controversial, and always enlightening. With informative introductions to each of the selections, Laura Nader initiates conversations about the power of representational practices.

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Little is known about Egypt’s Gypsies, called Dom by scholars, but variously referred to by Egyptians as Ghagar, Nawar, Halebi, or Hanagra, depending on their location. Moreover, most Egyptians are oblivious to the fact that there are today large numbers of Gypsies dispersed from the outskirts of villages in Upper Egypt to impoverished neighborhoods in Cairo and Alexandria. In Gypsies in Contemporary Egypt sociologist Alexandra Parrs draws on two years of fieldwork to explore how Dom identities are constructed, negotiated, and contested in the specifically Egyptian national context. With an eye to the pitfalls and evolution of scholarly work on the vastly more studied European Roma, she traces the scattered representations of Egyptian Dom, from accounts of them by nineteenth-century European Orientalists to their portrayal in Egyptian cinema as belly-dancers in the 1950s and beggars and thieves more recently. She explores the boundaries—religious, cultural, racial, linguistic—between Dom and non-Dom Egyptians and examines the ways in which the Dom position themselves within the limitations of media discourses about them and in turn differentiate themselves from the dominant population. This interplay of attitudes, argues Parrs, sheds light on the values and markers of belonging of the majority population and the paradigms of nation-state formation at the governmental level. Based on extensive interviews with government workers and ordinary individuals in routine contact with the Dom, as well with Dom engaged in a variety of trades in Cairo and Alexandria, Gypsies in Contemporary Egypt is about the search for the fragments of identity of the Egyptian Dom.

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"The poems of Anthony McCann are beautiful, brutal, and unerring. They present us with, or return us to, a complicated, violent, poignant, weird, and mysterious world--a world which is very particularly his, and also our own, re-sung. For some time now I have believed McCann to be one of the finest poets writing today."--Maggie Nelson "McCann demonstrates that the truth surrounds us all; our best way of connecting with it is through compassion and love. With equal parts exuberance and dread, the speaker encourages us to 'waste the whole day feeling these things.'"--Boston Review Thing Music is full of flesh, of creatures tangled in their worlds. Marked variously by the desert and coastal landscapes of Southern California and the intersections of phenomenology and anarchism, these poems are porous bodies, traversed by light and noise. From "Mouth Guitar": Now the pulsing afternoon takes each belly in its hands lifts it up towards some glass and all that's inside While he crawled on with his body towards vengeance or the state Anthony McCann lives in Los Angeles and teaches in the University of California-Riverside's Palm Desert MFA program. He is the "Poet Laureate" of Machine Project, and also teaches courses at the California Institute of the Arts.

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The history of projected images at the turn of the seventeenth century reveals a changing perception of chance and order, contingency and form. In Projecting Spirits, Pasi Väliaho maps how the leading optical media of the period—the camera obscura and the magic lantern—developed in response to, and framed, the era's key intellectual dilemma of whether the world fell under God's providential care, or was subject to chance and open to speculating. As Väliaho shows, camera obscuras and magic lanterns were variously employed to give the world an intelligible and manageable design. Jesuit scholars embraced devices of projection as part of their pursuit of divine government, whilst the Royal Society fellows enlisted them in their quest for empirical knowledge as well as colonial expansion. Projections of light and shadow grew into critical metaphors in early responses to the turbulences of finance. In such instances, Väliaho argues, "projection" became an indispensable cognitive form to both assert providence, and to make sense of an economic reality that was gradually escaping from divine guidance. Drawing on a range of materials—philosophical, scientific and religious literature, visual arts, correspondence, poems, pamphlets, and illustrations—this provocative and inventive work expands our concept of the early media of projection, revealing how they spoke to early modern thinkers, and shaped a new, speculative concept of the world.

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'Fascinating and illuminating' STYLIST'Perceptive and candid' IRISH TIMES'Wide-ranging, deep-dive, soul-baring interviews, full of candid, intimate, spiky meditations on inspiration, artistry, sexuality, race, love, self-doubt, abuse, defiance and everything in between' OBSERVER'Variously optimistic, troubling, joyful, illuminating, fierce and thoughtful' GUARDIANINTERVIEWS WITH WOMEN ON THE FRONTLINE OF MUSICWriter and critic Amy Raphael has interviewed some of the world's most iconic musicians, including Courtney Love, Patti Smith, Björk, Kurt Cobain and Elton John. In 1995 she wrote the critically-acclaimed Never Mind the Bollocks: Women Rewrite Rock, which included a foreword by Debbie Harry. More than two decades on, the music business has changed, but the way women are regarded has not. In this new book, A Seat at the Table, Raphael interviews eighteen women who work in the music industry about learning to speak out, #MeToo, social media, queer politics and the subtleness of everyday misogyny. Featuring interviews with:CHRISTINE & THE QUEENS, IBEYI, KAE TEMPEST, ALISON MOYET, NADINE SHAH, JESSICA CURRY, MAGGIE ROGERS, EMMY THE GREAT, DREAM WIFE, NATALIE MERCHANT, LAUREN MAYBERRY, POPPY AJUDHA, KALIE SHORR, TRACEY THORN, MITSKI, CATHERINE MARKS, GEORGIA, CLARA AMFO

