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Crime Fiction in the Age of #MeToo presents a compelling and timely fourth-wave feminist reading of crime fiction in the age of #metoo.

Explorations in Twentieth-Century Theology and Philosophy is a collection of studies of the thought of Evelyn Underhill, Dorothy L. Sayers, C. S. Lewis, Austin Farrer, Simone Weil, and others by a leading contemporary theologian.

Travel Writing in an Age of Global Quarantine is an anthology of travel accounts, by a diverse range of writers and academics. Challenging conventional academic ''authority'', each contributor writes, from memory during the Covid-19 lockdown, about a place they have previously visited, ''accompanied'' by an historical traveller who published an account of the same place. As immobility is forced upon us, at least for the immediate future, we have the chance to reflect. Travel Writing in an Age of Global Quarantine presents opportunities to approach a text as a scholar differently. We break with the traditional academic ''rules'' by inserting ourselves into the narrative and foregrounding the personal, subjective elements of literary scholarship. Each contributor critiques an historical description of a place about which, simultaneously, they write a personal account. The travel writer, Philip Marsden, posits a fundamental difference between traditional ''academic'' writing and travel writing in that travel narratives do not, or ought not anyway, begin by assuming a scholarly authoritative understanding of the places they describe. Instead, they attempt to say what they found and how they felt about it. The very good point we think Marsden makes, and the one this book tries to demonstrate, is that, as a matter of form, the first-person narrative has the ability to expose the research process: to allow the reader to see when and how a scholarly transformation takes place; to give the scholar the opportunity to openly foreground their own subjectivity and say ''this is the personal journey that led me to my conclusions''; to problematize the unchallenged authority of the scholar. Travel Writing in an Age of Global Quarantine challenges the idea of scholarly authority by embracing the subjective nature of research and the first-person element. We address a problematic distance between travel writing practice and travel writing scholarship, in which the latter talks about the former without ever really talking to it. Defining travel writing as a genre has often proved more difficult than it might seem, but Peter Hulme has suggested that it is ethically necessary for the writer to have visited the place described. Hulme asserts that ''travel writing is certainly literature, but it is never fiction''. If this seems obvious, Travel Writing in an Age of Global Quarantine asks the reader to consider the idea that if visiting the place described is necessary for the writer to claim they have produced a travel account, might it also be necessary, or at least advantageous and valuable, for the writer of a scholarly critique of that account to have done the same.

The Identity Politics of Postcolonial Feminism provides an original analysis of the conceptual categories of essentialisms (situated and strategic) and the politics of location evoked and practised by five hyphenated South Asian postcolonial feminists in the contemporary Anglo-North-American academy: Himani Bannerji, Inderpal Grewal, Chandra Talpade Mohanty, Sherene H. Razack and Gayatri Chakravorty Spivak.

Trade unions are central to Australian social, economic and political life. They are the largest voluntary organisations in the country, are a significant presence in political life, and, as workplace organisations, are often the only effective vehicle to give voice to working people. Their role is nevertheless under serious challenge, with low and declining union density and shrinking coverage of collective bargaining. Controversies surrounding several union officials have called into the question the legitimacy of trade unions. And for some governments, trade unions are not social partners but rather targets of restrictive legislation. Despite these tensions, there has yet to be a broad and systematic scholarly engagement with the challenge to the centrality of trade unions in Australian social, economic and political life. Existing literature tends either to examine trade unionism from an historical perspective or to focus upon the regulation of the role of unions in the workplace. This book aims to fill this gap by bringing together leading scholars in industrial relations, law, political science and political philosophy to critically assess the role of Australian trade unions. In doing so, it is organised according to two themes. First, the book examines the democratic role of trade unions as representatives of working people and addresses issues such as economic democracy and the rule of law in the workplace, political funding and trade agreements. Second, the book examines the social justice role of trade unions in providing a countervailing force to employer power including in relation to precarious work, the ''gig'' economy, labour migration and the pressing global challenge of climate change. The concluding contribution weaves these two themes of democracy and social justice together in proposing a democratic socialist vision of trade unions and labour law.

