This collection of eighty-nine letters written by Parisian and other European map publishers to the London map firm of Jefferys & Faden represents one of the few business archives left to us from the eighteenth-century map trade. Thomas Jefferys (c.1720-1771) and William Faden (1749-1836) both enjoyed the title of 'Geographer to the King of England' and were well respected by other geographers of the period. Like many of his contemporaries in the map trade, Jefferys had difficulty making a financial success of his map business; his successor Faden, by contrast, was able to expand the firm into a flourishing business which continued well into the nineteenth century. Their correspondents included important European map and print publishers such as Covens & Mortier in Amsterdam and Lattre, Julien and Desnos in Paris, as well as the French geographers d'Anville and Robert de Vaugondy. Other persons mentioned in the correspondence provide links between Faden's London firm and the Depot de la Marine, the French Navy's cartographic department, an important connection in the tumultuous decade of 1773-1783 when England found itself at war with France in North America, in the English Channel, and in India. The letters also provide a detailed view of the costs of doing business - prices, discount, payment, schedules and methods, shipping costs and arrangements- in the last quarter of the eighteenth century and further increase our knowledge of the economics of map production and sales in this period. The letters are now in the Manuscript Division of the William L. Clements Library at the University of Michigan. In this edition they have been transcribed and fully annotated and are preceded by an introduction placing the correspondence in the context of the print and book trade and the role of cartography in eighteenth-century politics.

This articles collected in this volume explore aspects of Andre Morellet's productive and representative career in the republic of letters before, during, and after the French Revolution. The topics covered include: his reliance on the principle of order in his writings in many formats and on many subjects; his reflections on culture, society, and politics during his five months among the English in 1772; his conception of economics as a science based on the methods and objectives endorsed by the philosophes; his use of letters to editors to persuade the literate public to embrace the cause of reason and reform; his public responses to Chateaubriand's published criticisms of the Enlightenment; and his compilation and modification of his own literary and philosophical works late in life. The collection also includes additions and corrections to the recently published edition of Morellet's letters to friends, relatives, colleagues, and patrons.

This study of what Brian Norman terms a neo-segregation narrative tradition examines literary depictions of life under Jim Crow that were written well after the civil rights movement. From Toni Morrison's first novel, The Bluest Eye, to bestselling black fiction of the 1980s to a string of recent work by black and nonblack authors and artists, Jim Crow haunts the post-civil rights imagination. Norman traces a neo-segregation narrative tradition one that developed in tandem with neo-slave narratives by which writers return to a moment of stark de jure segregation to address contemporary concerns about national identity and the persistence of racial divides. These writers upset dominant national narratives of achieved equality, portraying what are often more elusive racial divisions in what some would call a postracial present. Norman examines works by black writers such as Lorraine Hansberry, Toni Morrison, Alice Walker, David Bradley, Wesley Brown, Suzan-Lori Parks, and Colson Whitehead, films by Spike Lee, and other cultural works that engage in debates about gender, Black Power, blackface minstrelsy, literary history, and whiteness and ethnicity. Norman also shows that multiethnic writers such as Sherman Alexie and Tom Spanbauer use Jim Crow as a reference point, extending the tradition of William Faulkner's representations of the segregated South and John Howard Griffin's notorious account of crossing the color line from white to black in his 1961 work Black Like Me.

French North America in the Shadows of Conquest is an interdisciplinary, postcolonial, and continental history of Francophone North America across the long twentieth century, revealing hidden histories that so deeply shaped the course of North America. Modern French North America was born from the process of coming to terms with the idea of conquest after the fall of New France. The memory of conquest still haunts those 20 million Francophones who call North America home. The book re-examines the contours of North American history by emphasizing alliances between Acadians, Cajuns, and Quebecois and French Canadians in their attempt to present a unified challenge against the threat of assimilation, linguistic extinction, and Anglophone hegemony. It explores cultural trauma narratives and the social networks Francophones constructed and shows how North American history looks radically different from their perspective. This book presents a missing chapter in the annals of linguistic and ethnic differences on a continent defined, in part, by its histories of dispossession. It will be of interest to scholars and students of American and Canadian history, particularly those interested in French North America, as well as ethnic and cultural studies, comparative history, the American South, and migration.

"In lively and unflinching prose, Eric Cazdyn and Imre Szeman argue that contemporary thought about the world is disabled by a fatal flaw: the inability to think "an after" to globalization. After establishing seven theses (on education, morality, history, future, capitalism, nation, and common sense) that challenge the false promises that sustain this time-limit, After Globalization examines four popular thinkers (Thomas Friedman, Richard Florida, Paul Krugman and Naomi Klein) and how their work is dulled by these promises. Cazdyn and Szeman then speak to students from around the globe who are both unconvinced and uninterested in these promises and who understand the world very differently than the way it is popularly represented. After Globalization argues that a true capacity to think an after to globalization is the very beginning of politics today"--