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Child of the Fire is the first book-length examination of the career of the nineteenth-century artist Mary Edmonia Lewis, best known for her sculptures inspired by historical and biblical themes. Throughout this richly illustrated study, Kirsten Pai Buick investigates how Lewis and her work were perceived, and their meanings manipulated, by others and the sculptor herself. She argues against the racialist art discourse that has long cast Lewis’s sculptures as reflections of her identity as an African American and Native American woman who lived most of her life abroad. Instead, by seeking to reveal Lewis’s intentions through analyses of her career and artwork, Buick illuminates Lewis’s fraught but active participation in the creation of a distinct “American” national art, one dominated by themes of indigeneity, sentimentality, gender, and race. In so doing, she shows that the sculptor variously complicated and facilitated the dominant ideologies of the vanishing American (the notion that Native Americans were a dying race), sentimentality, and true womanhood.Buick considers the institutions and people that supported Lewis’s career—including Oberlin College, abolitionists in Boston, and American expatriates in Italy—and she explores how their agendas affected the way they perceived and described the artist. Analyzing four of Lewis’s most popular sculptures, each created between 1866 and 1876, Buick discusses interpretations of Hiawatha in terms of the cultural impact of Henry Wadsworth Longfellow’s epic poem The Song of Hiawatha; Forever Free and Hagar in the Wilderness in light of art historians’ assumptions that artworks created by African American artists necessarily reflect African American themes; and The Death of Cleopatra in relation to broader problems of reading art as a reflection of identity.

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A study of the British contribution to film music, detailing the idiosyncracies of British film, and showing how the differences between it and Hollywood affected composers on both sides of the Atlantic. Jan Swynnoe's study is concerned with the special British contribution to film music, detailing how the idiosyncracies of British film, and of the British character, set it apart from its Hollywood counterpart. She shows how the differences between the two industries in all aspects of film making variously affected composers on both sides of the Atlantic. In the mid 1930s, when film composers in America were perfecting the formulae of the classical Hollywood score, film music in Britain scarcely existed; within a year or so, however, top British composers were scoring British films. How this transformation was brought about, and how established British concert composers, including Vaughan Williams and Arnold Bax, faced the challenge of the exacting and often bewildering art of scoring for feature film, is vividly described here, and the resulting scores compared with the work of seasoned Hollywood composers. JAN SWYNNOE researched the material on which her book is based over several years, at the same time pursuing her musical life as pianist, percussionist and composer.

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In Animacies, Mel Y. Chen draws on recent debates about sexuality, race, and affect to examine how matter that is considered insensate, immobile, or deathly animates cultural lives. Toward that end, Chen investigates the blurry division between the living and the dead, or that which is beyond the human or animal. Within the field of linguistics, animacy has been described variously as a quality of agency, awareness, mobility, sentience, or liveness. Chen turns to cognitive linguistics to stress how language habitually differentiates the animate and the inanimate. Expanding this construct, Chen argues that animacy undergirds much that is pressing and indeed volatile in contemporary culture, from animal rights debates to biosecurity concerns. Chen's book is the first to bring the concept of animacy together with queer of color scholarship, critical animal studies, and disability theory. Through analyses of dehumanizing insults, the meanings of queerness, animal protagonists in recent Asian/American art and film, the lead in toys panic in 2007, and the social lives of environmental illness, Animacies illuminates a hierarchical politics infused by race, sexuality, and ability. In this groundbreaking book, Chen rethinks the criteria governing agency and receptivity, health and toxicity, productivity and stillness—and demonstrates how attention to the affective charge of matter challenges commonsense orderings of the world.

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A thousand years before Isaac Asimov set down his Three Laws of Robotics, real and imagined automata appeared in European courts, liturgies, and literary texts. Medieval robots took such forms as talking statues, mechanical animals, and silent metal guardians; some served to entertain or instruct while others performed disciplinary or surveillance functions. Variously ascribed to artisanal genius, inexplicable cosmic forces, or demonic powers, these marvelous fabrications raised fundamental questions about knowledge, nature, and divine purpose in the Middle Ages. Medieval Robots recovers the forgotten history of fantastical, aspirational, and terrifying machines that captivated Europe in imagination and reality between the ninth and fourteenth centuries. E. R. Truitt traces the different forms of self-moving or self-sustaining manufactured objects from their earliest appearances in the Latin West through centuries of mechanical and literary invention. Chronicled in romances and song as well as histories and encyclopedias, medieval automata were powerful cultural objects that probed the limits of natural philosophy, illuminated and challenged definitions of life and death, and epitomized the transformative and threatening potential of foreign knowledge and culture. This original and wide-ranging study reveals the convergence of science, technology, and imagination in medieval culture and demonstrates the striking similarities between medieval and modern robotic and cybernetic visions.

