Böcker utgivna av Cambria Press

This book explores the intersection of public policy and the fast changing digital media economy. Over the last 20 years, digital technologies and digital content have revolutionized many aspects of social, economic and political life around the world. Governments, locked into the policies and programs of the traditional economy, are struggling to respond to this dynamic and commercially unique global ecosystem. This study examines the nature and extent of the digital economy, looking at both the commercial diversity within the sector and the different digital implementations across the world. While the digital engagement of North America is well known, the scale and intensity of digital growth in East Asia is not fully understood not are the transformative changes occurring in parts of Africa. The digital world is marked by the unexpected and rapid re-orientation of economic, social, cultural and political affairs. The digitization of work, for example, has already brought major disruptions within national economies. Governments are struggling to respond, in part because of pressures from the traditional industrial and resource sectors but also because of the unique, somewhat anarchistic nature of the digital content industry. The Global Digital Economy provides a profile of the global digital environment, reviews current government digital policies (with an emphasis on innovative strategies), and offers policy suggestions for national and subnational governments. Countries that respond creatively to the digital economy--like Taiwan, South Korea, Finland and Israel--stand to prosper from the anticipated accelerated growth of the sector. Those nations that struggle to keep pace with the digital infrastructure needs of the new economy and with the potential for employment and business creation stand to fall behind economically. This book provides a policy roadmap for the digital economy and identifies the risks and opportunities of this core sector in the twenty-first-century economy.

The problem of language constituted the most contentious subject of the philosophies and human sciences in the twentieth-century and drove what came to be known as the linguistic turn to Western thought. Phenomenology, linguistics, analytic philosophy, speech act theory, anthropology, psychology, poststructuralism, media studies, and ordinary language philosophy all addressed language as the primary vehicle of human thought and communication, and queried whether any accurate linguistic representation of reality were possible. The sound of the human voice lay at the center of the debate. The central question raised by Husserl s phenomenology and de Saussure s linguistics, and discussed throughout the century, concerned whether the sounds of the voice were intrinsic to meaning or were simply relative. In a related phenomenon, vocal experimentation marked the twentieth-century avant garde, which included the nonsense verbal texts of Dada; the electronic mediations of Samuel Beckett and Peter Handke; and the playful, ironic, and confrontational performances of Laurie Anderson, Karen Finley, and the Wooster Group. The experiments mirrored the fixation with voice and language as expressed in the philosophies and sciences. Yet despite the centrality of the voice for the philosophy of language, linguistic study, and performance, no book-length study before now has focused solely on vocal expression. The voice ranks with gesture as one of two media of communication available to every fully able-bodied human being, and yet theatre studies tends to take a visual approach to its objects of critique: the body, the dramatic text, and the mise-en-sc ne. Because the voice registers as a crucial media of expression in the theatre, theatre studies also can provide valuable contributions to the discussion of voice and language undertaken in other disciplines. The theatre as a social and public art form reveals a great deal about what we think and feel in regards to our communications with each other. Dramatic Theories of Voice in the Twentieth Century is the first book of theatre studies to identify and articulate theories of voice as expressed in the philosophies, human sciences, and physical sciences of the twentieth century. It also identifies parallels between the theories and the vocal practices of twentieth-century performances that shared similar concerns with issues of language and mediation. This book adopts as a central premise that the introduction and proliferation of electronic forms of communication stimulated the interest in voice and language in the scholarly discourses of the twentieth century and stimulated as well the fascination with the sounds of the voice as expressed in the twentieth-century avant garde. Dramatic Theories of Voice in the Twentieth Century is the only book of theatre and performance studies to address the sounds of the human voice and as such ranks as an invaluable addition to all theatre, philosophy, performance studies, communications, and cultural studies collections.

Discussion on Pacific literature invariably focuses on anglophone, and sometimes francophone, writing, and efforts to assert local cultures against Western influence. But, the Pacific has also been a site for dramatizing Japanese fears and desires in Japanese writing. These arose from its imperialist expansion and its concern over the activities of other powers in the Pacific region. Japanese colonial, military, economic, and tourist involvement in the Pacific has been a target for criticism on the part of writers from Oceania. Most contemporary Japanese literary texts portray the Pacific Islands as the most backward part of the world. Such Japanese attitudes toward the Pacific Islands are characterized by a lack of dialogue with the islanders and their views of Oceania. This book mainly deals with twentieth-century discourses on postcolonial relationships between Japanese and Pacific Islanders, as have been produced and transformed through the world powers colonial dynamics over the islands and sea. It examines Japanese images or representations of the area, especially Micronesia on which the term Nanyo centered and considers responses from Pacific Island writers in English. Through such comparisons of Japanese and Pacific Islander texts, this book connects postcolonial representations of the Pacific from Japan and the Pacific Islands to examine trans-Pacific cultural movements involved with Japan. In doing so, it brings to light the Pacific as a locale of diverse subjects coming together over imperialist regimes. This book presents the incomplete, unstable, and fluid decolonizations produced from vantage points of the colonizer colonized, diasporic returnees, emigrants, and hybrids. The Pacific reemerges as a palimpsestic communal space concerned with wa: harmony, unity, peace, mildness, pacific, and Japanese. Relating and encompassing imperial and anti-imperial cultures, and drawing their fangs, the wa space produces oceanic decolonization. Nanyo-Orientalism is an important book for Japanese and Pacific studies, comparative literature and culture, and postcolonial studies.

This is a collection of seven contemporary American plays (six of them by gay playwrights) that depict the lives of gay men in the years before gay liberation and in our own time. All of these plays have been successfully produced by major American theaters and all have received critical acclaim. The first three works in the collection-Robert O' Hara's Antebellum, Joseph and David Zellnik's Yank!, and Jon Marans's The Temperamentals-demonstrate gay playwrights' impulse to share the history of oppression and liberation gay men have faced. The remaining four plays-Guillermo Reyes's Deporting the Divas, Stephen Karam's Sons of the Prophet, Neal Bell's Spatter Pattern and Jose Rivera's Pablo and Andrew at the Altar of Words-offer depictions of the ways in which gay men have and have not assimilated in the twenty-first century. These plays also deal with larger sociopolitical issues: racism, war, immigration, unemployment and same-sex marriage. They also dramatize experiences common to everyone: illness, grief, guilt, and familial and romantic love. As these seven plays dramatize a variety of personal and social issues, they also demonstrate a variety of dramatic styles, from realism to flamboyant gender-bending to musical theater. They offer a good introduction to the stylistic richness and variety of contemporary American theater. In addition to a general introduction, each play is preceded by a critical introduction. In most cases, the playwrights have also provided statements about their work. Gay Drama Now offers a sampling of the best of contemporary drama about the gay experience in America. Written by some of the most celebrated playwrights working today, from veteran playwrights like Jose Rivera and Neal Bell to younger writers like Stephen Karam and Robert O'Hara. It represents the work of African-American, Latino and white playwrights. This volume should appeal to readers interested in American drama, particularly drama of this century. It will also appeal to students of gay and lesbian studies.