Raymond Federman (1928-2009) is known as a scholar of Samuel Beckett, postmodern theorist and avant-garde novelist. Like Beckett, he was also a self-translator, though unlike Beckett his first language was French and he composed his most significant works in English. In this sense, he took Beckett's journey in reverse. Federman's life was, in many ways, a Beckettian journey. He escaped deportation to Auschwitz, where all of his immediate family perished, thanks to his mother pushing him into a closet. Years of lonely wandering followed. Federman explicitly describes his own life in Beckettian terms, and his postmodern novels are thick with intertextual references, with Beckett as the main source. This book offers the first examination of these references, in light of Federman's contribution to critical theory. This study is focused on Federman's most significant novels, published between 1971 and 1982: Double or Nothing, Amer Eldorado, Take It or Leave It, The Voice in the Closet/La voix dans le cabinet de dbarras and The Twofold Vibration. Federman's two tongues make for a doubled discourse, one in which the boundaries between English and French become porous. He uses fragments of Beckett, Joyce and others (including French poststructuralists) to undermine the gendered identity of his own autobiographical creations. Federman's use of Beckett, his intertextual strategies and choices, highlight the queer potential of his master's work.The Raymond Federman who passed away in 2009 was a beloved teacher, husband and father. This book is not about him. The characters, or rather creatures, in the first cycle of Federman's novels are incapable of successfully inhabiting what Federman calls social reality. They are condemned to return ceaselessly to the closet, the site of their traumatic rebirth. The importance of the closet has been addressed in previous studies of Raymond Federman and is many times acknowledged and discussed by the author himself. This study demonstrates, through close reading and intertextual analysis, the importance of a second closet, one explicitly linked to queer identity. The homoeroticism present in Federman's seventies novels is largely determined by the author's relationship to Beckett. By guiding the reader through Federman's intertextual peregrinations, this book explores his remarkable relationship with Sam.

The diverse essays in this book reflect Jonathan Steinberg''s methodological pluralism and insatiable curiosity for historical questions which cross disciplinary and geographical boundaries. Animating students, colleagues, friends and wider audiences with his enthusiasm for ''thinking about the past'' was his vocation, one that he pursued with unmatched enthusiasm. Through this collection of essays, the book hopes to convey something of the intellectual range, analytical purchase and moral purpose of his historical writing and teaching. One feature of Steinberg''s inspiring and charismatic lectures was his unique ability to combine an analysis - always fresh, never pre-cooked - of big historical structures and trends with an acute awareness of the importance of individual personalities. Jonathan Steinberg also believed in contingency, the importance of chance, and was keen to reject any form of historical determinism. The third salient feature of his work was his sense of moral purpose. He understood history as a hermeneutic science and was appropriately cautious about the epistemological status of historical claims, but he nevertheless saw the correctness of historical arguments and the probity of historical claims to be moral as well as empirical questions. His ethical sensibilities, his openness to interdisciplinary work and the humane and nuanced understanding of human motivation equipped him to tackle some of the most difficult subjects of nineteenth- and twentieth-century European history.

There is a fundamental mismatch between the global trade rules as they govern international economic behaviour and the political economic factors influencing domestic policy making. It comes as no surprise, therefore, that the multilateral trading system is in crisis. Countries are increasingly turning to bilateral and regional (and mega-regional) trade deals to push forward their trade agenda. There is far less consensus around these next-generation trade agreements which reach into every aspect of domestic policy-making. At this time, more than ever, policy-makers, treaty negotiators, and scholars and students of international law need to understand the ways in which this growing regime of international trade and investment impacts regulatory decisions. This book demonstrates how seemingly disparate spheres of legal theory and practice (investment incentives, patent protection, land reform, etc.) are all linked together through the lens of international trade and investment, while also offering solutions in the form of new negotiating texts and country examples as a way forward toward a new multilateral trade and investment regime. Furthermore, each chapter identifies the regulatory challenges facing countries.