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In Animacies, Mel Y. Chen draws on recent debates about sexuality, race, and affect to examine how matter that is considered insensate, immobile, or deathly animates cultural lives. Toward that end, Chen investigates the blurry division between the living and the dead, or that which is beyond the human or animal. Within the field of linguistics, animacy has been described variously as a quality of agency, awareness, mobility, sentience, or liveness. Chen turns to cognitive linguistics to stress how language habitually differentiates the animate and the inanimate. Expanding this construct, Chen argues that animacy undergirds much that is pressing and indeed volatile in contemporary culture, from animal rights debates to biosecurity concerns. Chen's book is the first to bring the concept of animacy together with queer of color scholarship, critical animal studies, and disability theory. Through analyses of dehumanizing insults, the meanings of queerness, animal protagonists in recent Asian/American art and film, the lead in toys panic in 2007, and the social lives of environmental illness, Animacies illuminates a hierarchical politics infused by race, sexuality, and ability. In this groundbreaking book, Chen rethinks the criteria governing agency and receptivity, health and toxicity, productivity and stillness—and demonstrates how attention to the affective charge of matter challenges commonsense orderings of the world.

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In this groundbreaking analysis, Marco Portales examines the way in which education and the media act as immobilizing social forces to shape the Latino world that exists despite the best efforts of many Mexican Americans and other Latinos. The delicate relationships between what Latinos are and what they seem to be, as perceived both by the larger society and by Latinos themselves, create and craft a culture that students of American culture have not sufficiently studied or understood. As bandidos or gigolos, drug users or unwed mothers, Latinos continue to figure in the public consciousness primarily as undesirables. Despite decades of effort by Spanish-speaking Americans to improve their image in the United States, Mexican Americans and other resident Latinos are still largely perceived by other Americans as poverty-stricken immigrants and second-class citizens. Accordingly, the great majority of Latino citizens receive substandard educations, equipping them for substandard jobs in substandard living environments. The lives of Mexican Americans and other Latinos, Portales contends, can best be illuminated by looking at the history of Chicanos and particularly Chicano literature, which dramatizes the impact of education and the media on Latinos. Like Irish literature, Chicano literature has sought to articulate and to establish itself as a postcolonial voice that has struggles for national attention. Through psychological and sociopolitical representations, Chicano writers have variously used anger, indifference, fear, accommodation, and other conflicting emotions and attitudes to express how it feels to be seen as an immigrant or a foreigner in one's own country. Portales looks at four Chicano literary works -- Americo Paredes' George Washington Gomez, Anthony Quinn's The Original Sin, Sandra Cisnero's House on Mango Street, and Ana Castillo's Massacre of the Dreamers -- to focus attention on social issues that impede the progress of Latinos. By doing so, he hopes to engage both Latino and non-Latino Americans in an overdue dialogue about the power of education and the media to form perceptions that can either empower or repress Latino citizens.

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Human Factors in Systems Engineering shows how to integrate humanfactors into the design of tools, machines, and systems so thatthey match human abilities and limitations. Unlike virtually allother books on human factors, which leave the implementation ofgeneral guidelines to engineers and designers with little or nohuman factors expertise, this unique book shows that the properrole of the human factors specialist is to translate generalguidelines into project specific design requirements to whichengineers can design. Again, while other human factors books ignorethe standards, specifications, requirements, and other workproducts that must be prepared by engineers, this book emphasizesthe methods used to generate the human factors inputs forengineering work products, and the points in the developmentprocess where these inputs are needed. Comprehensive in its scope, Human Factors in Systems Engineeringuses the systems engineering process to provide a broadunderstanding of the way human factors are used in the developmentprocess. It describes the full cycle of a design and shows whathuman factors inputs engineers and designers need at each stage ofdevelopment. Well-organized and clearly written, this invaluable text is fullysupported by over a hundred illustrations, thirty tables, handyappendices, and extensive bibliographies. Its practical, hands-onapproach makes it an indispensable resource for professionals andadvanced students in human factors, ergonomics, industrialengineering, and systems engineering. A unique, step-by-step guide to the application of human factors inthe system development process Human Factors in Systems Engineering Unlike most current texts which provide general human factorsrecommendations but leave their interpretation to designers who areusually not trained for it, this book shows the reader how toprepare project specific system requirements that engineers can useeasily and effectively. In addition, it fully explains the variouswork products--the standards and specifications--that engineersmust produce during development, and shows what human factorsinputs are required in each of them. Focusing on the entire systemsengineering process, Human Factors in Systems Engineering offersprofessionals and advanced students a fresh, much-needed approachto the role of human factors in the design of tools, machines, andsystems.

