Books published by Cambria Press

Many tombs dating to the Eastern Zhou (770-221 BCE) and Han (206 BCE-220 AD) periods contain musical instruments or their visual representations in the form of wood, stone, and ceramic figures, tomb tiles, and engravings. These finds suggest that music was viewed as an important part of the afterlife. While bells have survived more frequently than wooden instruments, and therefore have received the most scholarly attention, strings, winds, and drums are the focus of discussion in this book. The book examines the use of these three instrument types in both solo and ensemble music, as well as the social, ritual, and entertainment functions of each. When combined with bells (and chime stones), strings, drums, and winds appear to have been associated with formal ritual ceremonies. However, when appearing alone or in assemblages with other wooden instruments during Zhou, they appear to be connected with warfare and entertainment. By Han times, strings, winds, and drums seem to be associated almost exclusively with entertainment, pointing to a shift in the social life of the times. Another topic explored in this book is the association of musical instruments with wealth. When combined with bells and chime stones, they are only found in the wealthiest tombs. However, when found by themselves, strings, winds, and drums appear in small to large, modest to wealthy tombs, suggesting that they were available to a broad range of peoples in early Chinese elite society. This book analyzes an often disregarded aspect of early Chinese music, the role of strings, winds, and drums. Music in Ancient China will be a valuable book for those interested in ethnomusicology and music history, Asian art history and archaeology, and Asian studies.

This book is about Angolan literature and culture. It investigates a segment of Angolan history and literature, with which even Portuguese-speaking readers are generally not familiar. Its main purpose is to define the features and the literary production of the so-called 'creole elite', as well as its contribution to the early manifestations of dissatisfaction towards colonial rule patent during a period of renewed Portuguese commitment to its African colonies, but also of unrealised ambitions, economic crisis, and socio-political upheaval in Angola and in Portugal itself. Nineteenth-century Angolan society was characterised by the presence of a semi-urbanised commercial and administrative elite of Portuguese-speaking creole families--white, black, some of mixed race, some Catholic and others Protestant, some old established and others cosmopolitan--who were based in the main coastal towns. As well as their wealth, derived from the functions performed in the colonial administrative, commercial and customs apparatus, their European-influenced culture and habits clearly distinguished them from the broad native population of black peasants and farm workers. In order to expand its control over the region, Portugal desperately needed the support of this kind of non-coloniser urban elite, which was also used as an assimilating force, or better as a source of dissemination of a relevant model of social behaviour. Thus, until the 1850s great creole merchants and inland chiefs dealt in captive slaves, bound for export to Brazil via Cape Verde and São Tomé the tribal aristocracy and the creole bourgeoisie thrived on the profits of overseas trade and lived in style, consuming imported alcoholic beverages and wearing European clothes. After the abolition, however, their social and economic position was eroded by an influx of petty merchants and bureaucrats from Portugal who wished to grasp the commercial and employment opportunities created by a new and modern colonial order, anxious to keep up with other European colonial powers engaged in the partition of the African continent. This book thus considers the first intellectuals, the early printed publications in the country, and the pioneers of Angolan literature who felt the need to raise their roots to higher dignity. Thus, they wrote grammar, dictionaries, poetry, fiction, and of course, incendiary articles denouncing exploitation, racism, and the different treatment afforded by the colonial authorities to Portuguese expatriates and natives.

Written by Monica Biradavolu (a sociologist at Yale University), this innovative study examines the emergence and growing power of a new group of immigrant Indians to the United States: the transnational techno-capitalist class of entrepreneurs operating at the upper echelons of the hi-tech industry in Silicon Valley and Bangalore. Imbibing the culture of innovation and entrepreneurship in Silicon Valley, recognizing the importance of building strong networks, and relying upon their educational qualifications, professional credentials and powerful yet invisible family support, Indians are playing a central role in redefining what it means to be an 'immigrant entrepreneur' from a 'developing country'. These powerful actors are negotiating on their own terms and forging their own transnational space in the global software industry to become a transnational capitalist class, with allegiance to global capitalism and a political project of pushing the ideas and ideals of capitalism in both their 'home' and 'adopted' countries. This an important book for those in ethnic and immigrant studies.

