Anthem Impact Series

Late in the 8th century, under the Tang dynasty, a local magnate led a land reclamation project on the Fujian coast that is emblematic of the encounter between the Sinitic culture of the Yellow River basin in northern China and the local cultures of the south. Later accounts say the drainage canals were undercut by a jiao, a mythological dragon-like beast that was a stand-in for the crocodiles that once inhabited the south China coast. The book uses this incident to explore the interaction between the indigenous pre-Sinitic people and culture of the Fujian coast with the Sinitic immigrants who arrived in growing numbers through the 8th century and after.

Cornwall as Strange Fiction is focused on written and visual culture that is made in, or made about, Cornwall and where there is affinity with Gothic. Cornwall and the Scilly Isles (known as ‘Kernow’ in the Cornish language) have a special relationship with Gothic, one that has been overlooked in the literature on regional Gothic. In 1998, Avril Horner and Sue Zlosnik coined the term ‘Cornish Gothic’ in relation to the work of Daphne du Maurier. Since then, however, there have been few discussions of the distinctive types of Gothic engendered by cultural and imaginative re-creations of Cornwall or where it has played a generative role within creative practice. Cornwall as Strange Fiction argues that a persistent imaginative romance with the peninsular has produced a specific and distinctive set of Gothic fictions and creative outputs that mark an exciting new departure in the discussion of regional and media-aware Gothic studies. Offering new insights into the relationships between place and Gothic, this book aims to engender and encourage greater debate through our argument that Cornwall plays a potent role in the landscape of regional Gothic and argues that it needs to be considered more fully as a major catalyst in the Gothic imagination.

Shots to the Heart explores how the work of the film actor inspires, provokes, and refigures our feelings and thoughts about the cinema. The book closely considers the art of film performance, the combined effect of actors’ gestures, movements, and expressions, in relation to the viewer’s sensitive and creative eye. As discrete moments of performative incarnation on-screen slowly accumulate, actors also become figures of meaning. For many viewers, the screen figures which result from performance are simply called “characters.” But in thinking about cinema, the words “character” and “characterization” signal post-experiential abstractions: when we quickly identify characters or summarize characterization after seeing a movie, we are leaping over the emotions felt through our loving attention to the bodies flitting through a film. Such concepts can never replace a careful regard for what actors on-screen are actually doing, moment-by-moment, gesture-by-gesture. Shots to the Heart is finally not too concerned with the narrative machinations within which these gestures are inscribed, and even resists the attempt to assemble these descriptions of performance into a “full” account of the film as a whole. What Shots to the Heart does is let little moments of performance live on, in writing, as they are strung together alongside performative fragments from other films, in a kind of alternative, cinephilic account of what was felt as actors moved on the screen before us.

The book explores the Gothic tradition in Swedish literature. It aims to give an overview of the development of Swedish Gothic from the Romantic age until today and to highlight the characteristic features of the Swedish tradition of Gothic in relation to transnational developments, in particular in relation to the Anglo-American tradition. By using a contextualising comparative perspective, it highlights the most prevalent and prominent feature of Swedish Gothic, the significance of the Nordic landscape, the wilderness and local folklore. In Swedish fiction, the terror is not pointing to the medieval period but is located in pre-Christian, pagan times. Especially in today’s Gothic narratives, the presence of mythical creatures and nature beings, such as trolls, tomtes or vittras enhances the Gothic atmosphere. Other domestic trends are Gothic crime stories, where supernatural creatures and powers constantly obstruct the modern crime investigation, and the use of gendered and female monsters.

In 21 short case studies, this short book examines the distinctive coincidental history of America, Britain, and various Asian countries during the twentieth century. It covers a wide range of historical events, from American expansion into the Pacific to the creation of the Soviet gulags in Siberia to the end of the Vietnam War. Its main goal is to show how watershed historical events can often become layered or overlap each other, sometimes by intent but often merely by happenstance. As Ian Fleming once famously opined about actions in war: “Once is happenstance. Twice is a coincidence. Three times is enemy action.”

In the early 1960s the board of governors of the Adelaide Festival of Arts in Australia rejected two Patrick White plays, The Ham Funeral in 1962 and Night on Bald Mountain in 1964. Australian Theatre, Modernism and Patrick White documents the scandal that followed the board’s rejections of White’s plays, especially as it acted against the advice of its own drama committee and artistic director on both occasions. Denise Varney and Sandra D’Urso analyze the two events by drawing on the performative behaviour of the board of governors to focus on the question of governance. They shed new light on the cultural politics that surrounded the rejections, arguing that it represents an instance of executive governance of cultural production, in this case theatre and performance. The central argument of the book is that aesthetic modernism in theatre and drama struggled to achieve visibility and acceptability, and posed a threat to the norms and values of early to mid-twentieth-century Australia. The recent productions indicate that despite the Adelaide Festival’s early hostile rejections, White’s plays endure.