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1952 saw the opening of a new Technical College in Hatfield, built on land donated by Alan S Butler, Chairman of the de Havilland Aircraft Company. With its roots in Britain's pioneering aeronautical industry, the College was soon established as an innovative force in education. Having been at the forefront of developing new subjects such as Computer Science, it evolved continually, being redesignated as Hatfield Polytechnic in 1969 and becoming the University of Hertfordshire in 1992. The institution has been forged over time out of its Hertfordshire-wide constituent colleges and campuses, which were variously founded to offer training and inspiration in teaching, medicine, the arts, business, science and the humanities. Now the University of Hertfordshire has become an internationally recognised leader in both research and teaching, exemplifying what a university can achieve through embracing a broad curriculum. This is the history of the University of Hertfordshire, relating the challenges and achievements of sixty years in further and higher education. At the same time, through its focus on a single institution, the book illustrates the importance of the post-1992 higher education sector in advancing the knowledge economy and cultural life of the country. The University has both been shaped by and has informed government policy as it has developed and it now takes its place in an international context as part of the global education system. Founded on principles of widening participation in higher education, in its sixtieth year the University celebrates the life-changing experience of education and its great cultural, social and economic value. Through the stories and memories of individual students and members of staff, the book also illuminates the experience of the hundreds of thousands of students who have graduated, and the contribution of academic and professional staff in making the College, Polytechnic and University a success. Over the decades there has been continuous growth and development - and, always, a vibrant culture of learning. Looking forward, the book explores how the University of Hertfordshire is drawing upon its heritage to shape its future.

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The Burdur Archaeological Museum holds material from a mountainous area of southwest Turkey where Pisidians in antiquity mingled with Phrygians, Lycians and other ancient peoples, coming to terms first with Greek and then with Roman culture. This volume presents its rich holdings of ancient inscriptions, ranging from Hellenistic royal letters and Roman imperial regulations to the votive offerings and gravestones of rural people. Larger cities such as Sagalassos and Kibyra are close to or just beyond the boundaries of Burdur province. The Museum collection is particularly strong in votive reliefs related to local rural cults; the most prolific is that of a club-bearing rider variously named as Herakles or Kakasbos, to which an extensive and penetrating excursus is devoted. As well as inscribed texts relief iconography is presented and discussed - indeed several items never carried an inscription. The physical form of votives and gravestones is also fully described, with more than 360 plates illustrating the range of monuments produced by local masons. Of the 350 monuments collected here, over 150 have not previously been published, and many of the rest have never been illustrated, so that the volume presents a substantial body of new evidence relating to the history, religion and culture of the area. All texts are translated into English and Turkish.

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In the first major critical reading of Italian American narrative literature in two decades, Fred L. Gardaphé presents an interpretive overview of Italian American literary history. Examining works from the turn of the twentieth century to the present, he develops a new perspective—variously historical, philosophical, and cultural—by which American writers of Italian descent can be read, increasing the discursive power of an ethnic literature that has received too little serious critical attention. Gardaphé draws on Vico’s concept of history, as well as the work of Gramsci, to establish a culture-specific approach to reading Italian American literature. He begins his historical reading with narratives informed by oral traditions, primarily autobiography and autobiographical fiction written by immigrants. From these earliest social–realist narratives, Gardaphé traces the evolution of this literature through tales of “the godfather” and the mafia; the “reinvention of ethnicity” in works by Helen Barolini, Tina DeRosa, and Carole Maso; the move beyond ethnicity in fiction by Don DeLillo and Gilbert Sorrentino; to the short fiction of Mary Caponegro, which points to a new direction in Italian American writing.The result is both an ethnography of Italian American narrative and a model for reading the signs that mark the “self-fashioning” inherent in literary and cultural production. Italian Signs, American Streets promises to become a landmark in the understanding of literature and culture produced by Italian Americans. It will be of interest not only to students, critics, and scholars of this ethnic experience, but also to those concerned with American literature in general and the place of immigrant and ethnic literatures within that wide framework.

