Drawing on social media, cinema, cultural heritage and public opinion polls, this book examines Indonesia and Malaysia from a comparative postcolonial perspective. The Indonesia-Malaysia relationship is one of the most important bilateral relationships in Southeast Asia, especially because Indonesia, the world's fourth most populous country and third largest democracy, is the most populous and powerful nation in the region. Both states are committed to the relationship, especially at the highest levels of government, and much has been made of their 'sibling' identity. The relationship is built on years of interaction at all levels of state and society, and both countries draw on their common culture, religion and language in managing political tensions. In recent years, however, several issues have seriously strained the once cordial bilateral relationship. Among these are a strong public reaction to maritime boundary disputes, claims over each country's cultural forms, the treatment of Indonesian workers in Malaysia, and trans-border issues such as Indonesian forest fire haze. Comparing the two nations' engagement with cultural heritage, religion, gender, ethnicity, citizenship, democracy and regionalism, this book highlights the social and historical roots of the tensions between Indonesia and Malaysia, as well as the enduring sense of kinship.

Drawing on social media, cinema, cultural heritage and public opinion polls, this book examines Indonesia and Malaysia from a comparative postcolonial perspective. The Indonesia-Malaysia relationship is one of the most important bilateral relationships in Southeast Asia, especially because Indonesia, the world's fourth most populous country and third largest democracy, is the most populous and powerful nation in the region. Both states are committed to the relationship, especially at the highest levels of government, and much has been made of their 'sibling' identity. The relationship is built on years of interaction at all levels of state and society, and both countries draw on their common culture, religion and language in managing political tensions. In recent years, however, several issues have seriously strained the once cordial bilateral relationship. Among these are a strong public reaction to maritime boundary disputes, claims over each country's cultural forms, the treatment of Indonesian workers in Malaysia, and trans-border issues such as Indonesian forest fire haze. Comparing the two nations' engagement with cultural heritage, religion, gender, ethnicity, citizenship, democracy and regionalism, this book highlights the social and historical roots of the tensions between Indonesia and Malaysia, as well as the enduring sense of kinship.

Robert Rauschenberg (1925–2008) was a breaker of boundaries and a consummate collaborator. He used silk-screen prints to reflect on American promise and failure, melded sculpture and painting in works called combines, and collaborated with engineers and scientists to challenge our thinking about art. Through collaborations with John Cage, Merce Cunningham, and others, Rauschenberg bridged the music, dance, and visual-art worlds, inventing a new art for the last half of the twentieth century. Robert Rauschenberg is a work of collaborative oral biography that tells the story of one of the twentieth century’s great artists through a series of interviews with key figures in his life—family, friends, former lovers, professional associates, studio assistants, and collaborators. The oral historian Sara Sinclair artfully puts the narrators’ reminiscences in conversation, with a focus on the relationship between Rauschenberg’s intense social life and his art. The book opens with a prologue by Rauschenberg’s sister and then shifts to New York City’s 1950s and ’60s art scene, populated by the luminaries of abstract expressionism. It follows Rauschenberg’s eventual move to Florida’s Captiva Island and his trips across the globe, illuminating his inner life and its effect on his and others’ art. The narrators share their views on Rauschenberg’s work, explore the curatorial thinking behind exhibitions of his art, and reflect on the impact of the influx of money into the contemporary art market. Included are artists famous in their own right, such as Laurie Anderson and Brice Marden, as well as art-world insiders and lesser-known figures who were part of Rauschenberg’s inner circle. Beyond considering Rauschenberg as an artist, this book reveals him as a man embedded in a series of art worlds over the course of a long and rich life, demonstrating the complex interaction of business and personal, public and private in the creation of great art.

One of the fundamental concepts of toxicology is that chemicals act at selective receptors and that such interactions result in phar macologic responses which, depending on dose, mayor may not result in toxicity. For us to understand how insecticides produce their toxic effects, we must first understand their molecular interactions with their target receptors. With this in mind, we organized a symposium which was given in conjunction with the XVII International Congress of Entomology in Hamburg on August 21, 1984. The goal of this symposium was to bring together researchers with a wide range of expertise who shared a common interest in the action of insecticides on the insect nervous system. It was decided to restrict the scope of the symposium so that selected topics could be discussed in greater depth. The volume which resulted from this symposium, -Membranes Receptors and Enzymes as Targets of Insecticidal Action-, details a number of bio chemical modes of action of insecticides on the insect nervous system. The volume is divided into two sections; the first dealing with the action of insecticides on the GABA-ch1oride channel complex. This section evolves from a discussion of the symptoms of cyclodiene toxicity presented by Dr. D. E. Woolley, to the structure-activity relationships and pharmacology of the channel complex and is concluded with the extremely interesting work of Dr. C. C. Wang on the action(s) of avermectin at this receptor.

Robert Rauschenberg (1925-2008) was a breaker of boundaries and a consummate collaborator. He used silk-screen prints to reflect on American promise and failure, melded sculpture and painting in works called combines, and collaborated with engineers and scientists to challenge our thinking about art. Through collaborations with John Cage, Merce Cunningham, and others, Rauschenberg bridged the music, dance, and visual-art worlds, inventing a new art for the last half of the twentieth century. Robert Rauschenberg is a work of collaborative oral biography that tells the story of one of the twentieth century's great artists through a series of interviews with key figures in his life-family, friends, former lovers, professional associates, studio assistants, and collaborators. The oral historian Sara Sinclair artfully puts the narrators' reminiscences in conversation, with a focus on the relationship between Rauschenberg's intense social life and his art. The book opens with a prologue by Rauschenberg's sister and then shifts to New York City's 1950s and '60s art scene, populated by the luminaries of abstract expressionism. It follows Rauschenberg's eventual move to Florida's Captiva Island and his trips across the globe, illuminating his inner life and its effect on his and others' art. The narrators share their views on Rauschenberg's work, explore the curatorial thinking behind exhibitions of his art, and reflect on the impact of the influx of money into the contemporary art market. Included are artists famous in their own right, such as Laurie Anderson and Brice Marden, as well as art-world insiders and lesser-known figures who were part of Rauschenberg's inner circle. Beyond considering Rauschenberg as an artist, this book reveals him as a man embedded in a series of art worlds over the course of a long and rich life, demonstrating the complex interaction of business and personal, public and private in the creation of great art.

Maskulinitas is a ground-breaking treatment of the representation of men and masculinity in Indonesian culture, from Suharto's New Order era to the present. The book includes critical analyses of Indonesian cultural expressions in literature, cinema, society, and politics. Drawing on the ideas of Bakhtin, Bourdieu, Maier, and others, author Marshall Clark explores, with acute insight and a critical eye, constructions of the masculine in contemporary Indonesian society. Maskulinitas also challenges the way scholars of Indonesia have held firm to the categories and frameworks of gender studies - a field still often equated with women's studies - while offering fascinating insights into representations and images of men as engendered and engendering subjects. As a timely addition to the generally conservative field of scholarship on gender in Southeast Asia, Maskulinitas demonstrates that gender studies need to encompass 'the man question, ' especially considering Indonesia's strongly patriarchal society, where the norms of feminine subordination and submission are legitimized by the ideologies of the state and the strictures of religion. Ultimately, this book challenges the reader with the notion that if the subordinate status of Indonesian women is to be highlighted and some sort of gender equality achieved, then the representations, subjectivities, and practices of Indonesian men must be addressed