‘The Making of the Modern Chinese Navy’ includes 14 historical case studies that help to illuminate a number of special characteristics of the modern-day Chinese navy most Chinese naval officers perhaps take for granted, including a belief in the Mandate of Heaven, tributary system and the fear of ‘losing face’ either in a diplomatic setting or by risking valuable equipment in battle. Ethnic and language differences, regional loyalties and political mistrust potentially exacerbate these problems. Special peculiarities include the Mongol dual-officer diarchy that led to the political commissar system utilized by the People’s Liberation Army. Outside influences, such as blockade, sanctions or embargoes, can exert a profound impact on China, just as foreign intervention or, equally important, a decision not to intervene, can often determine the outcome of major maritime events. [NP] The 14 case studies discuss many of these characteristics, while the Conclusion examines all case studies together and places them in a historical perspective. ‘The Making of the Modern Chinese Navy’assesses which of these historical characteristics and peculiarities are still present in full force in China and which ones may no longer have as great an impact on the contemporary Chinese navy.

The first chapter is an overview of the current “crisis” of literary study, brought about by downsizings following the crash of 2008 (from which literary studies never really recovered), compounded by the Covid pandemic, and rocked by the bedrock questions put to the academic study of literature by the Black Lives Matter protests. This chapter also looks at why theory matters in the present – as an introduction to modes of questioning and ways of life, which the author opposes to the English department’s understanding of literature as a series of disciplinary objects to be understood or appreciated. The second chapter is a specific exploration of the novel, the current reigning form of literature and literary study in both popular and academic contexts, and the novel’s relation to the present (of new materialism) and the past (the European history of the novel as the official form for warehousing bourgeois subjective experience). If new materialism (including anti-racist critiques) questions the world-view of bourgeois Eurocentric humanism, it also brings into question the centrality of that world view’s primary artistic form, the novel.

What does it mean to study culture – and what does culture finally mean? Whether we compare cultures or delve deeply into the dynamics of a single social order, anthropology’s task is to confront the interplay of the human condition and the cultural form. Tracing the genealogy of our touchstone method, ethnography, and investigating its relation to alternative disciplines that try to get at the heart of the human experience – philology, history, and social relations – this volume considers whether contemporary anthropology might, at last, be able to define culture, after more than a century of investigation.

Gulf Gothic examines haunted, secret-laden narratives that emerge from the gulfs between peoples all along the Gulf of Mexico and on both sides of the Rio Grande. The Gulf is presented as a single transnational region and as dynamic ground zero of North American (and global) cross-culturality and trauma. Responding to the long history of Mesoamerican writing, plantation systems, and racialized divides across the region, this study argues that gothic—with all its affect, undead figures, heavy weather, and hauntings—provides a powerful lens through which to awaken the kinds of gulf-traversing vision so necessary to us here and now.

With the increasing role of economic uncertainty, improving the efficiency of forecasts is ever so important. This book makes suggestions on how to evaluate the key economic indicators under uncertainty. It presents the interval method to study economic indicators, which will allow us to understand the possibilities of forecasting and the irregular nature of the economy. It is shown that with the accumulation of negative phenomena in a seemingly stable situation the effect of a compressed spring may snap into action. The book outlines the uncertainty relations in the economy, the minimal uncertainty interval, the effect of an expanding uncertainty band, sensitivity thresholds, as well as the principles of systematization and forecasting of economic indicators. The book presents ways to facilitate economic development, assess the quality of a forecast, and increase the efficiency of forecasts and decision-making in conditions of uncertainty.

Seattle is one of the most politically progressive and economically dynamic cities in the contemporary United States. This book explores Seattle’s current climate policy agenda and future climate challenges within the context of its historical, bio-regional, and metropolitan settings. While practitioners and academics have lauded Seattle’s urban sustainability and climate action efforts for many years, the analysis here focuses especially on mounting political concerns with social equity, income polarization, and racial justice in a “high-tech” city-region already experiencing the deleterious effects of global climate change. Drawing on a framework first suggested by the Urban Climate Change Research Network, the discussion considers major research themes like mitigation and adaptation policies; Seattle’s regional, national and international participation in climate action networks; disaster risk reduction and risk assessment; and the impacts of climate change and climate policy formation on the city’s most disadvantaged populations. Climate Change and the Future of Seattle will, therefore, be of wider interest to scholars and students at all levels in urban planning, human geography, political science, urban studies, public administration, and sustainability studies. 