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This is the third collection of articles by Bruce Campbell to appear in the Variorum series. Late medieval England was an overwhelmingly rural society. Never since has such a large proportion of the population lived in the countryside or relied so directly for its livelihood upon agriculture. The lot of a majority of that population was always a hard one - and never more so than during the first half of the 14th century, when peasants competed with each other for ever-scarcer land and work and a succession of major harvest failures jeopardised the survival of many. Nevertheless, experience varied considerably, both during this era of mounting population pressure and the century and more of population decline and stagnation that followed the demographic disaster of the Black Death. How well individual communities coped during these contrasting conditions of expansion and contraction owed much to the quality and composition of their natural-resource endowment, a good deal to their ability to take advantage of changing commercial opportunities, and sometimes almost everything to how exposed they were to military conflict. Always, however, much hinged upon how the twin feudal institutions of lordship and serfdom were mapped onto land and people via the manorial system. These are the themes variously explored by the eight essays assembled in this volume, which range from a case-study of a single crowded Norfolk manor to a consideration of the broad and, towards the end of the Middle Ages, widening contrasts that persisted between North and South.

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The volume contains the revised papers of an interdisciplinary conference held at the University of Goettingen in May 2012, which focused on ancient and medieval receptions of the Book of Isaiah in their interconnectedness. Among Jews and Christians, Isaiah was the most frequently transmitted, most often employed, and most variously interpreted of the prophetic books. In early and classic Islam, moreover, Isaianic traditions carried considerable weight as well. In fact, the Book of Isaiah was appropriated in diverse cultural contexts by many distinct yet interrelated groups and communities. The process of interpretation - and the delineation of the interpreter's identity that was bound up with it - involved both differentiation from others as well as sharing of convictions, methods and traditions with them. By bringing together studies of Jewish, Christian and Islamic interactions with this book and undertaking a comparative analysis of their findings, the volume opens up important new perspectives for research.

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''How beauteous mankind is! O brave new worldThat has such people in''t!''Performed variously as escapist fantasy, celebratory fiction, and political allegory, The Tempest is one of the plays in which Shakespeare''s genius as a poetic dramatist found its fullest expression. Significantly, it was placed first when published in the First Folio of 1623, and is now generally seen as the playwright''s most penetrating statement about his art.The New Oxford Shakespeare offers authoritative editions of Shakespeare''s works with introductory materials designed to encourage new interpretations of the plays and poems. Using the text from the landmark The New Oxford Shakespeare Complete Works: Modern Critical Edition, these volumes offer readers the latest thinking on the authentic texts (collated from all surviving original versions of Shakespeare''s work) alongside innovative introductions from leading scholars. The texts are accompanied by a comprehensive set of critical apparatus to give read

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Judith H. Anderson conceives the intertext as a relation between or among texts that encompasses both Kristevan intertextuality and traditional relationships of influence, imitation, allusion, and citation. Like the Internet, the intertext is a state, or place, of potential expressed in ways ranging from deliberate emulation to linguistic free play. Relatedly, the intertext is also a convenient fiction that enables examination of individual agency and sociocultural determinism. Anderson’s intertext is allegorical because Spenser’s Faerie Queene is pivotal to her study and because allegory, understood as continued or moving metaphor, encapsulates, even as it magnifies, the process of signification. Her title signals the variousness of an intertext extending from Chaucer through Shakespeare to Milton and the breadth of allegory itself. Literary allegory, in Anderson’s view, is at once a mimetic form and a psychic one—a process thinking that combines mind with matter, emblem with narrative, abstraction with history. Anderson’s first section focuses on relations between Chaucer’s Canterbury Tales and Spenser’s The Faerie Queene, including the role of the narrator, the nature of the textual source, the dynamics of influence, and the bearing of allegorical narrative on lyric vision. The second centers on agency and cultural influence in a variety of Spenserian and medieval texts. Allegorical form, a recurrent concern throughout, becomes the pressing issue of section three. This section treats plays and poems of Shakespeare and Milton and includes two intertextually relevant essays on Spenser. How Paradise Lost or Shakespeare’s plays participate in allegorical form is controversial. Spenser’s experiments with allegory revise its form, and this intervention is largely what Shakespeare and Milton find in his poetry and develop. Anderson’s book, the result of decades of teaching and writing about allegory, especially Spenserian allegory, will reorient thinking about fundamental critical issues and the landmark texts in which they play themselves out.