The anthology of essays & some one-liners laid out in this book are nothing more than the author's perceptions on how he looks at things or wants people to believe what his out-look is though that may not always be true. They should not be construed of some-one trying to sermonize or push through with his opinion of things. They are not an expert's word though someone like an expert does not really exist at all. At times the author's ideas may confuse the reader to begin with but as they say great confusion leads to great awakening. The motive of the author is not to confuse the reader but to arise doubt only to be enlightened profusely. The essays though ostentatiously named "Golden Words" may not seem that golden to some, rather they may look at it as if old wine has been packaged in a new bottle which is what basically they are. The essays range from abstract philosophical issues to some contemporary real life issues & even though they are some body's perceptions, they are open to debate. The author claims to have taken the inspiration for these pieces from his life experiences at the same time laying no claim to living life the way these pieces are propounding. Hope they make for a good reading. The author can be reached at [email protected]

How was Voltaire's legacy seen in France between 1830 and 1900? To what extent did the nineteenth century reinvent Voltaire? Viewed during these years through the distorting lens of the French Revolution, Voltaire was vilified and venerated in roughly equal measure: as an icon of republican anticlericalism on the one hand, and a deeply Christian reformer on the other. This wide-ranging study uses the rich sources of the Parisian periodical and daily press to examine the evolution of Voltaire's legacy as it was contested through caricature and statuary as much as through editions and criticism of his works.

This study examines how postcolonial landscapes and environmental issues are represented in fiction. Wright creates a provocative discourse in which the fields of postcolonial theory and ecocriticism are brought together.
Laura Wright explores the changes brought by colonialism and globalization as depicted in an array of international works of fiction in four thematically arranged chapters. She looks first at two traditional oral histories retold in modern novels, Zakes Mda's "The Heart of Redness "(South Africa) and Ngugi wa Thiong'o's "Petals of Blood" (Kenya), that deal with the potentially devastating effects of development, particularly through deforestation and the replacement of native flora with European varieties. Wright then uses J. M. Coetzee's "Disgrace" (South Africa), Yann Martel's "Life of Pi" (India and Canada), and Joy Williams's "The Quick and the Dead" (United States) to explore the use of animals as metaphors for subjugated groups of individuals. The third chapter deals with India's water crisis via Arundhati Roy's activism and her novel, "The God of Small Things." Finally, Wright looks at three novels--Flora Nwapa's "Efuru" (Nigeria), Keri Hulme's "The Bone People" (New Zealand), and Sindiwe Magona's "Mother to Mother" (South Africa)--that depict women's relationships to the land from which they have been dispossessed.
Throughout "Wilderness into Civilized Shapes," Wright rearticulates questions about the role of the writer of fiction as environmental activist and spokesperson, the connections between animal ethics and environmental responsibility, and the potential perpetuation of a neocolonial framework founded on western commodification and resource-based imperialism.

Pierre Nicole was a major figure in the Jansenist controversy in seventeenth-century France. His essays, which were widely read and appeared in various editions during his lifetime, cover a broad range of religious subjects. John Locke first came across Nicole's work during his visit to France in the 1670s, and was so struck by it that he intended to translate all the Essais de morale into English. When he had translated three of them, however he learned that the work had been done already, so he abandoned the project and presented what he had done so far to the countess of Shaftesbury, wife of his patron. Locke's translation, in a neatly written presentation copy, is now housed in the Pierpont Morgan Library in New York. The three essays that he translated - 'Discours (...) de l'existence de Dieu & l'immortalite de l'ame', 'Traite de la faiblesse de l'homme', and 'Traite des moyens de conserver la paix avec les hommes' - deal with topics that he later discusses at length in his own writings: society, morality, toleration and opinion. This volume reproduces the text of Nicole's three essays from an early edition facing Locke's deliberately free and impressionistic rendering into English, a style which he hoped might convey the sense of the author better than a literal translation. The choice of these three essays to translate first, out of the whole of the Essais de morale, and the changes that Locke made to his French original in the course of translation, illuminate our understanding of his thought and of its development.

This volume seeks to investigate how humour translation has developed since the beginning of the 21st century, focusing in particular on new ways of communication. The authors, drawn from a range of countries, cultures and academic traditions, address and debate how today's globalised communication, media and new technologies are influencing and shaping the translation of humour. Examining both how humour translation exploits new means of communication and how the processes of humour translation may be challenged and enhanced by technologies, the chapters cover theoretical foundations and implications, and methodological practices and challenges. They include a description of current research or practice, and comments on possible future developments. The contributions interconnect around the issue of humour creation and translation in the 21st century, which can truly be labelled as the age of multimedia. Accessible and engaging, this is essential reading for advanced students and researchers in Translation Studies and Humour Studies.