California Gothic explores the California dream and its dark inversion as a nightmare, as illustrated in fiction, poetry, and film. California began as a literary invention, a magic island, in a Spanish romance before conquistadors first visited the land. From early days to the present, the California dream of happiness in a land of new beginnings has been maintained by suppression of disturbing realities: above all, the destruction of native peoples; and by events and facts such as the tragedy of the Donner Party, the persistence of poverty and crime in the golden land, disturbing crimes such as the Black Dahlia; and pandemics and ecological disaster. This book explores a rich Gothic tradition that exposes the repressed past and imagines the fates awaiting a failed California.

This book considers the importance of teaching excellence in higher education and why it is important to recognize it for the goal of improving student learning. It considers the essential attributes of excellence in teaching as well as the main current factors both internally and externally that are driving higher educational institutes to raise their quality of teaching. The book looks at some of the more popular latest teaching methodologies that academics can employ to promote deep learning and enable students to ultimately become independent learners.

‘Bauman, Elias and Latour on Modernity and Its Alternatives’ provides a comparison between the conceptions of modernity and its alternatives in the works of Bauman, Elias and Latour. Their work and research are linked to their distinct views on modernity and its alternatives. For Bauman, the rationality, effectiveness and impersonality that characterize present-day bureaucratic apparatuses are the distinguishing features of modernity. Its post-modern or ‘liquid’ alternative has none of these traits. For Elias, modernity has two different and contrasting faces, that of civilization and barbarity. Elias conceives of civilization as a process connoted by self-control and pacification, which prevail as a consequence of the restraint which honor and morality exert on individuals. By contrast, the breakdown of civilization involves barbarity. For Latour, modernity if defined by a separation between society and nature, or humans and non-humans, has never existed. By virtue of their intimate association, humans and non-humans have formed hybrids, whose proliferation is the hallmark of our age. Modernity, therefore, has never prevailed. Alternatives to hybrids are, in the current age, failed hybrids. The set of alternatives is then as follows: modernity vs. post-modernity (Bauman); civilization vs. barbarity (Elias); and successful vs. unsuccessful hybrids (Latour).

Defining Hybrid Heroes: The Leadership Spectrum from Scoundrel to Saint defines the hero (and his or her journey) from a hybrid perspective, exploring the spectrum from scoundrel to saint. It utilizes a more dynamic and situational outlook, regarding heroism not only as a personal characteristic, but also as a series of heroic acts within a given situation. The book examines the hybrid hero from several distinctive points of view, e.g. through lenses dominated by fiction, business, politics and psychology, and paints a new, more complex portrait that takes full advantage of the authors’ varied backgrounds. Inge Brokerhof has an academic background in psychology and has studied the impact of narrative fiction on workplace variables, such as career identity, employability and moral leadership. Stephan Sonnenburg has studied Joseph Campbell and the impact of the hero’s journey on creativity and innovation management. Greg Stone is a communications consultant who teaches executives and professors how to explain their work in clear and compelling language.

The Gothic Literature and History of New England surveys the history, nature and future of the Gothic mode in the region, from the witch trials through the Black Lives Matter Movement. Texts include Cotton Mather and other Puritan divines who collected folklore of the supernatural; the Frontier Gothic of Indian captivity narratives; the canonical authors of the American Renaissance such as Melville and Hawthorne; the women's ghost story tradition and the Domestic Gothic from Harriet Beecher Stowe to Charlotte Perkins Gilman to Shirley Jackson; H. P. Lovecraft; Stephen King; and writers of the current generation who respond to racial and gender issues. The work brings to the surface the religious intolerance, racism and misogyny inherent in the New England Gothic, and how these nightmares continue to haunt literature and popular culture—films, television and more.

Multicriteria analysis, or MCA, has been increasingly used in environmental decision-making to support the identification of suitable courses of action by integrating factual information with value-based information collected through stakeholder engagement. Multicriteria Analysis for Environmental Decision-Making provides an introduction to the key concepts of MCA and includes a series of case studies that illustrate the application of MCA to a variety of environmental decision-making problems ranging from protected area zoning to landfill siting, and from forest restoration to environmental impact assessment of tourism infrastructures. A compact reference that can be used by researchers, practitioners and planners/decision makers, Multicriteria Analysis for Environmental Decision-Making can also serve as a textbook for undergraduate and postgraduate courses in a broad range of curricula.

