Books published by Cambria Press

"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.

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.