"This is the most comprehensive and insightful study on this topic in any language and the first written in English. In addition to its scholarly value, Professor Pan's book opens a window to a picturesque poetic world for Western readers who are interested in Chinese poetry and painting." - Zu-yan Chen, Professor of Chinese Literature, Binghamton University "In this book, Professor Pan provides a rare treat for the English-language reader with valuable information regarding this hitherto under-represented subject. He lucidly traces the development of this border-crossing genre from its prototype works to its maturity in the Tang Dynasty (618-907) and the subsequent expansion in late imperial China. He illustrates the tihuashi poetics of the master bard Du Fu (712-770) and that of the virtuoso poet-artist-philosopher Su Shi (1037-1101). Most remarkable of his contribution is the generous number of faithfully translated poems, all with great clarity and elegance. This book will help the reader better understand the relationship between Chinese painting, calligraphy and poetry, the interartistic, intertextual, and interdisciplinary characteristics of tihuashi, the cultural milieu of its creation, and its intellectual significance to the Chinese literati community." - Madeline Chu, Professor of Chinese Language & Literature, Kalamazoo College "A special value I find in this book lies in its bilingual texts of Chinese tihuashi poems, which will not only benefit scholars and students of classical Chinese poetry but also exemplify Professor Pan's insights on classical Chinese poetic language and the art of translating this language into contemporary English." - John S. Rohsenow, Professor Emeritus, The University of Illinois at Chicago

Australian poetry is popularly conceived as a tradition founded by the wry, secular and stoic strains of its late-nineteenth-century bush balladeers Adam Lindsay Gordon, Henry Lawson and Banjo Paterson, consolidated into a land-based vigour in publications such as the Bulletin. Yet this popular conception relies on not actually consulting the poetry itself, which for well over one hundred and fifty years has been cerebral, introspective, feminine and highly even experimentally religious. Western Christian mystics and Western Christian mystical poets of the classical world, Middle Ages and modern era have been sources of inspiration, influence and correspondence for Australian poets since the writings of Charles Harpur (1813 1868), but there have also been ongoing debates as to how mysticism might be defined, whom its true exemplars might be, and whether poets should be considered mystical authorities. This book dedicates whole chapters to five Australian Christian mystical poets: Ada Cambridge (1864 1926), John Shaw Neilson (1872 1943), Francis Webb (1925 1973), Judith Wright (1915 2000) and Kevin Hart (1954 - ), with additional contextual chapters on their contemporaries and new approaches by Aboriginal poets since the early 1990s. Scholars and students are increasingly disregarding the popular bush facade and reading Australian poetry in terms of the sacred, the philosophical, the contemplative and the transcendent. At a national level this can be traced back to the post-war and 1970s generations of poets and readers who rejected the safe old bush myths for a more relentless interrogation of Australian origins, environments and metaphysics. Yet internationally, as among the general Australian public, the very idea of an Australian Christian mystical poetry seems incongruous with a metaphysically weak bush tradition which asks very little of them. This book casts Australian poetry in a new light by showing how Australian Christian mystical poetics can be found in every era of Australian letters, how literary hostilities towards women poets, eroticism and contemplation served to stifle a critical appreciation of mystical poetics until recent decades, and how in the twentieth century one Australian Christian mystical poet began to influence another and share their appreciations of Dante, Donne, Traherne, Blake, Wordsworth, Bront , Rossetti, Hopkins, Yeats, Eliot and Lowell. Despite parallel international works on British, American and European Christian mystical poets, there has never been a book-length exploration of Australian Christian mystical poets or poetics. This study draws upon eight years of research to not only consider debates around Christian mysticism during the lives of its selected poets, but to also frame its argument in terms of the twenty-first-century Christian mysticism scholarship of Kevin Hart, Amy Hollywood, Ursula King and Bernard McGinn s seminal multi-volume history of Western Christian mysticism, The Presence of God. Simultaneously, Australian literary criticism of the relevant eras as well as in the present are explicitly engaged throughout. This book is a rigorous work of original scholarship which will significantly impact future discussions on the possibilities of Australian literature.

In trying to detect and analyze this female gaze on the male empire, this volume delves into memsahibs' literature. After all, besides their service to the empire, women's literature in/about the Empire, though often neglected, is considerably large. In India's case, women writers like Flora Annie Steel, Maud Diver, and Bithia Mary Croker narrate fictional tales colored by their firsthand experience of Indian life and life in India. They use their creative imagination to present India as they see and also as they want to see India. The female gaze has thus for a long time contributed to and shaped imperial discourse and knowledge of the East. Through their letters, diaries, memoirs, stories, novels, poems, paintings, and travel writings, women have often provided invaluable information about the empire and added to the fascination of the West with the specters and picturesqueness of the East. Their writings recurrently serve as the tool of their propaganda, the vehicle of their message, the inscription of their gaze and the blueprint of their politics of representation. This book argues that although the memsahib's female gaze has been spoken of, it has not been adequately emphasized and examined. In comparison, white female sexuality, the figure of Raj Woman, and the idea of "recasting women" or portrayal of the memsahib have received far more attention. Particularly, memsahibs' writings have been widely anthologized but these have not critically evaluated to a sufficient extent. Aiming at filling that gap by uncovering the world of British India as seen and shown by white women in colonial as well as postcolonial literatures, this compilation brings together scholarly essays on memsahibs' literature and Raj writings, including men's writings about memsahibs, spanning from before India's independence (like works of Alice Perrin and Rudyard Kipling) to the post-independence period (like works of Ruth Prawer Jhabvala and Ruskin Bond). This volume looks at the significant multidimensional defiant "female gaze"--be it of the authors or of the characters in their works, regardless of whether their writings were critical or supportive of the empire. Subverting the structure of male looking/female to be looked at, this collection of essays explores the "female gaze" on the Empire (i.e., female looking/ male to be looked at). This book reiterates that the "female" element in the process cannot and should not be disregarded. Therefore, taking into consideration (real or fictional) memsahibs, this volume reminds us of the presence and role of white women in British India and the consequent intricate matrix of gender, class, race, and sexuality issues. In addition to offering critical analysis and in-depth study of memsahibs' writings, this book digresses from the well-trodden track of how memsahibs are portrayed to the near-virgin arena of how they are shown to see the Raj world. This volume asserts that the female gaze that looks upon the male empire is not merely a space constructed for the female but one fashioned by women themselves. This is an important book for South Asian literary studies, women's studies, as well as colonial and postcolonial studies on British India.