Contemporary understandings of inter-generational relations assume that the balance of power has shifted from adults towards children in recent years. The rise of children's rights, the trend towards more child centred pedagogies and practices within schools and the incorporation of children within a global free market as consumers have all been interpreted as the loss of adult power and the consequent growth of kid power. This book critically examines these ideas and reframes the zero-sum conceptions of power implicit within these assumptions. It draws on Lukes' three dimensions of power and Foucault's theory of power and knowledge in advancing the view that kid power is inter-generational, multi-dimensional and distributed variably across the child population. The book illustrates this theory through selected themes, including children's political activism with respect to climate change, the varied roles that children play within their families as mediators, the involvement of children in research and the rise of digital kid power.In a post-script, the theory of kid power within the current context of the global Covid-19 pandemic is examined. This final part of the book questions what the impact of the virus will be on the different manifestations of kid power and considers the implications of lockdowns and potential long-term social distancing measures for inequalities, inter-generational relations and our interpretation of kid power.

This book looks at contemporary Gothic cinema within a transnational approach. With a focus on the aesthetic and philosophical roots which lie at the heart of the Gothic, the study invokes its literary as well as filmic forebears, by exploring how these styles informed strands of the modern filmic Gothic: the ghost narrative, folk horror, the vampire movie, cosmic horror and finally, the zombie film. In recent years, the concept of transnationalism has 'trans'-cended its original boundaries, perhaps excessively in the minds of some. Originally defined in the wake of the rise of globalisation in the 1990s, as a way to study cinema beyond national boundaries, where the look and the story of a film reflected the input of more than one nation, or region, or culture. It was considered too confining to study national cinemas in an age of internationalization, witnessing the fusions of cultures, and post-colonialism, exile and diasporas. The concept allows us to appreciate the broader range of forces from a wider international perspective while at the same time also engaging with concepts of nationalism, identity and an acknowledgement of cinema itself. It also facilitated studies to focus on notions of hybridity where terms were not fixed but were constantly shifting and mobile.The central idea of the book is that after horror/Gothic film was dragged into disrepute by the rise of torture porn and endless North American remakes, a set of international filmmakers are seeking to emphasize the aesthetic, artistic and philosophical potential of the Gothic. Such filmmakers include Guillermo del Toro (Crimson Peak), Ana Lily Amirpour (A Girl Walks Home Alone at Night), Park Chan-wook (The Handmaiden, Stoker), Tomas Alfredson (Let the Right One In), Wim Wenders (Only Lovers Left Alive), Ben Wheatley (A Field in England), Jane Campion (Top of the Lake), and Carol Morley (The Falling).Although written in an accessible manner, the book incorporates theory and engages extensively into research to tap into key developments in Gothic studies - transnationalism, fandom and genre fiction, and transmedia exchanges - bringing these together along with popular culture and associated phenomena.

The second of two volumes on dignity, Law and Religious Liberty focuses on the connection between human dignity and positive law, oriented around the central question, ¿What role should dignity play in the development of legislation and the adjudication of disputes involving religious freedom?¿

The second of two volumes on dignity, Law and Religious Liberty focuses on the connection between human dignity and positive law, oriented around the central question, "What role should dignity play in the development of legislation and the adjudication of disputes involving religious freedom?"

The present book provides a comparative ten-step model for revolutions and will show that these must be considered a global phenomenon of modernity.