Stockton first made his reputation as "Fighting Bob" in the defense of Baltimore in the War of 1812, and, on his first naval command, he founded Liberia for freed slaves. Yet he also owned slaves on his sugar plantation in Georgia, and later probably used "rented" slave labor his in Virginia gold mines. As a naval officer, he chased pirates with the West Indies Squadron and may have been responsible for the death of Jean Lafitte; yet he acted like a pirate himself in ruthlessly protecting his Joint Companies' monopoly of railroad and canal traffic across New Jersey. Stockton achieved nautical design prominence by bringing John Ericsson to America to create the first steam-powered, propeller-driven warship and the most powerful cannon in the world. (Ericsson later designed USS Monitor in the Civil War.) However, in demonstrating his cannon to high government officials, the cannon backfired killing nearly half of President Tyler's cabinet. From Congress and the President, Stockton brought the invitation of annexation to Texas, but then he tried to initiate a war between Texas and Mexico that he would clandestinely underwrite with profits from his transportation monopoly. He sailed to California arriving at the start of the Mexican-American war so that he was the commander-in-chief of all US forces, and joined with John C. Fremont and his filibusters to take California for the United States-yet he never had specific orders to take California. Upon his return, he became the first naval officer to become a U. S. Senator, and then he sought the nomination for president twice: once on the 1852 Democratic Party ticket almost nosing out Franklin Pierce and once on the American Party or Know-Nothing ticket. His nomination from the nativist American Party is particularly ironic because he has been instrumental twelve years earlier in suppressing nativist riots in Philadelphia. In 1861, on the eve of the Civil War, New Jersey sent him as a member of a delegation to the Peace Conference in Washington that attempted to avert the Civil War. However at the peace conference, Stockton threatened to beat up a member who opposed his policies. Stockton eventually retired from public life to the New Jersey seashore where he founded the community of Sea Girt, and sat idle during the Civil War. He died in 1867 just after witnessing the expulsion of his son who had attempted to succeed him in the U. S. Senate. Historians of the Early Republic and antebellum naval operations will discover hitherto unknown or unappreciated materials and texts in the protean odyssey of this unsung American hero.

This book details a 2-year study that examined and compared the efficacy of an andragogical instructional methodology to that of a traditional, prescriptive, pedagogical, and militaristic format of basic police training. The study not only revealed that an andragogical approach yielded greater outcomes in terms of skills and competencies, but was preferred among recruits, in great part due to the emphasis placed on experiential learning and a collegiate and collaborative approach to learning. In his research, Robert F. Vodde identified six thematic, categorical constructs by which basic police training programs can be organized and administered, to include the importance for not only working within a quasi-military hierarchal organizational structure, but in preparing recruits for the emotional and physical challenges associated with police work. When properly administered, an andragogical approach represents a well-planned and skillfully orchestrated process that holistically integrates all aspects of the curriculum; one that capitalizes on the use of multi-sensory, experiential, hands-on learning activities that allow recruits to apply what they have learned. Considering the short and long-term impacts of basic police training, Vodde illuminates in this book that "an andragogical instructional methodology serves as a pragmatic, effective, and responsive approach to training"; it is one that creates a physical and psychological climate that takes into consideration the affective needs of the recruit, thus providing for a healthy, engaging, challenging, and collaborative atmosphere in which future police officers "develop a clear understanding and perspective of their role within the greater context of society."

At first glance, several literary portrayals of Viking Age women represent them as kings, as warriors, and as inciters of violence, which seems to contradict the image of the passive, housebound female figure. However, those images need to be read and re-interpreted with a measured critical suspicion. For example, several scholars have argued that those images tell little about the real history of Scandinavian and European women but instead represent fantasies expressed by later male authors. In contrast to the literary portrayals, Viking Age women and European women in the Middle Ages stayed at home and were not allowed to let their voices be heard publicly. In this groundbreaking study by Scandinavian scholar, Lena Norrman, this book posits that women had ways to communicate their lore through visual representations such as weavings and embroideries. The Överhogdal tapestries were found in the northern part of Sweden and dated to circa 1000 AD. Woven with locally-dyed wool and linen, these tapestries and weavings have received relatively little scholarly attention. According to the author, the Överhogdal tapestries tell the story of Sigurðr the Dragon Slayer, a depiction that comes more than 200 years earlier than the oldest manuscript of this well-known legend, which was disseminated through different parts of Northern Europe as well in Iceland and Greenland. Equally important, these textile representations are told from a female perspective where the focus is on love, passion, honor and revenge instead of finding the gold, magical weapons and depictions of the killing of the dragon. Using a refreshing perspective, the author's reading of these textiles is based on theories of oral tradition. She contextualizes these tapestries as narratives in circulation, and more specifically, argues that they allow us to "see" or read women's stories despite the fact that women's voices were silent. Such untraditional outlets as weavings and miracle writings contradict the view of women as silent, passive participants in the events that shaped history. With respect to the Viking Age, this book shows that women had ways to communicate their lore through visual representations such as weavings and embroideries, which are a crucial object of this study. This is a critical reference for scholars in Scandinavian studies and Women's studies.