This study seeks to reunite American drama with more of the mainstream of American literature using contemporary literary theories of feminism, Derrida, Lacan, as well as the nature of language. It also focuses on the theatrical ways that plays work through performance and staging. This reveals how contemporary playwrights see themselves not as authors, but as parts of a team of designers, actors, and directors. Stage directions are largely omitted, but knowledge of original productions--both as seen live and recorded on tapes archived at Lincoln Center--reveal aspects of fragmentation of scenery, minimalist acting, emphasis on the "unsayable", which makes these plays far more postmodern than they might seem merely as read. More importantly, the final chapter reveals how these techniques culminate in 1990s play' ability to extend beyond the real in a myriad of ways, all united by a new, postmodern view of the divine as interpenetrating reality. In one sense, this seems to be juggling quite a few different items-poststructural theory, modernist realists, as well postmodern deconstructive realists and theatrical practice. All fit together neatly, however, in each chapter through a focus on performance, staging is seen as central to the dramatic experience, with reviews, photographs, and archival videotapes of productions used to verify and explore the plays' meanings. The plays, taken as a whole, reflect the key issues of American society from reactions to the Vietnam War, through issues of sexual preference, race, and feminism and its backlash, through issues of wealth and poverty to arrive at a new vision of a forgiving divine which accepts without judgment all the issues of diversity. American Drama and the Postmodern is an important book for collections in American literature, drama and theatre, as well as for literary theory.

There is extensive research found both in books and articles on the various topics of Afro Latinism/Afro Hispanism that is directed mainly at the non-native. Nonetheless, one still notices either cultural confusion or political reluctance to accept the identity of Blackness that the Latin American native lives with--for himself or for others- -on a daily basis. For the average Cuban, Venezuelan, Peruvian, and so forth, along with their Latin counterparts, Blackness in racial terms surfaces as a matter of degrees of African-relatedness that is then counterbalanced by degrees of European and/or Amerindian genomic components. It is only in non-native cultures that one encounters such disparate comparisons as "statistics for Hispanics versus statistics for Blacks." But is it not possible to find persons that are ethnoracially Black included in the demographics for Hispanics? The overarching aim of this book, then, is to determine whether it is possible to perceive a constituency within the Latin American whole who is also an integral part of the African Diaspora. It examines the concept of African-relatedness within the totality of the Latin American sphere--not just in one isolated country or region--through a careful process of literary analysis. By exploring the works of Latin American novelists, poets, and lyricists, this study shows how they creatively expose their most intimate feelings on ethnic Blackness through a semiotic reliance on the inner voice. At the same time, the reader becomes a witness to the writers' associations with a sense of Africanness as it artistically affects them and their communities in their formulations of self-identity. Unique to this volume is the scholarly presentation of the presence of a group of people in Ghana, West Africa, who owe their raisond'être as a clan to their ancestral origins in Brazil. Having been accepted and received by an endemic tribe of what was called the Gold Coast at an historical moment in the nineteenth century, a community of escaped slaves and deported ex-slaves from Brazilian bondage regrouped as an ethnic whole. The reality of their existence gives new meaning to the term African Diaspora. To this day, their descendants identify themselves as displaced Latin Americans in Africa. Undoubtedly, both this surprising feature of Latin Americans returning to the African continent and the book as a whole will stimulate further discussion on the issue of who is Black and who is Hispanic as well as generate continued, in-depth research on the relationship between two continents and their shared genotypology. The Latin American Identity and the African Diaspora is an important acquisition for collections in Latin American studies, literary criticism, Hispanic studies, ethnic studies, cultural anthropology, and the African diaspora.

The essays collected in this Reader represent some of Mahadevi Varma's most famous writings on the "woman question" in India. The collection also includes an introduction to her life, with biographical notes, an analysis of her importance in the field of Hindi letters, as well as a selection of her poems. The editor has included essays that reflect not only Mahadevi's ideas about the place of women in the home and the world during the nationalist period in India, but also articles that reveal her dreams and hopes for the future (and the past) of the Hindi-Urdu language. While many of these essays were written during the 1920s and 1930s when Mahadevi served as editor for the literary journal Chand, some of them appear to have been written much later, after India gained independence. The translators have tried to remain faithful to the Hindi, often keeping the syntax of the Hindi original.

Written by renowned sinologist Bonnie S. McDougall, this is the first full-length, detailed, and theorized treatment in any language of Chinese-English literary translation transactions and will stand as the major primary source of future studies. It opens up new corners of modern Chinese culture and society that sinologists have hitherto overlooked. This book begins by setting out these two contrasting models of translation that co-existed in China during the 1980s: the authoritarian model and the reciprocal, or gift-exchange, model. The following chapters set down the actual circumstances of each model as it operated in its own zone, in the first such testimony from an active observer and participant in both. Two final chapters examine the new theoretical perspectives that arise from the contrast and the overlap between the two zones. A constant challenge in humanistic studies is the problem of exceptionalism versus universalism. In Chinese studies, for instance, books by academic experts often address only a closed, small world of other experts drawing on decades of language and cultural studies. This book is primarily intended for translation studies researchers whose aim is to extend their academic horizons beyond their customary languages and cultures without wishing to devote the rest of their lives to Chinese studies.