Creativity and The Paris Review Interviews: A Discourse Analysis of Famous Writers' Composing Practices centers around a thematic discourse analysis of a 2000-page corpus of Paris Review interviews, focusing on the creative processes of some of the world's most famous fiction-writers and poets. The discourse analysis traces elements of the paradigmatic creative-process model--first insight, preparation, incubation, insight, verification--through the focal artists' descriptions of their composing practices as embedded in the interview transcripts. That analysis also reveals multiple and significantemergent themes germane to fiction and poetry writing. The ultimate goal of this analysis is to identify patterns relevant to the aforementioned creative-process elements and themes that are suggestive of specific strategies writers can employ to facilitate their own composing acts--whether fictional, poetic, or expository. Such findings will also benefit teachers seeking to facilitate student success in the composition classroom. Applications to expository writing are bolstered by a thorough treatment of scholarship on intersections between creativity theory and composition theory. This book is informed by four critical premises, each of which is explicitly addressed: All writers can learn valuable creative and composing practices from studying and experimenting with the creative and composing practices of other writers; The collection of Paris Review interviews is a respected and uniquely illuminating repository of specifically documented creative practices and experiences of the world's most accomplished writers; Systematic, empirical analysis of these interviews reveals distinct patterns in the creative practices and experiences that the authors credit as being relevant or crucial to their success; These patterns of practice and experience point to potentially fruitful strategies for facilitating successful composing acts in established and developing writers. In examining and supporting these premises, author Ronda Leathers Dively employs various scholarly lenses from a number of disciplines--most significantly rhetoric and composition, psychology, and education. The findings of the analysis are supported by raw quantitative data (in the form of total "hits" establishing the strength of given themes) and illustrative qualitative data (in the form of direct quotes and paraphrases exemplifying these themes). In addition to the sheer pleasure and fascination derived from reading about famous authors' reflections on the creation of their masterworks, this book provides a catalog of specific environmental conditions, behavioral routines, and cognitive practices that can productively expand the repertoires of writers and writing teachers alike. Individual writers might tap these techniques in the quest to invigorate their own writing production while writing teachers might tap them for fresh approaches to sparking their students' excitement about writing and confidence in their composing abilities.

This book studies Bob Dylan¿s album Time Out of Mind as a series of dreams. These dreams work on three distinct levels: as murder ballads about a killer awaiting execution, as religious allegory about a protagonist torn between salvation and damnation, and as meditation on race and music in America.

The Anthem Companion to Philip Selznick is a collection of essays by renowned authors on the preeminent sociologist.

Portuguese and Amsterdam Sephardic Merchants in the Tobacco Trade is a history of the role of Portuguese and Sephardic merchants in the tobacco industry and trade of Amsterdam. It focuses on the contraband trade with Tierra Firme and Hispaniola in the early seventeenth century as documented in the Engel Sluiter Historical Documents Collection. The Engel Sluiter Historical Documents Collection is a unique archival collection for the purpose of research on the territorial conflict between the Spanish Habsburg Empire and the Dutch Republic in the context of the Eighty Years' War (1568-1648). Sluiter collected documents from archives around the world with a focus on trade and fiscal records which document the rise to commercial prominence of the Dutch Republic, the intricacies of Spanish and Portuguese trade and navigation, and the Contaduria which report revenues and expenditures of the Spanish Crown along with import and export duties. The documents in the collection relate mainly to Dutch, Spanish and Portuguese trade affairs in Europe and Spanish and Portuguese overseas territories but include references to English and French accounts of payments to Spain as well. The majority of the documents are in Spanish, transcribed, translated in English, and provided with notes by Engel Sluiter himself. The Caribbean Collection, including Tierra Firme and Hispaniola, contains documents on Dutch mercantile trade practices - mostly smuggling as Spain and the Dutch Republic were at war with each other - and Spanish trade regulations and efforts to block foreign access to trade goods. We thus learn a great deal about foreigners involved in illegal trade in which capture, corruption and bribery played an important role in particular with respect to the tobacco trade which was highly regulated under Spanish rule.Sometimes, when foreign vessels were captured and hauled into port, mariners or merchant smugglers were reported by name and port of origin and voyage details were recorded. We thus gain insight into the specifics of the merchants and their trading networks as well as the goods being smuggled. Concern about tobacco smuggling is referred to in several of the reports and resulted in plans to prohibit tobacco cultivation or allow cultivation with royal permission only. In several instances recommendations were made to undermine smuggling activities in specific coastal regions where tobacco cultivation occurred and where frequent contacts were made between Dutch mariners and merchants and coastal populations including Amerindians, Creoles, runaway Blacks and "e;Portuguese"e; present in coastal areas. Spanish documents display a concern about "e;Portuguese"e; in coastal areas as they were associated with Conversos, New Christians who often served as go-between in trade and finance in the Spanish Habsburg Empire. The same group was often thought to be in contact with English, French and Dutch smugglers, and the records suggest that Portuguese merchants were engaged in trade with Bayonne, London and Amsterdam through merchant networks that had been expanded and extended throughout the Atlantic world.