This book provides insight into the nature of the relationship between dialogue and care. The work is textured and mindful of the human need for authentic communication between embedded human communicative agents. This is because the authors are well-versed in the field, having published articles, books, and book chapters dealing with the cultivation of human communication and human relationships through aspects of care, dialogue, and other philosophical preconditions. This study approaches the relationship of care and dialogue through a constructive hermeneutic approach situated within the current historical moment, while relying on a rich and textured historical tradition of philosophical writings that invite new discussion on the value of this relationship. In a historical era of rapidly changing technologies, it is often easier to text, twitter, and e-mail in a hypertext mode that fails to acknowledge the dialogic potential in human relationships. This book reminds us that even in these technologically sophisticated times, we gain more in human relationships through care and dialogue than in quick, instant communication. It is unique from other books dealing with the relationship between dialogue and care in human relationships because it integrates literature involving communication ethics and philosophies of communication framed around the metaphor of "care" to provide a more textured insight related to human communication. The discussion is an alternative to a social scientific approach. Readers will gain a thorough and comprehensive understanding of the issue(s) involved from different perspectives. Many other books on these matters are also theoretically laden with deep philosophical concepts, but they are often devoid of connections to everyday experiences which limits application of the ideas. The authors address this by a text that explores those philosophical and theoretically laden concepts related to "care" in an applied manner, so that the practice of these ideas is situated within actual human interaction. This study provides an in-depth exploration specifically dealing with care as a philosophical and ethical paradigm for living in the world. This book is distinctive as it encompasses theorists/scholars from multiple perspectives that include sociological, psychological, philosophical, and from both social science and humanities approaches; all of which come together within a communication framework. The purpose of this book is to provide readers with the opportunity to consider multiple ways of enhancing human communication through discovering how the notion of "care" has the ability to shape and guide communicative exchanges. Care is posited as a philosophy of communication and more specifically as a communicative ethic that can be embraced in interpersonal and organizational communicative contexts. Our goal is to provide a textured understanding of "care" as it relates to human communication and as it is foregrounded in philosophical thought. This text will help develop philosophical understanding of this topic that is inescapably linked to human communication. This book will interest all in communication, sociology, psychology, and anthropology.

A groundbreaking work which was first published in Beirut in the year 2000 by Riad el-Rayyes, I Am You (Ana Hiya Anti) is the only novel in Arabic which deals exclusively with the subject of female homosexuality in the Middle East. This critical translation of Elham Mansour's Lebanese novel provides a rare insight into the prevalent attitudes towards lesbianism in the Arabic mainstream, whilst also casting a light on that which is often hidden from the public gaze-the lives of some gay and bisexual women. This long awaited critical translation provides the English reader access to a novel which deals candidly and positively with one of the most important and taboo issues of contemporary Arab society--(homo)sexuality. The novel is translated and introduced by Samar Habib (author of Female Homosexuality in the Middle East) with a foreword by Rebecca Beirne (editor of Televising Queer Women: A Reader)--both critical commentaries help the reader situate the novel within a dynamic historical framework and a broader LGBTIQ context. "This book provides a narrative that depicts everyday lives of lesbians in the Middle East, moving beyond seeing victims of homophobic laws, in order to explore their desires and the possibilities for living life outside societal parameters. I Am You is unique in that it is the first novel published in Arabic to truly take up lesbianism as an issue, and I would argue, a cause. For indeed, it is a highly political novel, questioning every prevailing societal belief about homosexuality, and contending that homosexuality is a natural phenomenon. As the first text of its kind, I Am You will no doubt one day take its place as a lesbian literary classic, but, more importantly, it outs lesbianism in the Arab world (and specifically, in Lebanon), acting as survival literature, and perhaps, opening up a door for further lesbian representation in Arabic culture." - Dr. Rebecca Beirne, Author of Lesbians in Television and Text after the Millennium and editor of TelevisingQueer Women: A Reader