"This is the best study of a single Chinese poet I have seen in decades. And the best study of Du Fu known to me. David Schneider goes beyond previous works in revealing what might be called the source of Du Fu's gravitas. What is especially refreshing is that the author, while making use of well-selected modern authorities to cast light on Du Fu's poetry, is equally careful never to embrace their "theories" fully, with the ancillary danger of anachronism which taints so much contemporary "humanities" scholarship. The combination of empathy and critical thinking here is exemplary. The author writes eloquently and clearly, and is a very fine translator indeed, and gives us some of the very finest translations of Du Fu we now possess." - Jonathan Chaves, George Washington University

"Extremely well-researched and coherently argued, this book presents top-quality research and draws appropriately on the existing knowledge in this area. The focus on fidelity across different kinds of relationship structures is very original and will prove an important contribution to the field of relationship research. A key strength of this study is that the analysis pays attention to both commonalities and diversity (which is rare, even in qualitative research). The analysis is also both clearly expressed and sophisticated." - Dr. Meg Barker, Open University "This is a fascinating investigation of the meaning of 'love, ' 'sex, ' and 'fidelity' for different kinds of couples. Kassia Wosick reports on a survey and in-depth conversations with couples that were straight and gay, monogamous and non-monogamous, traditional and polyamorous. 'Love' and 'being special' are enormously important in all of these groups. But she also finds startling differences. For some, sexual exclusiveness is critical. For others, being faithful means not loving anyone else, but sex with others is ok. For polyamorous couples, having explicit rules and being open and honest is the heart of fidelity and being special. And "having sex" can mean many different things. This book persuasively argues that we need more flexible, emotion-focused concepts of love, commitment and fidelity. The traditional focus on sexual exclusivity does not fit many contemporary relationships. This is a very valuable book for researchers and therapists, and for all of us who care about 'love, ' 'sex, ' and 'faithfulness'." - Professor Francesca Cancian, University of California, Irvine "Engaging, insightful, thoroughly researched, and well written, Sex, Love, and Fidelity: Study of Contemporary Romantic Relationships provides a compelling analysis of evolving relationships with a unique focus on levels of monogamy that surpasses previous studies to contribute refreshing insights into current meanings of sexuality and love. Wosick untangles the myriad cultural assumptions underlying the concept of fidelity and details the various ways in which fidelity expresses in a range of contemporary relationships, from dual fidelity and strict monogamy through veiled fidelity and almost monogamy to specified fidelity and non-monogamy and ending with agentic fidelity and polyamory. Now that few people in the US expect to be monogamous in the classical sense of marrying as a virgin and remaining in one, life-long, sexually exclusive relationship, Sex, Love, and Fidelity provides the information necessary for us to update our understandings of contemporary love and commitment." - Dr. Elisabeth Sheff, Sheff Consulting Group

The context for the first part of this study is the community (sangha) of early Buddhism in India, as it is reflected in the religion's canon composed in the Pali language, which is preserved by the Theravada tradition as the only authentic record of the words of the Buddha and his disciples, as well as of events within that community. This book does not assert that the Pali Canon represents any sort of "original" Buddhism, but it maintains that it reflects issues and concerns of this religious community in the last centuries before the Common Era. The events focused on in part one of this study revolve around diversity and debate with respect to proper soteriology, which in earliest Buddhist communities entails what paths of practice successfully lead to the religion's final goal of nibbana (Sanskrit: nirvana). One of the main theses of this study is that some of the vocational and soteriological tensions and points of departure of the early community depicted in the Pali Canon have had a tendency to crop up in the ongoing Theravada tradition in Sri Lanka, which forms the second part of the study. In particular, part two covers first a vocational bifurcation in the Sri Lankan that has existed at least from the last century of the Common Era to contemporary times, and second a modern debate held between two leading voices in Theravada Buddhism, on the subject of what constitutes the right meditative path to nibbana.With a few notable exceptions, both members of Theravada Buddhism and the scholars who have studied them have maintained that the Pali Canon, and the ongoing tradition that has grown out of it, has a singular soteriology. The aim of this study is to deconstruct tradition, in the simple sense of revealing the tradition's essential multiplicity. Prior to this study, past scholarship--which preferred to portray early Indian and Theravada Buddhsim as wholly rationalist systems--has shied away from giving ample treatment on the noble person who possesses supernormal powers. This book examines the dichotomy between two Theravada monastic vocations that have grown out of tensions discussed in part one. The bifurcation is between the town-dwelling scholar monk and the forest-dwelling meditator monk. Scholars have certainly recognized this split in the sangha before, but this is the first attempt to completely compare their historical roles side by side. This is an important book for collections in Asian studies, Buddhist studies, history, and religious studies.

As a famous reformer of late Qing China, Zheng Guanying was the earliest advocate of representative and participatory political system in the 1870s, the earliest to call for commercial warfare against Western economic imperialism, and one of the earliest to seriously study international law and its relevance to China s national identity and foreign relations. He was also one of the earliest Chinese to emphasize the combination of Western medicine and Chinese medicine. Unlike most of his contemporary reformers, Zheng was not a foreign educated diplomat or scholar; rather, he was the only merchant among all well-known late Qing reformers and had never traveled to the West. He worked for foreign enterprises in Shanghai and managed and cofounded Chinese government-sponsored enterprises such the China Merchants Steamship Company, which still exists today. In addition, Zheng Guanying was a staunch believer and practitioner of the indigenous Chinese Daoism. Although his life, career, and thought was very much influenced by his home town, which is adjacent to Macao and Hong Kong, it was the urban culture as well as the educational and job opportunities of Shanghai (to which he migrated when he was sixteen years old) that were the driving forces behind his life.In fact, the originality and sophistication of Zheng s thought was closely related to his identity as a member of a new type of professional intellectuals arising in treaty ports since the 1870s. In this first critical study of Zheng Guanying s career, cultural milieu, political and economic thoughts, as well as his spirituality, Guo Wu steers us into examining Zheng Guanying as a hybrid product of the late Qing treaty port culture, professionalism, and tradition, and he illuminates the contribution that this Chinese merchant made in the social and political transformation of China into an urban, commercial environment. This book is also valuable because there is an even greater dearth of research on the cultural environment of Zheng and his spirituality. First, he was a comprador merchant by profession and not a leader of political and intellectual movement, although it was the latter position that drew attention to him in past decades. Second, he was a committed modernizer but also avid practitioner of Daoism, which was then dismissed by researchers as conservative and superstitious. Third, he was more a moderate reformist than a political radical. In addition, the book covers the urbanization of China and the urban cultural space. It also reveals how Zheng s migration and sojourning between Guangdong and Shanghai shaped the formation of his reformist ideas in response to China s late-nineteenth century national crisis as well as how he upheld Daoism as his fundamental ideology to maintain national identity and pursue self-salvation. This book also examines the rise of late Qing Chinese print capitalism in Shanghai as well as the relationship between the Western founders, the Chinese editors, and Chinese contributors (which also involved Zheng because he was a representative). The author argues that late Qing Chinese intellectuals appropriated Western-founded Chinese language print media to articulate their own concerns about China s progress and reform. In addition, the book looks into the personal network of Zheng Guanying, specifically his relationships with other like-minded bureaucrats, journalists, and reformers. This comprehensive study of such a critical figure in China s political and social history is an important book for all collections in Chinese studies.