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"It is a must read for anyone — young or old — inclined to see the Weatherman as right on, or badass, or as pioneers of a form of political struggle useful for the United States’s future. Lerner was there. He now sees the weather very differently."—Los Angeles Review of Books This crisp, contemplative memoir of an American radical arrives at a moment of surging activism and rage. It is essential reading for progressives struggling with how to act and survive in the Age of Trump. Against the vividly evoked chaos and conflicts of the Vietnam Era, Jonathan Lerner probes the impulses that led a small group of educated, privileged young Americans to turn to violence as a means of political change. Beyond that, he tells the true story of an intellectually adventurous but insecure gay man immersed in the macho, misogynistic and physically confrontational environment of the Weathermen. Variously known as the Weather Underground, the Weathermen, or Weatherman, the group unleashed a series of bombings across the United States, attacking the Pentagon, the Capitol Building, and the U.S. State Department, among many other places. At its height, the organization consisted of several hundred people, all committed to violent change and toe-to-toe battles with the police. Inventing himself first as "minister of propaganda" for a movement — and along the way participating in the Venceremos Brigade in Cuba and observing the Native American uprising at Wounded Knee — and then reinventing himself as high-rolling gay hustler, Lerner recounts a wild and utterly American journey from idealism to destruction and beyond. Other Weatherpeople have written memoirs; none has explored the painful history of the consequential group with such penetrating honesty.

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In this era of tweets and blogs, it is easy to assume that the self-obsessive recording of daily minutiae is a recent phenomenon. But Americans have been navel-gazing since nearly the beginning of the republic. The daily planner - variously called the daily diary, commercial diary, and portable account book - first emerged in colonial times as a means of telling time, tracking finances, locating the nearest inn, and even planning for the coming winter. They were carried by everyone from George Washington to the soldiers who fought the Civil War. And by the twentieth century, this document had become ubiquitous in the American home as a way of recording a great deal more than simple accounts. In this appealing history of the daily act of self-reckoning, Molly McCarthy explores just how vital these unassuming and easily overlooked stationery staples were to those who used them. From their origins in almanacs and blank books through the nineteenth century and on to the enduring legacy of written introspection, McCarthy has penned an exquisite biography of an almost ubiquitous document that has borne witness to American lives in all of their complexity and mundanity.

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Mist and fog engender fascination and mystery, enticing with their wispy veils and vapourous moods, and they are the stuff of dreams and visions. 'The mists of time' and 'in a fog' are common expressions that substantiate the long association of mist and fog with the passage of time, the vagaries of memory and feelings of uncertainty. Mist and fog obscure, conceal and when they dissipate, reveal. Vapourous atmosphere in art and life masks evil and can elicit presentiments of death. It also has been used in art to convey the splendours of the spiritual world and the terrors of the supernatural. The metaphorical meanings that have accrued to mist and fog, encouraged by their indeterminate and transitory nature, and the emotions to which they give rise, are variously evident in the work of major artists and their contemporaries. This book focusses on mist and fog from the late eighteenth to the early twentieth centuries in the places they most proliferated. Examples of literature that employ mist and fog as metaphor and in allegory from antiquity to Joseph Conrad serve to amplify many of the paintings discussed.

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How three white, non-elite American sailors turned their experiences of captivity into diverse career opportunities—and influenced America's physical, commercial, ideological, and diplomatic development.Winner of the John Lyman Book Award by the North American Society for Oceanic HistoryFrom 1784 to 1815, hundreds of American sailors were held as "white slaves" in the North African Barbary States. In From Captives to Consuls, Brett Goodin vividly traces the lives of three of these men—Richard O'Brien, James Cathcart, and James Riley—from the Atlantic coast during the American Revolution to North Africa, from Philadelphia to the Louisiana Territories, and finally to the western frontier. This first scholarly biography of American captives in Barbary sifts through their highly curated writings to reveal how ordinary individuals in extraordinary circumstances could maneuver through and contribute to nation building in early America, all the while advancing their own interests. The three subjects of this collective biography both reflected and helped refine evolving American concepts of liberty, identity, race, masculinity, and nationhood. Time and again, Goodin reveals, O'Brien, Cathcart, and Riley uncovered opportunities in their adversity. They variously found advantage first in the Revolution as privateers, then in captivity by writing bestselling captivity narratives and successfully framing their ordeal as a qualification for coveted government employment. They even used their modest fame as ex-captives to become diplomats, get elected to state legislatures, and survey the nation's territorial expansions in the South and West. Their successful self-interested pursuit of opportunities offered by the expanding American empire, Goodin argues, constitutes what he calls "the invisible hand of American nation building."Goodin shows how these ordinary men, lacking the genius of a Benjamin Franklin or Alexander Hamilton, depended on sheer luck and adaptability in their quest for financial independence and public recognition. Drawing on archival collections, newspapers, private correspondence, and government documents, From Captives to Consuls sheds new light on the significance of ordinary individuals in guiding early American ideas of science, international relations, and what it meant to be a self-made man.