David Foster is the most original, challenging, contradictory, risk-taking and infuriating Australian novelist of his generation. To date he has published twelve novels, three collections of novellas and short stories, two books of poetry, and a collection of essays, with several produced radio plays. Foster writes in an Australian tradition of idiosyncratic satire and comedy that may be traced through the work of Joseph Furphy, Miles Franklin, Xavier Herbert and David Ireland. His novels are the most wide-ranging and fearless of the Australian novels that have contributed to the late twentieth-century re-examination of Western ideologies and the literary forms in which they are expressed. In this first critical study of David Foster's works, Professor Susan Lever steers us into penetrating the mysteries of Foster's fiction, and provides guidance to readers willing to approach them. The book examines the contradictory nature of his commitments and interests as expressed mainly in his novels. Each of his works of fiction and poetry in the order of publication (except for The Adventures of Christian Rosy Cross and The Pale Blue Crochet Coathanger Cover which are discussed with similar novels) are discussed. The development of Foster's philosophical ideas and technique as a novelist over the 35 years of his writing life to date is followed. The book also examines Foster's letters to Geoffrey Dutton early in his career; his interviews and essays provide some of the background to these novels. The book also furnishes a sense of the Australian context for his work. A brief biography of Foster's early life and a discussion of his approach to satire is also included.

This book is the only biography of the "Union Duke". It fully explores the principles and political life of Queensberry and the reasons for the Act of Union of 1707. It also addresses the issues of possible war between England and Scotland, the threat to the Hanoverian succession, and the constitutional and political battles fought out in the Scottish and English parliaments in 1695-1707. More importantly, this book is unique in that the research is based on the extensive archives at Drumlanrig castle (the home of the present Duke of Buccleuch and Queensberry) to which no other historian of the Union has had recent access. The Duke of Queensberry and the Union of Scotland and England challenges the current historiography of the Union and provides a unique insight into the mind of Queensberry and other Scottish and English politicians with respect to the Union of 1707. This is an essential reference for all collections in European history as no other work on this subject deals with the development of Queensberry's political ideas and is based on the extensive primary sources available at Drumlanrig castle.

This book examines why, when, how and where the scenic stage began in England. Little has been written about the development of theatrical scenery and how it was used in England in the seventeenth century, and what is known about the response to this innovation is fragmentary and uncertain. Unlike in Italy and France where scenery had been in use since the sixteenth century, the general public in England did not see plays presented against a painted location until Sir William Davenant presented The Siege of Rhodes at Lincoln''s Inn Fields in 1661. Painted landscapes or seascapes, perspective views of cities or palaces, lighting effects, gods or goddesses flying down on to the stage in a chariot, all these had only been seen before on the masque stage at court or in the occasional private play performance.This study argues that Sir William Davenant (1606-1668) was involved almost from the beginning of the process and that his influence continued after his death; that, although painted scenery as such would undoubtedly have appeared on the public stage after 1660, it would not have been in the same way, for Davenant made particular positive contributions which brought about certain changes in both the presentation and reception of plays which would not have happened as they did without his work and influence.This is new work which uses dramaturgical and scenographical analysis of selected plays and masques, against known theatrical history, to discover how the staging of painted settings was organised from c1605 to c1700. This kind of investigation into the links between masque staging and the staging of plays has not been done in quite this way before. The study begins with Davenant''s involvement with Inigo Jones and John Webb. It analyses the staging of the court masques and discusses what Davenant took from this and how he used the information. It suggests that the move towards verisimilitude in the drama on the scenic stage was due in part to Davenant''s imaginative use of certain of the physical components of masque staging in presentations by the Duke''s Company. It argues that he encouraged dramatists to integrate the scenery into their plots, particularly to provide for disclosures and discoveries, in ways not possible before. How, in so doing, he implicitly changed the stage conventions of time and place which audiences had accepted from the platform stage. It also argues that the parallel development of operatic spectacle derived mainly from the use by Killgrew and the King''s Company of the techniques for engineering the spectacular effects of the transformation scenes of the masque stage to embellish the heroic drama by Dryden and others. It suggests that the two staging methods combined in the later seventeenth century to give more sophisticated ways of using the scenery and thus involved the scenic stage with the dialogue and the action in all genres, but that such experimentation ended when financial and commercial considerations made it no longer viable. Nevertheless it concludes that, by the eighteenth century, theatre practitioners had learnt to use the stage craft and mechanical techniques of the masque stage to integrate the visual with the aural aspects of a production, and that dramatists, once concerned solely with the aural expression of their theme, had become playwrights who allowed for the visual elements in their texts. Over fifty illustrations exemplify the discussion. This is an important book in the history of theatre, essential background for the staging of the court masque, and for the scenography of the Restoration theatre.