The horror film generally presents a situation where normality is threatened by a monster. From this premise, Theatricality in the Horror Film argues that scary movies often create their terrifying effects stylistically and structurally through a radical break with the realism of normality in the form of monstrous theatricality. Theatricality in the horror fi lm expresses itself in many ways. For example, it comes across in the physical performance of monstrosity: the overthe-top performance of a chainsaw-wielding serial killer whose nefarious gestures terrify both his victims within the film and the audience in the cinema. Theatrical artifice can also appear as a stagy cemetery with broken-down tombstones and twisted, gnarly trees, or through the use of violently aberrant filmic techniques, or in the oppressive claustrophobia of a single-room setting reminiscent of classical drama. Any performative element of a film that flaunts its difference from what is deemed realistic or normal on screen might qualify as an instance of theatrical artifice, creating an intense affect in the audience. This book argues that the artificiality of the frightening spectacle is at the heart of the dark pleasures of horror.

Focusing on four poets who because of their distinctive profiles illustrate especially well the opportunities and pitfalls of writing science poetry during the long eighteenth century Four Augustan Science Poets: Abraham Cowley, James Thomson, Henry Brooke, Erasmus Darwin offers numerous close readings that shed light not only on standard versions of the sublime but also on these idiosyncratic variants: the apologetic (Abraham Cowley), the illicit (James Thomson), the perverse (Henry Brooke) and the atheistic (Erasmus Darwin). Recurrent concerns include the similarities and differences among the languages of poetry, science and religion. Of the poets analyzed all but Thomson wrote extensive notes to accompany their lines, permitting further comparison of languages, in this case between the same authors’ poetry and prose.

This book explores the assassination of Antonios Triantafyllides, a leading Cypriot lawyer and politician, in British colonial Cyprus in January 1934. This event has been the infamous subject of rumours since its occurrence and a taboo subject for Cypriot society and historians alike, as the event has been silenced or dismissed. This book explores the assassination in its broadest possible context by situating it within the broader events within the British Empire, the region and the world more generally at that time. The basis for the exploration is a ‘community of records’ through which all the evidence is sifted, reading it both with and against the grain, in order to provide the most likely answer to who was really behind this mysterious cold case. Through rigorous analysis, this book concludes that those who most likely masterminded the assassination supported radical right-wing extremist pro-enosis nationalism and were subsequently also prominent in forming the EOKA terrorist group in the 1950s.

"Eisenhower and the Art of Collaborative Leadership" examines the theory and practice of collaboration, and collaborative leadership, in the life and career of Dwight Eisenhower. It relates his collaborative style to his ideas about friendship, his Kansas upbringing and his family, his military training and career, and his particular practice of presidential leadership, which operated through teams and a deliberate, sophisticated system of bureaucratic consensus-building. "Eisenhower and the Art of Collaborative Leadership" elaborates an alternative interpretation of such leadership, describing Eisenhower not merely as a “hidden-hand” president, but also as a visible one at the head of a well-managed team. It is a concise portrait of one of America’s most important and talented leaders, and a case study in sound leadership.

One can approach the notion of otherness or alterity in various ways: politically, aesthetically, ethically, culturally, religiously and sexually. Writing in Saylor.org, Lilia Melani defined the other as an individual who is perceived by the group as not belonging, as being different in some fundamental way. Any stranger becomes the Other. The Other in a society may have few or no legal rights, may be characterized as less intelligent or as immoral, and may even be regarded as sub-human. The collection of essays ‘Notions of Otherness’ addresses many of these approaches as ways of interrogating how varied yet how similar they are in relation to the individual literary texts.

In April 1968, ten months after the Arab defeat of the 1967 June War, Aref El-Rayess’s Dimaʾ wa Hurriyya (Blood and Freedom) opened to the public in the exhibition hall of the L’Orient newspaper headquarters in Beirut, Lebanon. The 5th of June, or, The Changing of Horses, a realist mural painting on canvas, was the exhibition’s centerpiece. With this artwork, El-Rayess declared his commitment to national liberation and socialist revolution. The Changing of Horses was presented and received as an allegory of political commitment, but the slips, silences, and repetitions in the public reception point to its excessive, disturbing, and fundamentally uncanny character. In Commitment in the Artistic Practice of Aref El-Rayess, the first comprehensive study of the work, Natasha Gasparian weaves together a social art history from the artist’s writings, exhibition reviews, guestbook comments, personal correspondences and testimonies, as well as social, political, and aesthetic shifts, particularly as they related to the debates on commitment (iltizam) in the aftermath of the June 1967 war. By attempting to reconstruct this history of the artwork and tracing the caesuras in the discourse around it, Gasparian exposes the social antagonism that is repressed and obfuscated in the idealized narrative sustained by El-Rayess and his audiences. She argues that the oversight in the reception—the critics’ and audiences’ inability to see—attests to the delay in grasping the work historically and signals its avant-gardism.