NihonGO NOW! Level 2 is an intermediate-level courseware package that takes a performed-culture approach to learning Japanese. This approach balances the need for an intellectual understanding of structural elements with multiple opportunities to experience the language within its cultural context. From the outset, learners are presented with samples of authentic language that are context-sensitive and culturally coherent. Instructional time is used primarily to rehearse interactions that learners of Japanese are likely to encounter in the future, whether they involve speaking, listening, writing, or reading. Level 2 comprises two textbooks with accompanying activity books. These four books in combination with audio and video files allow instructors to adapt an intermediate-level course, such as the second or third year of college Japanese, to their students' needs. They focus on language and modeled behavior, providing opportunities for learners to acquire language through performance templates. Online resources provide additional support for both students and instructors. Audio files, videos, supplementary exercises, and a teachers' manual are available at www.routledge.com/9781138305304. NihonGO NOW! Level 2 Volume 2 Activity Book provides a wealth of communicative exercises for students following the Level 2 Volume 2 Textbook.

Although there is a significant literature on the philosophy of Jacques Derrida, there are few analyses that address the deconstructive critique of phenomenology as it simultaneously plays across range of cultural productions including literature, painting, cinema, new media, and the structure of the university. Using the critical figures of "ghost" and "shadow"-and initiating a vocabulary of phantomenology-this book traces the implications of Derridean "spectrality" on the understanding of contemporary thought, culture, and experience.This study examines the interconnections of philosophy, art in its many forms, and the hauntology of Jacques Derrida. Exposure is explored primarily as exposure to the elemental weather (with culture serving as a lean-to); exposure in a photographic sense; being over-exposed to light; exposure to the certitude of death; and being exposed to all the possibilities of the world. Exposure, in sum, is a kind of necessary, dangerous, and affirmative openness.The book weaves together three threads in order to format an image of the contemporary exposure: 1) a critique of the philosophy of appearances, with phenomenology and its vexed relationship to idealism as the primary representative of this enterprise; 2) an analysis of cultural formations-literature, cinema, painting, the university, new media-that highlights the enigmatic necessity for learning to read a spectrality that, since the two cannot be separated, is both hauntological and historical; and 3) a questioning of the role of art-as semblance, reflection, and remains-that occurs within and alongside the space of philosophy and of the all the "posts-" in which people find themselves.Art is understood fundamentally as a spectral aesthetics, as a site that projects from an exposed place toward an exposed, and therefore open, future, from a workplace that testifies to the blast wind of obliteration, but also in that very testimony gives a place for ghosts to gather, to speak with each other and with humankind. Art, which installs itself in the very heart of the ancient dream of philosophy as its necessary companion, ensures that each phenomenon is always a phantasm and thus we can be assured that the apparitions will continue to speak in what Michel Serres's has called the "grotto of miracles." This book, then, enacts the slowness of a reading of spectrality that unfolds in the chiaroscuro of truth and illusion, philosophy and art, light and darkness.Scholars, students, and professional associations in philosophy (especially of the work of Derrida, Husserl, Heidegger, and Kant), literature, painting, cinema, new media, psychoanalysis, modernity, theories of the university, and interdisciplinary studies.

The Oxford University Studies in the Enlightenment series, previously known as SVEC (Studies on Voltaire and the Eighteenth Century), has published over 500 peer-reviewed scholarly volumes since 1955 as part of the Voltaire Foundation at the University of Oxford. International in focus, Oxford University Studies in the Enlightenment volumes cover wide-ranging aspects of the eighteenth century and the Enlightenment, from gender studies to political theory, and from economics to visual arts and music, and are published in English or French.

This volume illuminates the vexed treatment of violence in the German cultural tradition between two crucial, and radically different, violent outbreaks: the French Revolution, and the Holocaust and Second World War. The contributions undermine the notion of violence as an intermittent or random visitor in the imagination and critical theory of modern German culture. Instead, they make a case for violence in its many manifestations as constitutive for modern theories of art, politics, identity, and agency. While the contributions elucidate trends in theories of violence leading up to the Holocaust, they also provide a genealogy of the stakes involved in ongoing discussions of the legitimate uses of violence, and of state, individual, and collective agency in its perpetration. The chapters engage the theorization of violence through analysis of cultural products, including literature, museum planning, film, and critical theory. This collection will be of interest to scholars in the fields of Literary and Cultural Studies, Critical Theory, Philosophy, Gender Studies, History, Museum Studies, and beyond.

By tracing the traditional progression of rhetoric from the Greek Sophists to contemporary theorists, this textbook gives students a conceptual framework for evaluating and practicing persuasive writing and speaking in a wide range of settings and in both written and visual media. The book's expansive historical purview illustrates how persuasive public discourse performs essential social functions and shapes our daily worlds, drawing on the ideas of some of history's greatest thinkers and theorists. The seventh edition includes greater attention to non-Western rhetorics, feminist rhetorics, the rhetoric of science, and European and American critical theory. Known for its clear writing style and contemporary examples throughout, The History and Theory of Rhetoric emphasizes the relevance of rhetoric to today's students. This revised edition serves as a core textbook for rhetoric courses in both English and communication programs covering both the historical tradition of rhetoric and contemporary rhetoric studies. This edition includes an instructor's manual and practice quizzes for students at www.routledge.com/cw/herrick