The Colombian Gothic in Cinema and Literature traces the aesthetic and political development of the Gothic genre in Colombia. Drawing on works like Jose Asuncion Silva's poetic "e;Nocturnos,"e; Caliwood's films and Mario Mendoza's novels, Gabriel Eljaiek-Rodriguez shows how Gothic tropes appear in the works of Colombian writers and filmmakers. However, he argues that what results ultimately is not just the Gothic in Colombia, but rather the Colombian Gothic-a new form of the genre with its own agenda and aesthetics.To identify a form of the Gothic as "e;Colombian"e; is, in one sense, to demonstrate how thinkers from that nation have reconfigured and laid claim to tropes often regarded as the purview of Europe and the US. The Colombian Gothic pays homage to but also pokes fun at the Gothic of figures like Poe, Bronte, Hawthorne and Stoker. In the hands of Colombian writers and filmmakers, Gothic tropes are taken to their extremes to reflect particularly Colombian issues, like the ongoing armed conflict in the country since the 1950s as various left wing guerillas, government factions and paramilitary groups escalated violence. In this Colombian Gothic, traditional tropes like distorted familial relations appear as open fratricide and incest. Such transformations address the real-life horrors of violence wrought within the supposed protections of shared nationality.In another sense, the Colombian Gothic does not just define itself apart from the US and European Gothics-it also challenges the centrality of Bogota-centered perspectives of Colombian politics and conflict. By the 1970s and 1980s, cities such as Cali suffered particularly extreme levels of violence, when the war among the drug cartels added another layer to the already complicated conflict. At the same time, Cali had one of the strongest filmmaking traditions in the country. The "e;Cali group"e; of writers and filmmakers seized the Gothic to challenge not just Europe and the US as the centers of the genre, but also to challenge Bogot as the center of the country-and as the most "e;logical"e; place to set a Gothic narrative with its colder, gloomier, darker urban ambience. The Colombian Gothic of Cali addresses the topics of conflict, but within an unapologetically tropical setting that reflects the hotter climate in the region surrounding Cali. The effort of these Cali-based writers and filmmakers became so dominant in shaping the Colombian Gothic that the twenty-first-century Colombian Gothic-now mainly composed in Bogot-follows the lead of these creators, continuing to create a Gothic that uniquely reflects the aesthetics and politics of Colombia.

Central to any interpretation of Wittgenstein's later philosophy is an understanding of his philosophical method and the nature of the turn which characterises the evolution from his early to his later work. In the essays in Wittgenstein, Scepticism and Naturalism, Marie McGinn argues that the methodological shift has at its heart a highly distinctive form of naturalism. This form of naturalism has nothing to do with the kind of scientific naturalism that is associated with accounting for all phenomena in terms of the conceptual resources of the natural sciences. It is closer to the Aristotelian naturalism defended by John McDowell, although, in Wittgenstein's case, the principal influence is Goethe, whose conception of how to understand the phenomena of nature is self-consciously opposed to the reductive approach of scientific naturalism. Goethe places the emphasis on achieving a clarified view of complex, natural phenomena in their natural setting, with a view to describing patterns and connections that are in plain view. The novelty of Wittgenstein's later work is that it applies these methods to the task of conceptual clarification, which aims at dissolving philosophical problems and paradoxes.The essays in Wittgenstein, Scepticism and Naturalism cover the following topics: scepticism about the external world; scepticism about other minds; knowledge and belief; meaning and rule-following; psychological states and the distinctive first-person use of psychological concepts; the relation between the early and the later philosophy; and the nature of Wittgenstein's naturalism.