"This book covers Egyptian history from the Predynastic to the late Roman Period. It also introduces early contemporary literary references to ancient Egypt and uses a number of theoretical approaches to interrogate the archaeological and textual data. The book engages with wider trends from the humanities, which have found currency in archaeological studies, such as materiality, performativity, corporeality, embodiment, identity, and popular culture studies. Egyptian material is explored via these themes, to create nuanced and contextual interpretations of particular sites, events, artefacts and practices. It makes an important contribution to furthering the fields of Egyptology and Egyptian archaeology, as well as in the wider context of archaeological theory."--Provided by publisher.

The book Shakespeare s Sonnets (1609) contains a famous major section which editors and other scholars long ago dubbed the Rival Poet sequence. In these poems, Shakespeare speaks anxiously of another pastoral sonneteer who is competing with him for the love of his male addressee. Some authorities have held the view that Shakespeare is not the autobiographical I of his sonnets, and therefore that this rival poet and the male beloved of both were not real people either. Other authorities have argued that these three may have been real, but that it does not matter to us now as readers as the question is of little or no critical importance. However, most authorities over the years have believed that they were indeed real people in the real world and that it is important who they were simply because one of them was Shakespeare. The trend in recent scholarly work has been toward establishing a reliable historical grounding for all works of art including poems in cases where such a ground has not been adequately established. Shakespeare s Sonnets is such a case and is perhaps the most famous one in Western culture. This book provides the best evidence yet brought forward for that grounding. Many other books and articles have taken the position that real historical persons are represented in Shakespeare s Sonnets and have attempted to identify them. But no previous study has considered the large amount of new evidence presented here (some of it historical and some of it textual), and none has made a logical case as powerful and persuasive regarding these identifications as the one constructed here. This book is the first to argue that the Rival Poet of Shakespeare s Sonnets is the well-known young Elizabethan writer Richard Barnfield (1574 1620), long suspected to have been one of Shakespeare s private friends (as they were termed by Francis Meres in 1598), with whom (as Meres also tells us) Shakespeare shared some of his sonnets. This is also the first book to argue that William Stanley (1561 1642), sixth earl of Derby, is the young man to whom they addressed their respective sonnets and other love poems in the period c. 1592 1595. In making these identifications, this is the first book to examine in detail the dialogue between Shakespeare s Sonnets and three of Barnfield s books of poetry (all published within a little more than one year) a dialogue only known to be discussed in a conference paper and one other book. William Shakespeare, Richard Barnfield, and the Sixth Earl of Derby will likely appeal to all readers interested in Shakespeare s life and love poetry, both specialist scholars and non-specialist enthusiasts alike.

Folk tales of Burma (now known as Myanmar) have been preserved for centuries as part of a long folk tradition reflecting Burmese humor, romance, and wisdom. This book provides the first in-depth overview of the narrative structures in Burmese folk tales. Earlier studies of Burmese folk tales have focused on the narrative motifs or contents and the ethnic or geographical areas, but have left out the study of the structural patterns that make up the storylines in different types of tales. Much of the literature on tales is based on the narrative motifs or contents of the stories (e.g., animal tales, fairy tales, etc.), and such thematic categorizations, on the basis of a tale s subject matter or content, can lead to some problems due to the inconsistency in the choice of criterion. It can be argued that the theme of an animal tale can be the same as that of a fairy tale, and that animals can be taking the narrative roles in a wonder tale. This study, therefore, focuses on narrative structures and sets out to identify the different structural patterns in the folk tales of Burma. Through a clear analysis and examples of various types of tales, this study shows how the story structure can be an alternative criterion in categorizing tales, as well as a means of gaining insight into the cultural determination of the narrative motifs or contents within possibly transcultural forms. The discussion of the structural study of tales is done with consideration of Vladimir Propp s analysis of Russian folk tales in his book Morphology of the Folk Tale. Propp claimed that all tales had an identical sequence of functions or functional events and the same basic structure, despite their differences in the dramatis personae. In this book, besides identifying the functional events in Burmese folk tales, how these events are linked into various plot structures resulting in different types of tales is examined. The functional events identified in the tales are classified into different models, such as reward/punishment, interdiction/violation, problem/solution, trickster tales, and fairy tales. The degree of linearity in terms of the temporal and/or causal relations between functional events of a tale is also examined. Drawing on the concept of sequential meaning, this study aims to explain how a linear coherent storyline is developed for a well-organized narrative structure, even though the sequence of events in a tale may not be identical to that of the other. In cases where a sequence of events does not follow a familiar trajectory, the analysis in this book explains how special effects, such as humor, are created. The possibilities of using a structural analysis of folk tales as a means of understanding the commonalities as well as the uniqueness in the structural patterns, narrative contents, and social purposes of folk tales from different cultures are also explored in this book. A comparison between the two prominent structural patterns identified in the analysis of Burmese folk tales and those proposed by the studies of folk tales from other cultures shows how tales with similar social purposes (e.g., a didactic moral purpose) contain similar structural patterns (e.g., a contrastive narrative structure). It suggests that certain structural patterns are used commonly (if not universally) by various cultures for similar social purpose of storytelling, while the narrative contents (e.g., elements taking up the narrative roles) will remain culture-specific. This observation points to several interesting issues, such as the (im)possibilities of finding a universal grammar of folk tales and the viability of claims about commonalities among folk tales. This book contributes not only to the appreciation of Burmese folk tales and the Burmese culture, but it also aids in the understanding of the relationship between the form (narrative structure), function (social purpose), and field (narrative content) of folk tales with oral storytelling in general. It also highlights a structural analysis of folk tales as a means, rather than an end, by identifying the areas in which further research can be done. Narrative Structures in Burmese Folk Tales is an important and useful reference for anyone working in the fields of narrative studies, classification of tales, folklore, and oral storytelling.