“The Domains of Identity” defines sixteen simple and comprehensive categories of interactions which cause personally identifiable information to be stored in databases. This research, which builds on the synthesis of over 900 academic articles, addresses the challenges of identity management that involve interactions of almost all people in almost all institutional/organizational contexts. Enumerating the sixteen domains and describing the characteristics of each domain clarifies which problems can arise and how they can be solved within each domain. Discussions of identity management are often confusing because they mix issues from multiple domains, or because they try unsuccessfully to apply solutions from one domain to problems in another. This book is an attempt to eliminate the confusion and enable clearer conversations about identity management problems and solutions.

The book discusses so-called real socialism and offers an alternative conceptualization of it as authoritarian collectivism, making use of an analytical methodology, as well as dwelling on its genesis, development and demise. The political dimension stands out in the conceptual articulation, with ‘democratic centralism’ and the prominence of the Communist Party, working from the top down, hierarchically. The book concentrates on the principles of ‘real socialism’, particularly in the Soviet Union but also globally, analysing also its present embrace of capitalism, particularly in China, but also elsewhere, taking account of how these political principles remain however in place today.

This book is about the presence of music in novels. More specifically, it is about music in the early modern novel, with an emphasis on seventeenth-century musical prose from The Netherlands. It is remarkable that up until now the presence of musical elements in prose works from earlier centuries received almost no attention from academic researchers. This essay provides a concise and an accessible introduction into the subject. It presents an exploration of the role and function of musical elements in seventeenth-century Dutch prose fiction and at the same time offers an overview of this compelling and fascinating new musical-literary territory.

'Dispossession and the Making of Jedda (1955)' newly locates the story of the genesis of the iconic 1955 film ‘Jedda’ (dir. Chauvel) and, in turn, ‘Jedda’ becomes a cultural context and point of reference for the history of race relations it tells. It spans the period 1930–1960 but is focused on the 1950s, the decade when Charles Chauvel looked to the ample resources of his friends in the rich pastoral Ngunnawal country of the Yass Valley to make his film. This book has four locations. The homesteads of the wealthy graziers in the Yass Valley and the Hollywood Mission in Yass town are its primary sites. Also relevant are the Sydney of the cultural and moneyed elites, and the Northern Territory where ‘Jedda’ was made. Its narrative weaves together stories of race relations at these four sites, illuminating the film’s motifs as they are played out in the Yass Valley, against a backdrop of Sydney and looking North towards the Territory. It is a reflection on family history and the ways in which the intricacies of race relations can be revealed and concealed by family memory, identity and myth-making. The story of the author, as the great granddaughter, great-niece and cousin of some of those who poured resources into the film, both disrupts and elaborates previously ingrained versions of her family history.

The book sets out a prospectus for a new form of civilization patterned at every level to serve and sustain the biosphere. Starting with the deep philosophical flaw at the core of modernity, namely that the cosmos is devoid of ends of its own, it posits, as an alternative axis for civilization, that the cosmos indeed actively seeks its own existence, and that its self-realization is moreover internally structured via an impulse, amongst finite things, towards co-generativity. Termed ‘Dao’ in ancient China and often coded as Law in Indigenous and First Nations cultures, this innate template is here taken as a first principle for economic production in contemporary societies: basic modes of economic production must transition from antagonistic to synergistic – to a specifically biological form of synergy which involves not merely the imitation of natural systems but active collaboration with them. The fact that this first principle is so philosophically alien to the Western mind-set while yet finding strong resonances with Chinese tradition, might encourage China, as an emerging great power, to lead the world in crafting a contemporary form of civilization that is true to Dao.

Shakespeare’s Comedy of Errors: A Psycho-Semiotic Analysis uses semiotics along psychoanalytic to offer a granular analysis of one of Shakespeare’s funniest and most interesting comedies. It is distinctive in that it offers a discussion of the basic techniques found incomic literature of all kinds and applies these techniques to events in the play. It also offers a discussion of the basic theories of humor and a syntagmatic and paradigmatic analysis of the play.