Self-Presentation and Self-Praise in the Digital Workplace presents the findings of an interdisciplinary study of the 'self-entrepreneurial self' and, in particular, the rationale behind its need to self-present under the current socio-economic and business conditions. It addresses the complex landscape of the levels, typologies, categories, triggers, as well as both internal and external factors impacting self-praise in the context of a digital workplace (with the focus on enterprise social media) and professional networking platforms. In order to reflect the complexity of the topic at hand and interconnectivity of the constructs addressed, insights from such fields as socioeconomics, sociology, social psychology (specifically identity studies), software and services (IT sector), business intelligence and business analytics, digital media communication, organisational behaviour or corporate communication are thus combined with a mixed qualitative-quantitative methodological approach utilised to provide an in-depth exploration of the evolving constructs.From the broader socio-economic perspective of hyper globalisation, the impact of the neoliberalism economy on workplace relations, and ultimately on employee behaviour, are considered first to lay the background and introduce the relevant concepts.Self-presentation and in particular self-praise are considered in their multiple forms against the backdrop of precarious work relations dictated by neoliberalism, leading, among other things, to self-exploitation, but also to putting self-interest above anything else.The focus is placed on the triggers and manifestations of the social self (how a person thinks the others perceive them) and the situational self (a person's self-image in a specific situation) in the digital workplace, where individual (cultural) values are frequently overridden by those dictated by a given corporate culture, as aligned with the prevailing market conditions. These in turn impact workplace or employee identity.This exploratory and explanatory study contributes to a rather limited number of research endeavours on self-praise, conducted within narrow disciplines and specific frameworks, with the particular research gap being a lack of studies on self-presentational and self-praise activities in the corporate environment, which can primarily be observed in the virtual context of enterprise social media (ESM) and such tools of remote communication as conference calls or collaboration software, but also on professional networking platforms. Here situational antecedents (broadly what occurred before) and the audience (with their reactions) to such self-promotional activities serve as main prerequisites, thus completing the frame of analysis.

In 1887, following several years' imprisonment for his role in the People's Will terrorist group, Ivan P. Iuvachev was exiled with other political prisoners to the notorious Sakhalin penal colony. The penal colony emerged during the late 1860s and 1870s and collapsed in 1905, under the weight of Japan's invasion of Sakhalin. The eight years between 1887 and 1895 that Iuvachev spent on the island were some of the most tumultuous in the penal colony's existence. Originally published in 1901, his memoir offers a first-hand account of this netherworld that embodied the extremities of tsarist Russian penality. A valuable historical document as well as a work of literature testifying to one man's ability to retain his humanity amid a sea of human degradation, this annotated translation marks the first time Iuvachev's memoir has appeared in any language besides Russian.Iuvachv describes both colorfully and with journalistic objectivity fellow political prisoners as well as criminal exiles, corrupt prison wardens, well-intentioned administrators, and island aboriginals. As such, he is able to bring to life the many characters whose fate it was to live on Sakhalin, where, he writes, "e;This Sakhalin kaleidoscope is so complex in consistency it will hang before my eyes my entire life."e; A man of many talents, Iuvachv was employed by the island administration as a surveyor, navigator, hydrologist, meteorologist, engineer, choir director, and interior designer. He describes all these employs in detail and with humility. Dispatched as well on expeditions through the Tatar Strait and the Sea of Japan, he saw much of the region, and his observant eye and knowledge of nature allows him to paint wonderful portraits of the region's flora, fauna, and natural wonders.This book captures Iuvachv's wit, style, and sense of wonder, and has an introductory essay, explanatory notes, and a brief biography. The result is a comprehensive work that will prove especially useful to students of Russian and European history and literature, but that should also interest any reader desiring an inspiring story of one man's survival against the odds.

Kunqu is among the oldest and most refined traditions of the family of genres known as xiqu (music-drama or ¿Chinese operä). This book consists of translated performer narrations that illuminate how one of the major Chinese theatrical forms has been taught and transmitted over the past century.