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The idea that there once existed a language which perfectly and unambiguously expressed the essence of all possible things and concepts has occupied the minds of philosophers, theologians, mystics and others for at least two millennia. This is an investigation into the history of that idea and of its profound influence on European thought, culture and history. From the early Dark Ages to the Renaissance it was widely believed that the language spoken in the Garden of Eden was just such a language, and that all current languages were its decadent descendants from the catastrophe of the Fall and at Babel. The recovery of that language would, for theologians, express the nature of divinity, for cabbalists allow access to hidden knowledge and power, and for philosophers reveal the nature of truth. Versions of these ideas remained current in the Enlightenment, and have recently received fresh impetus in attempts to create a natural language for artificial intelligence. The story that Umberto Eco tells ranges widely from the writings of Augustine, Dante, Descartes and Rousseau, arcane treatises on cabbalism and magic, to the history of the study of language and its origins. He demonstrates the initimate relation between language and identity and describes, for example, how and why the Irish, English, Germans and Swedes - one of whom presented God talking in Swedish to Adam, who replied in Danish, while the serpent tempted Eve in French - have variously claimed their language as closest to the original. He also shows how the late eighteenth-century discovery of a proto-language (Indo-European) for the Aryan peoples was perverted to support notions of racial superiority. To this subtle exposition of a history of extraordinary complexity, Umberto Eco links the associated history of the manner in which the sounds of language and concepts have been written and symbolized. Lucidly and wittily written, the book is, in sum, a tour de force of scholarly detection and cultural interpretation, providing a series of original perspectives on two thousand years of European History. The paperback edition of this book is not available through Blackwell outside of North America.

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Published on the occasion of Damien Hirst's exhibition at White Cube in Hong Kong in the spring of 2013. Among many new works illustrated in the publication are pieces from some of Hirst's latest series: the Entomology paintings and the Blade paintings. Hirst began work on the Entomology paintings in 2009. Each piece is made by placing hundreds of varieties of insect and beetle species into household gloss paint, in intricate geometric patterns. The series is reminiscent of Hirst's iconic series of butterfly wing Kaleidoscope pieces, dating from 2001, which were originally inspired by Victorian tea trays. As with the butterfly--one of Hirst's most enduring "universal triggers"--the insects' appeal derives largely from the appearance of life they retain in death. However, whilst the iridescent beauty of the wings in the Kaleidoscope series evoke stained glass windows, and are often assigned spiritual titles, the Entomology paintings are named after phases and characters in Dante Alighieri's tortuous vision of the afterlife, The Divine Comedy. The works also allude to Hirst's longterm interest in the nineteenth-century fascination with natural history and the irony involved in having to kill something in order to look at it. The Blade paintings are amongst the newest series of works in Hirst's practice. Thousands of variously shaped scalpel blades are positioned on a canvas in spectacular, mandala-like patterns. In some of the works, intermittent areas of coloured gloss paint have been layered in between the blades. The Blade paintings reference two of Hirst's seminal earlier series. While their geometric patterns recall the earlier series of butterfly Kaleidoscope paintings, in their use of surgical instruments, Hirst also returns to one of his most recognisable themes: medicine, and its inevitable futility in the face of our mortality. The surgical materials, first used by Hirst in his early 90s instrument cabinets, are described by the artist as "phenomenal objects because they have to have this confidence and this belief. They are the best quality. They are brilliantly designed, for all the right reasons." With the Blade paintings, the instruments eventual inability to arrest decay is highlighted by their relegation to decorative status.

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Winner of the 2014 Guyana Prize for Fiction, Johnson's Dictionary is set variously in 18th century London and Demerara in British Guiana. It is a celebration of the skills of the enslaved as organisers, story-tellers, artists and mathematicians, hidden in the main from their white masters and mistresses, that is resonant with an undying human urge for freedom.Galley, gallery, gallimaufry: In a novel set in 18th century London and Demerara (in British Guiana), that might be dreamed or remembered by Manu, a revenant from Dabydeen’s epic poem, “Turner”, we meet slaves, lowly women on the make, lustful overseers, sodomites and pious Jews – characters who have somehow come alive from engravings by Hogarth and others.Hogarth himself turns up as a drunkard official artist in Demerara, from whom the slave Cato steals his skills and discovers a way of remaking his world.The transforming power of words is what enlightens Francis when his kindly (or possibly pederastic) master gifts him a copy of Johnson’s Dictionary, whilst the idiot savant, known as Mmadboy, reveals the uncanny mathematical skills that enable him to beat Adam Smith to the discovery of the laws of capital accumulation – and teach his fellow slaves their true financial worth. From the dens of sexual specialities where the ex-slave Francis conducts a highly popular flagellant mission to cure his clients of their man-love (and preach abolition), to the sugar estates of Demerara, Dabydeen’s novel revels in the connections of Empire, Art, Literature and human desire in ways that are comic, salutary and redemptive.David Dabydeen was born in Guyana in 1957. He is only the second West Indian writer, following VS Naipaul, to be named a fellow of the Royal Society of Literature. Turner: New and Selected Poems (Cape, 1994) was republished by Peepal Tree in 2002. His 1999 novel A Harlot's Progress was shortlisted for the James Tait Black Memorial Prize. His other novels include Disappearance (Peepal Tree, 2005) and Molly and the Muslim Stick (2008). He co-edited the Oxford Companion to Black British History (2007), and his documentaries on Guyana have appeared on BBC TV and radio. David is now Professor at the Centre for Caribbean Studies, University of Warwick.