In this book, Ana Lucia Araujo argues that despite the rupture provoked by the Atlantic slave trade, the Atlantic Ocean was never a physical barrier that prevented the exchanges between the two sides; it was instead a corridor that allowed the production of continuous relations. Araujo shows that the memorialization of slavery in Brazil and Benin was not only the result of survivals from the period of the Atlantic slave trade but also the outcome of a transnational movement that was accompanied by the continuous intervention of institutions and individuals who promoted the relations between Brazil and Benin. Araujo insists that the circulation of images was, and still is, crucial to the development of reciprocal cultural, religious, and economic exchanges and to defining what is African in Brazil and what is Brazilian in Africa. In this context, the South Atlantic is conceived as a large zone in which the populations of African descent undertake exchanges and modulate identities, a zone where the European and the Amerindian identities were also appropriated in order to build its own nature. This book shows that the public memory of slavery and the Atlantic slave trade in the South Atlantic is plural; it is conveyed not only by the descendants of the victims but also by the descendants of perpetrators. Although the slave past is a critical issue in societies that largely relied on slave labor and where the heritage of slavery is still present, the memories of this past remain very often restricted to the private space. This book shows how in Brazil and Benin social actors appropriated the slave past to build new identities, fight against social injustice, and in some cases obtain political prestige. The book illuminates how the public memory of slavery in Brazil and Benin contributes to the rise of the South Atlantic as an autonomous zone of claim for recognition for those peoples and cultures that were cruelly broken, dispersed, and depreciated by the Atlantic slave trade. Public Memory of Slavery is an important book for collections in slavery studies, memory studies, Brazilian and Latin American studies, ethnic studies, cultural anthropology, African studies and African Diaspora. Araujo sheds light on the paradoxical understandings of the slave trade in southern Benin and the unintended results of some international efforts to recognise the history of slavery and the slave trade. [...] makes a useful addition to the literature because the reader is only reminded how much Africans and descen- dants of Africans have shaped this vast Atlantic world territory through divergent processes of exchange and recreation, occurring both within and beyond the gaze of Western dis- course. (Itinerario, November 2011) The book is broad ranging and provides an introduction to numerous subjects (...) Recommended. (Choice, June 2011)

Given the dearth of training in archival research, the editors envisioned a book that addresses the "how to" of archival research by involving the perspective of archivists. The editors identified chapter authors who demonstrate in their research-oriented essays how archival research influences and improves empirical political science research. They weave their scholarly contributions together with their practical experiences and "boots on the ground" advice to ease readers toward their first foray into the archives. Because archives were largely abandoned by political scientists in the 1950s, archivists' understanding of their collections and their archival practices is heavily influenced by the habits and methodological concerns of historians. The essays in this volume help archivists better understand the somewhat unique perspectives and habits political scientists bring to archival collections. This volume challenges archivists to think "outside the box" of the conventions of history and reconsider their collections from the perspective of the political scientist. This first-of-its-kind book-traversing political science and library and information science-challenges political scientists' reliance on "easy data" promising in return "better data." The editors propose that the archival record is replete with data that are often superior to current, available public data, both quantitative and qualitative. Substantive chapters in Doing Archival Research in Political Science illustrate how archival data improve understanding across the array of subfields in American politics. It also challenges archivists to rethink their collections through the prism of political science. Doing Archival Research in Political Science holds tremendous cross-disciplinary appeal. Students and faculty in political science are exposed to a fertile but underutilized source of empirical data. Political scientists will benefit from the methodological perspectives, the practical advice about doing archival work, and the concrete examples of archives-based research across the subfields in American politics (e.g., congressional studies, presidential studies, public opinion, national security, interest groups, and public policy). Students and faculty in library and archival studies will benefit greatly from the candid discussion of the unique theoretical and methodological concerns inherent in political science, improving their ability to reach out and promote their collections to political scientists. Examples of archives-based political science research will help library faculty better understand how their collections are being utilized by users.

"While there is much discussion on Africa-China relations, the focus tends to lean more on the Chinese presence in Africa than on the African presence in China. This book focuses on analyzing this new Diaspora and is the first book-length study of the process of Africans travelling to China and forming communities there. Based on innovative intermingling of qualitative and quantitative research methods involving prolonged interaction with approximately 800 Africans across six main Chinese cities--Guangzhou, Yiwu, Shanghai, Beijing, Hong Kong and Macau--sociolinguistic and sociocultural profiles are constructed to depict the everyday life of Africans in China. The study provides insights into understanding issues such as why Africans go to China, what they do there, how they communicate with their Chinese hosts, what opportunities and problems they encounter in their China sojourn, and how they are received by the Chinese state. Beyond these methodological and empirical contributions, the book also makes a theoretical contribution by proposing a crosscultural bridge theory of migrant-indigene relations, arguing that Africans in China act as sociopolitical, socioeconomic, and sociocultural bridges linking Africa to China. This approach to the analysis of Diaspora communities has consequences for crosscultural and crosslinguistic studies in an era of globalization."--Publisher's description.

In the United States alone, burns are the third leading cause of death among children 0 to 14 years of age. In addition, each year greater than 125,000 children suffer serious burn injuries, with a disturbing percentage of those through abuse. Yet the number of specialized burn centers in the U.S. is not near enough to be in proximity or even accessible to the majority of these patients. The situation is even worse in most other regions of the world. Therefore, it is critical that the information in this book reaches as many caregivers as possible because treatment of burn injuries has undergone dramatic changes over time in every area, from surgical procedures to respiratory and fluid resuscitation and even nourishment and metabolic support. The ability to recognize and react appropriately to pediatric injury can greatly affect the outcome and prognosis, up to and including the patient's future quality of life. It is in this context that this comprehensive guide for the diagnosis, treatment and follow up of the burned child from Time Zero through Long-term Rehabilitation was put together. This book is essential for the medical professional involved in attaining the most positive outcome possible for their patients and their families.

There exists a plethora of literature on the relationship between early Christianity and Judaism, but these studies focus on one or two issues. In the tradition of James Parkes, whose1930 study of the break between the Church and the Synagogue remains a classic, this book takes on the larger relationship and shows how the separation evolved over time. Rather than pinpointing a specific date for the break, the study broadens the context and looks at the wider issues, showing that separation took several centuries. In the wake of the Holocaust and in seeking to understand how the relationship between Judaism and Christianity deteriorated over the course of two millennia, this book examines the origins of the conflict. In seeking to cast new light on the separation of early Christianity from Judaism, a number of documented areas that are often treated separately by authors have been examined in order to uncover evidence for the separation. The book covers an enormous amount of material on the relationship between early Christianity and Judaism, but presents this in a highly accessible manner, clearly showing how the separation between the two emerged over time. It also reveals the ways they continued to be related. The author pinpoints two pervasive issues that impelled the separation: the relationship of the early church to Jewish law and the increasing divinization of Jesus.

