Offers a fascinating window into how the fraught politics of apology in the East Asian region have been figured in anglophone literary fiction. The Pacific War, 1941-1945, was fought across the world’s largest ocean and left a lasting imprint on Anglophone literary history. However, studies of that imprint or of individual authors have focused on American literature without drawing connections to parallel traditions elsewhere. Beyond Hostile Islands contributes to ongoing efforts by Australasian scholars to place their national cultures in conversation with those of the United States, particularly regarding studies of the ideologies that legitimize warfare. Consecutively, the book examines five of the most significant historical and thematic areas associated with the war: island combat, economic competition, internment, imprisonment, and the atomic bombing of Hiroshima and Nagasaki. Throughout, the central issue pivots around the question of how or whether at all New Zealand fiction writing differs from that of the United States. Can a sense of islandness, the ‘tyranny of distance,’ Māori cultural heritage, or the political legacies of the nuclear-free movement provide grounds for distinctive authorial insights? As an opening gambit, Beyond Hostile Islands puts forward the term ‘ideological coproduction’ to describe how a territorially and demographically more minor national culture may accede to the essentials of a given ideology while differing in aspects that reflect historical and provincial dimensions that are important to it. Appropriately, the literary texts under examination are set in various locales, including Japan, the Solomon Islands, New Zealand, New Mexico, Ontario, and the Marshall Islands. The book concludes in a deliberately open-ended pose, with the full expectation that literary writing on the Pacific War will grow in range and richness, aided by the growth of Pacific Studies as a research area.

Offers a fascinating window into how the fraught politics of apology in the East Asian region have been figured in anglophone literary fiction. The Pacific War, 1941-1945, was fought across the world’s largest ocean and left a lasting imprint on Anglophone literary history. However, studies of that imprint or of individual authors have focused on American literature without drawing connections to parallel traditions elsewhere. Beyond Hostile Islands contributes to ongoing efforts by Australasian scholars to place their national cultures in conversation with those of the United States, particularly regarding studies of the ideologies that legitimize warfare. Consecutively, the book examines five of the most significant historical and thematic areas associated with the war: island combat, economic competition, internment, imprisonment, and the atomic bombing of Hiroshima and Nagasaki. Throughout, the central issue pivots around the question of how or whether at all New Zealand fiction writing differs from that of the United States. Can a sense of islandness, the ‘tyranny of distance,’ Māori cultural heritage, or the political legacies of the nuclear-free movement provide grounds for distinctive authorial insights? As an opening gambit, Beyond Hostile Islands puts forward the term ‘ideological coproduction’ to describe how a territorially and demographically more minor national culture may accede to the essentials of a given ideology while differing in aspects that reflect historical and provincial dimensions that are important to it. Appropriately, the literary texts under examination are set in various locales, including Japan, the Solomon Islands, New Zealand, New Mexico, Ontario, and the Marshall Islands. The book concludes in a deliberately open-ended pose, with the full expectation that literary writing on the Pacific War will grow in range and richness, aided by the growth of Pacific Studies as a research area.

Appendixes---Water Quality Vital Signs Monitoring Protocol for the Pacific Island Network

Prior to conducting field work, observers are required to review the entire water quality protocol, including all SOPs listed in this protocol. Staff experienced in conducting this water quality monitoring protocol should review the protocol at least yearly. This SOP outlines steps to prepare for field work by ensuring the availability of proper equipment prior to the start of monitoring.

Water resources in the Pacific Island Network (PACN) support rich and diverse ecosystems and aquatic communities that include corals reefs, anchialine pools communities (endemic to Hawaii), and freshwater stream communities. These water resources span a range of conditions from pristine to highly impaired water bodies. Both point and non-point sources impact the waters of many of our network parks at various locations to varying degrees. Aquatic resource protection is required by all the governments of the PACN, and water quality is widely used as an indicator of aquatic resource condition by regulators and ecologists. The United States Clean Water Act (CWA) of 1977 requires States and Territories to promulgate legally enforceable water quality standards (WQS) and lists of waters not currently meeting or expected to meet the standards. This protocol should provide the parks with some of the summary information necessary to determine their compliance with the applicable WQS in addition to providing correlative environmental data to ecologists. The water quality vital sign is closely linked with the benthic marine community, marine fish, groundwater, and freshwater animal communities vital signs, and monitoring efforts will be conducted in parallel to maximize data value. The water quality protocol will be implemented in all PACN parks. This protocol provides the methodology for addressing two monitoring questions: 1) What are the ranges and variances of the network water quality parameters within selected water bodies? 2) What are the temporal and spatial trends of the network core water quality parameters for individual water bodies or water resource types in each park?

Don't get caught out in Peru by not knowing at least a little of the local spanish slang. In this book, the most important slang words which are spoken day to day on the streets in Peru are explained in English. As an added bonus each word comes with a sample sentence in Spanish to help contextualise the use of each word. Who is this book? Anyone who wants to learn some of the Spanish slang that is used in Peru. For anyone planing to travel to Peru this book is a must have companion. Regardless of your level of Spanish, the contents of this book will give you some important words and phrases that will make your time in Peru that much more enjoyable by being able to communicate that much better with the locals. Don't go to Peru without a copy of this book.

It's summer vacation time. This is when you normally get to hang out with your friends. But this summer Ron Smith's family is moving to a new town far from his few friends. A home burglary see Ron exploring his new town far more than he envisioned. With the help of his special friend he seeks to solve the crime and save the day. But will he be able to solve the crime before it is too late? And who is his special friend? Read on to find out what happens.......

Peru has such a huge variety of fantastic food that I had to share some of these recipes. From the seafood on the coast to the meat dishes of the sierra there is a dish for everybody in Peru. There is a also and Asian influence which has lent itself to what is nowadays modern Peruvian Cuisine. This book covers starters, soups, sauces (salsas), main dishes, desserts and drinks to give you a truly Peruvian experience.

Many of today's hottest selling games--both non-electronic and electronic--focus on such elements as shooting up as many bad guys as one can (Duke Nuk'em), beating the toughest level (Mortal Kombat), collecting all the cards (Pokemon), and scoring the most points (Tetris). Fantasy role-playing games (Dungeons & Dragons, Rolemaster, GURPS), while they may involve some of those aforementioned elements, rarely focus on them. Instead, playing a fantasy role-playing game is much like acting out a scene from a play, movie or book, only without a predefined script. Players take on such roles as wise wizards, noble knights, roguish sellswords, crafty hobbits, greedy dwarves, and anything else one can imagine and the referee allows. The players don't exactly compete; instead, they interact with each other and with the fantasy setting. The game is played orally with no game board, and although the referee usually has a storyline planned for a game, much of the action is impromptu. Performance is a major part of role-playing, and role-playing games as a performing art is the subject of this book, which attempts to introduce an appreciation for the performance aesthetics of such games. The author provides the framework for a critical model useful in understanding the art--especially in terms of aesthetics--of role-playing games. The book also serves as a contribution to the beginnings of a body of criticism, theory, and aesthetics analysis of a mostly unrecognized and newly developing art form. There are four parts: the cultural structure, the extent to which the game relates to outside cultural elements; the formal structure, or the rules of the game; the social structure, which encompasses the degree and quality of social interaction among players; and the aesthetic structure, concerned with the emergence of role-playing as an art form.