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Exploring the broad implications of evolutionary theorist Lynn Margulis’s work, this collection brings together specialists across a range of disciplines, from paleontology, molecular biology, evolutionary theory, and geobiology to developmental systems theory, archaeology, history of science, cultural science studies, and literature and science. Addressing the multiple themes that animated Margulis’s science, the essays within take up, variously, astrobiology and the origin of life, ecology and symbiosis from the microbial to the planetary scale, the coupled interactions of earthly environments and evolving life in Gaia theory and earth system science, and the connections of these newer scientific ideas to cultural and creative productions. Dorion Sagan acquaints the reader with salient issues in Lynn Margulis’s scientific work, the controversies they raised, and the vocabulary necessary to follow the arguments. Sankar Chatterjee synthesizes several strands of current theory for the origin of life on earth. James Strick tells the intertwined origin stories of James Lovelock’s Gaia hypothesis and Margulis’s serial endosymbiosis theory. Jan Sapp explores the distinct phylogenetic visions of Margulis and Carl Woese. Susan Squier examines the epigenetics of embryologist and developmental biologist C. H. Waddington. Bruce Clarke studies the convergence of ecosystem ecology, systems theory, and science fiction between the 1960s and the 1980s. James Shapiro discusses the genome evolution that results not from random changes but rather from active cell processes. Susan Oyama shows how the concept of development balances an over-emphasis on genetic coding and other deterministic schemas. Christopher Witmore studies the ways in which a concentrated animal feeding operation, or CAFO, mixes up natural resources, animal lives, and human appetites. And Peter Westbroek brings the insights of earth system science toward a new worldview essential for a proper response to global change.

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Awarded honorable mention for the 2007 Wallace K. Ferguson Prize sponsored by the Canadian Historical Association How were marital and sexual relationships woven into the fabric of late medieval society, and what form did these relationships take? Using extensive documentary evidence from both the ecclesiastical court system and the records of city and royal government, as well as advice manuals, chronicles, moral tales, and liturgical texts, Shannon McSheffrey focuses her study on England's largest city in the second half of the fifteenth century. Marriage was a religious union—one of the seven sacraments of the Catholic Church and imbued with deep spiritual significance—but the marital unit of husband and wife was also the fundamental domestic, social, political, and economic unit of medieval society. As such, marriage created political alliances at all levels, from the arena of international politics to local neighborhoods. Sexual relationships outside marriage were even more complicated. McSheffrey notes that medieval Londoners saw them as variously attributable to female seduction or to male lustfulness, as irrelevant or deeply damaging to society and to the body politic, as economically productive or wasteful of resources. Yet, like marriage, sexual relationships were also subject to control and influence from parents, relatives, neighbors, civic officials, parish priests, and ecclesiastical judges. Although by medieval canon law a marriage was irrevocable from the moment a man and a woman exchanged vows of consent before two witnesses, in practice marriage was usually a socially complicated process involving many people. McSheffrey looks more broadly at sex, governance, and civic morality to show how medieval patriarchy extended a far wider reach than a father's governance over his biological offspring. By focusing on a particular time and place, she not only elucidates the culture of England's metropolitan center but also contributes generally to our understanding of the social mechanisms through which premodern European people negotiated their lives.

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The poems in Rachel Hadas's new book are united by a common preoccupation with passage--passage variously construed. In Section I, the four seasons are glimpsed in turn through the lenses of several types of personal associations, especially parenthood. As spring gives way to fall and winter, separation looms; diverse kinds of temporary and permanent renewal come with spring, and the fifth poem in this section steps outside this cycle. In Section II, the phrase "pass it on" recalls the game "telephone," in which a word is whispered by one speaker to another. Here the poems focus on tradition, primarily as it is transmitted through teaching, but also through art and again parenthood. Thoughts on teaching specific texts (the Iliad, Dickinson's poems, Sophocles' Philoctetes) alternate with more personal moments of contemplation. Finally, in Section III "pass it on" comes to signify transition--whether between spring and summer, city and country, youth and age, presence and absence, or life and death. From "Three Silences": Of all the times when not to speak is best, mother's and infant's is the easiest, the milky mouth still warm against her breast. Before a single year has passed, he's well along the way: language has cast its spell. Each thing he sees now has a tale to tell. A wide expanse of water-cean. Look! Next time, it seems that water is a brook. The world's loose leaves, bound up into a book. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

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