In Shakespeare and the Dawn of Modern Science, renowned astronomy expert Peter Usher expands upon his allegorical interpretation of Hamlet and analyzes four more plays, Love's Labour's Lost, Cymbeline, The Merchant of Venice, and The Winter's Tale. With painstaking thoroughness, he dissects the plays and reveals that, contrary to current belief, Shakespeare was well aware of the scientific revolutions of his time. Moreover, Shakespeare imbeds in the allegorical subtext information on the appearances of the Sun, Moon, planets, and stars that he could not have known without telescopic aid, yet these plays appeared coeval with or prior to the commonly accepted date of 1610 for the invention and first use of the astronomical telescope. Dr. Usher argues that an early telescope, the so-called perspective glass, was the likely means for the acquisition of these data. This device was invented by the mathematician Leonard Digges, whose grandson of the same name contributed poems to the First and Second Folio editions of Shakespeare's plays. Shakespeare and the Dawn of Modern Science is an important addition to literature, history, and science collections as well as to personal libraries.

The focus of this book is on functional seating, and the key argument presented is that functional seating needs to assist the person using it for the performance of seated tasks, enhance rather than detract from the person's posture and health, and it needs to provide aesthetic features that do not limit task or health. The book spans the period 3000BC to 2000AD and presents largely Western seating. This book is unique in its approach to seating because it draws together evidence that relates to seating that facilitates health and task while also addressing aesthetic factors. This evidence creates an understanding of how seats may be designed to not only promote bodily health but also allow functional optimisation of sitting and seating. This book is important to furniture and industrial designers, interior decorators, architects, those teaching seat design, health professionals attending and educating those who relax or work in the seated position, furniture historians, and members of the general public interested in the history of seating.

The sex goddess's seemingly endless power to influence and fascinate, to achieve in a sense her own self-reproduction through many decades of "re-makeovers" reveals her positioning in American culture as not only a lasting image but also as a potentially powerful and subversive force. The sex goddess is often thought by feminist film theorists to be little more than a projection of the male imaginary. However, this book makes a necessary correction to this trend by demonstrating how the actresses performing the role of sex goddess in fact use the feminine imaginary to create their own agency. Through their performance of "hyper" femininity, and with their seductive power, they exert control not only over their filmic narrative "targets of seduction" but their viewers as well. The ability to hold their objects of seduction in such thrall suggests that the image of the sex goddess possesses a power far more subversive than what has been previously explored; in fact, to date there has not yet been a critical study of the sex goddess in film. Cinema becomes a place where the sex goddess's designation as sex itself can further suggest her bodily signification as a whole discourse on sex outside of her cinematic representation, thus loading her body to be read almost entirely in terms of sex and its corresponding contemporary social thought. During the period of Classical Hollywood Cinema, the construct of the sex goddess warrants especial attention because of what this study can reveal in broad terms about cultural ideas of feminine sexuality, American cinema, and visual culture. In the first critical study of the sex goddess in film, Jessica Hope Jordan illustrates how Jean Harlow uses her sexualized body to "affect" and seduce viewers away from any primary identification with those characters and their plotlines that are supposed to lead the film, to identifying instead with the kind of sexual empowerment and self-possession her characters consistently display. Linking the idea of sexual empowerment to the filmic and public celebration of hyper-feminine sexuality, the book additionally covers previous feminist discussions of Mae West's performances as "feminist camp" to argue that West sought to both celebrate and embody for women viewers what she viewed as cultural ideals of femininity and women's sexuality. With Lana Turner and the "cinematic code," the book considers the many problems inherent in both the filmic and public celebration of hyper-feminine sexuality in relation to censorship and considers the effects of the Hays Code on hyper-feminine sexuality as depicted in film noir. The book also importantly presents the first critical discussion of the actress Jayne Mansfield, suggesting that her 1950s open acceptance, celebration, and public promotion of her feminine sexuality, both onscreen and off, makes her not only a precursor of the more sexually liberated 60s, but also, like the other actresses discussed here, a kind of prescient performance artist, even theorist, of feminine sexuality in particular, and cultural ideas about sexuality more generally. Beyond recouping her image as feminist, the book demonstrates how the kind of desire aroused by the sex goddess, a desire which remains endlessly suspended, works as a supreme example of the aesthetic apparatus of cinema itself. This is an important book for inclusion in all film, film history, film theory, gender and sexuality studies, women's studies, and American studies collections.

This book presents folktales in the Herati dialect of the Afghan Persian language, along with useful transcriptions and translations. This dialect is spoken by the sedentary population of Herat city and the adjacent area situated in the northwest of Afghanistan. Historically, the area in question was part of the Persian province of Khorasan that was known for its significant role in the development of Persian culture in general and literature and philosophy in particular. Suffice it to say that the classical Persian language (Farsi) is considered to have originated in that region. For centuries, Herat has been one of the main cultural centers of the Khorasan province, and according to a reliable historic source, it was in Herat that the first poetical piece in Farsi was composed. The area was the birthplace of many most prominent Persian-speaking poets such as Ferdowsi, F. 'Attar, Khayyam, to mention a few. Others such as Jami and Ansari were originally from the Herat area and their shrines are located in the city. Given the fact that many early Persian-speaking poets came from this region (Khorasan) and from Herat in particular, their native Khorasani dialects--including Herati-- considerably influenced the language of Persian classical literature. The Herati dialect linguistic importance from the synchronic perspective is based on the fact that it serves as a bridge between the Persian dialects of western Iran and the Tajiki of Central Asia. In addition, given the geographic position of Herat (situated on the border between modern Afghanistan and Iran), its dialect also shares many common characteristics with the Persian dialects of Iran and those of Afghanistan.Despite its cultural and linguistic importance for studies in Iran, Afghanistan and Central Asia, this region has never been open to field research (especially by westerners) because of its long political instability and constant wars. There is no similar published work in English on this particular Persian dialect and its oral literature. Based on academically informed fieldwork and presented in a scientific fashion, this study provides information previously unavailable and is thus valuable to the academic discourse in Iranian linguistics. The materials were collected by the author during field research in Afghanistan in the 1980s from illiterate dialect speakers (a category which has preserved the dialect the most in terms of purity and entirety). The book helpfully provides a grammatical introduction to the Herati dialect, a glossary of dialectal and common words, as well as approximately 500 explanatory notes.This book will be of interest to linguists and language learners, especially those studying Afghan Persian. It will also be useful as a language learning aid for intermediate and advanced students of spoken Afghan Persian in general and of Persian (in the broader sense) dialectology in particular, foreign NGO workers or interpreters/translators who find themselves in the field in western Afghanistan or far eastern Iran. Though the present book is by no means a study in folklore literature or anthropology, these texts containing ethnographic data will also be of value to folklorists or ethnographers.