It has been suggested that, if CARICOM nations wish to accelerate their development, they should embrace laissez-faire economic policies. However, laissez-faire economic policies have reinforced the very economic and social structures that have contributed to their low level of development; furthermore, laissez-faire economic policies ignore social attitudes that can greatly influence a nation's development. Moreover, low-skilled labor-intensive production processes, which once propelled growth in CARICOM nations, will no longer perform a similar role because production processes are becoming more and more knowledge-skills intensive, and nations wishing to attract foreign manufacturing investment or high-tech services may not be able to do so without an adequate pool of the necessary knowledge skills. CARICOM nations must therefore try to accumulate a pool of knowledge skills that can help their economies become internationally competitive.

The book explores and analyses the five dimensions of project management and explores how current trends can influence the efficiency of the design and construction process within a dynamic industry and changeable political and regulatory environment.

Lahore's Mayo School of Arts, as the National College of Arts (NCA) was called then, was Pakistan's equivalent of London's South Kensington School of Design (presently Royal College of Art, UK). One of the last of the four colonial art schools established in India, the others being in Calcutta, Bombay and Madras, the Mayo School of Arts was founded in 1875 to perpetuate the memory of the Lord Earl of Mayo, the only Indian Viceroy to be murdered while in office. Established by Rudyard Kipling's father Lockwood Kipling, the school had on its staff some of the most renowned names in the Indian art world, such as Ram Singh, Percy Brown, Lionel Heath, S. N. Gupta, B. C. Sanyal and A. R. Chughtai. The Mayo School gave birth to the most celebrated Indian art historical publication in the world, the Journal of Indian Art and Industry. The journal ran 30 illustrated volumes published by London's Imperial Publishers using the most advanced techniques of chromolithography. The pioneers of colonial anthropology in Punjab, the fabled "e;men on the spot,"e; such as Richard Temple, Denzil Ibbetson and Baden Powell, were associated with the establishment and administration of the Mayo School of Arts. They played a foundational role in the ethnographic reconstruction of artisan castes as suitable boys of "e;primitive"e; tribal Punjabi society through administrative reports, exhibition catalogues and gazetteer literature. Constituting the colonial cultural subtext to art education, the colonial discourses provided necessary anthropological foundations for the education of the "e;primitive"e; artisans in the industrial art schools of Punjab. Through its pedagogy, the Mayo School also framed the emergence of the Indo-Saracenic school of architecture and patronized the traditional styles of paintings in Punjab.Despite its strong industrial art agenda, in the early decades of the twentieth century, the Mayo School of Arts was able to give the Indian art world a Punjab School of modern painting. Officially acknowledged in the British Indian Empire Exhibition of 1924, the Punjab School stood apart from the Calcutta School of Indian paintings and comprised largely of drawing masters of the Mayo School. Lionel Heath, a European miniaturist, whose career as the Principal of the Mayo School is overshadowed by his equally illustrious predecessors, was responsible for Mayo School's drift into modern art. Printmaking, graphic design and sculpture made their beginning in the 1930s at the Mayo School under B. C. Sanyal and M. M. Hussain. A. R. Chughtai, one of the most illustrious painters and printmakers of the Punjab School, learnt his skills as a printmaker from the Mayo School. The Mayo School of Art's printing press designed, lithographed and printed hundreds of posters, invitation and greeting cards, calendars, illustrated educational texts, including war publicity posters, by drawing on all the major Western art movements from Arts Nova to Art Deco and Bauhaus.In the founding decades of Pakistan, to mark the cultural transition from a colonized to an independent national identity, the "e;old"e; Mayo School was reorganized and raised as the National College of Arts in 1958. To reflect its role in developing national culture and imparting professional visual art education, the NCA was established on the model of Bauhaus with three main departments in fine art, design and architecture. Some of the most important men in Pakistan's cultural history, such as poet Faiz Ahmed Faiz, painter Shakir Ali, art patron Ghulam Mueenuddin and American sculptor Mark Sponenburgh h,ave been associated with the development of the NCA as the aesthetic center of fine art and design in Pakistan.

The Dancing Body in Renaissance Choreography is a study of the theory of kinetic theatricality in the western European context. The dancing body of courtly social dance is analyzed in French and Italian dance treatises of the Renaissance through the intertexts of oratorical action, pedagogical discourses of civility and conceptions of value emanating from descriptions of social interaction in courtesy books.