Throughout the mid-1970s until the early 1990s, video art as vehicles for social, cultural, and political analysis were prominent within global museum based contemporary art exhibitions. For many, video art during this period stood for contemporary art. Yet from the outset, video art's incorporation into art museums has brought about specific problems in relation to its acquisition and exhibition. This book analyses, discusses, and evaluates the problematic nature and form of video art within four major contemporary art museums--the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London, and the Art Gallery of New South Wales (AGNSW) in Sydney. In this book, the author discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of video art and contends that analogue video art would be instrumental in the evolution of the contemporary art museum. By addressing some of the problems that analogue video art presented to those museums under discussion, this study penetratingly reveals how video art challenged institutional structures and had demanded more flexible viewing environments from those structures. It first defines the classical museum structure established by the Louvre Museum in Paris during the 19th century and then examines the transformation from this museum structure to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA was the first major museum to exhibit analogue video art in a concerted fashion, and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. In this book, MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery, and the AGNSW in order to define a lineage of development in relation to video art. Extremely well researched and well written, this book covers an exhaustive, substantive, and relevant range of issues. These issues include video art (its origin, significance, significant movements, institutional challenges, and relationship to television), the establishment of the museum (its patronage and curatorial strategy) from the Louvre to MoMA, the relationship of MoMA to the Metropolitan Museum of Art, a comparative analysis of three museums in three countries on three continents, a close examination of video art exhibition, a closer look at three seminal video artists, and, finally, a critical overview of video art and its future exhibition. This unique book also covers an important period in the genesis of video art and its presentation within significant national and global cultural institutions. Those cultural institutions not only influence a meaningful part of the cultural life of four unique countries but also represent the cultural forces emerging in capital cities on three continents. By itself, this sort of geographic and institutional breadth challenges any previous study on the subject. This book successfully provides a historical explanation for the museum/gallery's relationship to video art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the book contains a theoretical discussion of the problems related to video art imagery with the period of High Modernism; it examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct major contemporary art institutions. The Problematic of Video Art in the Museum, 1968-1990 is an important book for all art history and museum collections.

Literature on Zimbabwe s modern history is influenced by one particular perspective concerning the historical roots of inequitable land distribution choreographed by British colonialism from 1890. This dominant theme is based on the imperatives of redressing a historical injustice where British people alienated prime land from, among others, the indigenous Shona, Ndebele, and Tonga. The key element in this perspective has been the science of land management, particularly the protection of wooded areas, the soil, and wildlife. The discourse of ecological calamity stresses the damaging outcomes from unregulated timber logging, agriculture, mining and hunting, as well as the threats of degradation and the need to control methods of resource exploitation by humans. This book examines the debates and processes on woodland exploitation in Zimbabwe during the colonial era (1890 1960). It explores the social, economic, and political contexts of perceptions on woodland distribution and management. Much of the period was characterized by both local and global debates about environmental problems, generating in their wake politically charged and emotive language about the consequences deforestation, soil erosion, and threats to wildlife. This study analyses the history of exploitation and conservation of the Zimbabwean teak (mkusi or Baikiea plurijuga) and its associated species in Northwestern Matabeleland from 1890 to 1960. Timber exploitation was among the top three colonial economic activities in Matabeleland, including ranching and tobacco cultivation. Concessionaire capitalists and forestry officials dominated the exploitation and conservation of the Zambezi teak woodland or gusu, respectively. On one hand, capitalists sought to extract as much commercial hardwood timber as they could while on the other hand, foresters restricted tree felling. This study shows that there was conflict and accommodation between the two interest groups involved regarding exploitation and conservation. Conflict arose when timber firms such as the Rhodesia Native Timber Concessionaires (RNTC) demanded an increase on the quantity of important trees cut every year while foresters put pressure for minimum exploitation. Reconciling the two stakeholders was difficult, and from time to time they either clashed or accommodated each other through dialogue, persuasion, and compromise. The two dominant players on the scene were the Forestry Service and the RNTC. Such conflict and accommodation also took place between foresters and Africans. Foresters and other government officials blamed African methods of farming and food gathering for causing destruction on gusu. But foresters depended on ultra-cheap African tenant labor in the practice of conservation, which in large part involved firefighting and prevention. A major stumbling block for the Forestry Service in conserving gusu against African and settler demands was the absence of a Forest Act in 60 out of the 70 years of history examined. A Forest Act was enacted in 1949. In these seventy years, 994,000 and 963,000 acres were exploited and conserved for future purposes respectively. In this first critical work on the topic, author Vimbai Kwashirai focuses on woodland conservation and commercial development in Zimbabwe during the colonial period. Emphasis is placed on the tensions, conflicts, and sometimes the collusions between timber companies and the developing state. This book provides a rich example of Green Imperialism along the lines of Richard Grove, but goes beyond that by giving an economic historical account that situates conservation history within the broader political-economic context. This book is based on broad archival research, and it traces the relationship between conservation and the development of commercial capital from forest enterprises in colonial Zimbabwe. It delivers much insight on the conflicts and tensions of the workings of the British South Africa Company (a capitalist enterprise that was at the same time overseeing the development of a state polity of the then Rhodesia), providing evidence for a strong argument for the development of industrial capital under colonialism. The forestry service was caught in these tensions of supporting and enterprise, but also trying to regulate that green capital and establish the beginnings of protected forests in Zimbabwe. This book casts much light on the environmental impact on a part of Africa caused by the push and pull of politics and economics. This book will be an important addition to collections in African studies, environmental studies, and political science.