Foundations of Biogeography provides facsimile reprints of seventy-two works that have proven fundamental to the development of the field. From classics by Georges-Louis LeClerc Compte de Buffon, Alexander von Humboldt, and Charles Darwin to equally seminal contributions by Ernst Mayr, Robert MacArthur, and E. O. Wilson, these papers and book excerpts not only reveal biogeography's historical roots but also trace its theoretical and empirical development. Selected and introduced by leading biogeographers, the articles cover a wide variety of taxonomic groups, habitat types, and geographic regions. Foundations of Biogeography will be an ideal introduction to the field for beginning students and an essential reference for established scholars of biogeography, ecology, and evolution. List of Contributors John C. Briggs, James H. Brown, Vicki A. Funk, Paul S. Giller, Nicholas J. Gotelli, Lawrence R. Heaney, Robert Hengeveld, Christopher J. Humphries, Mark V. Lomolino, Alan A. Myers, Brett R. Riddle, Dov F. Sax, Geerat J. Vermeij, Robert J. Whittaker
In the pantheon of air power spokesmen, Giulio Douhet holds center stage. His writings, more often cited than perhaps actually read, appear as excerpts and aphorisms in the writings of numerous other air power spokesmen, advocates-and critics. Though a highly controversial figure, the very controversy that surrounds him offers to us a testimonial of the value and depth of his work, and the need for airmen today to become familiar with his thought. The progressive development of air power to the point where, today, it is more correct to refer to aerospace power has not outdated the notions of Douhet in the slightest In fact, in many ways, the kinds of technological capabilities that we enjoy as a global air power provider attest to the breadth of his vision. Douhet, together with Hugh “Boom” Trenchard of Great Britain and William “Billy” Mitchell of the United States, is justly recognized as one of the three great spokesmen of the early air power era. This reprint is offered in the spirit of continuing the dialogue that Douhet himself so perceptively began with the first edition of this book, published in 1921. Readers may well find much that they disagree with in this book, but also much that is of enduring value. The vital necessity of Douhet’s central vision-that command of the air is all important in modern warfare-has been proven throughout the history of wars in this century, from the fighting over the Somme to the air war over Kuwait and Iraq.
Though deeply entrenched in antebellum life, the artisans who lived and worked in Petersburg, Virginia, in the 1800s -- including carpenters, blacksmiths, coach makers, bakers, and other skilled craftsmen -- helped transform their planter-centered agricultural community into one of the most industrialized cities in the Upper South. These mechanics, as the artisans called themselves, successfully lobbied for new railroad lines and other amenities they needed to open their factories and shops, and turned a town whose livelihood once depended almost entirely on tobacco exports into a bustling modern city. In Artisan Workers in the Upper South, L. Diane Barnes closely examines the relationships between Petersburg's skilled white, free black, and slave mechanics and the roles they played in southern Virginia's emerging market economy. Barnes demonstrates that, despite studies that emphasize the backwardness of southern development, modern industry and the institution of slavery proved quite compatible in the Upper South. Petersburg joined the industrialized world in part because of the town's proximity to northern cities and resources, but it succeeded because its citizens capitalized on their uniquely southern resource: slaves. Petersburg artisans realized quickly that owning slaves could increase the profitability of their businesses, and these artisans -- including some free African Americans -- entered the master class when they could. Slave-owning mechanics, both white and black, gained wealth and status in society, and they soon joined an emerging middle class. Not all mechanics could afford slaves, however, and those who could not struggled to survive in the new economy. Forced to work as journeymen and face the unpleasant reality of permanent wage labor, the poorer mechanics often resented their inability to prosper like their fellow artisans. These differing levels of success, Barnes shows, created a sharp class divide that rivaled the racial divide in the artisan community. Unlike their northern counterparts, who united as a political force and organized strikes to effect change, artisans in the Upper South did not rise up in protest against the prevailing social order. Skilled white mechanics championed free manual labor -- a common refrain of northern artisans -- but they carefully limited the term "free" to whites and simultaneously sought alliances with slaveholding planters. Even those artisans who didn't own slaves, Barnes explains, rarely criticized the wealthy planters, who not only employed and traded with artisans, but also controlled both state and local politics. Planters, too, guarded against disparaging free labor too loudly, and their silence, together with that of the mechanics, helped maintain the precariously balanced social structure. Artisan Workers in the Upper South rejects the notion of the antebellum South as a semifeudal planter-centered political economy and provides abundant evidence that some areas of the South embraced industrial capitalism and economic modernity as readily as communities in the North.
In the midst of the horrors of the Nazi Holocaust, Etty's writings reveal a young Jewish woman who celebrated life and remained an undaunted example of courage, sympathy, and compassion. Through this splendid translation by Arnold J. Pomerans, commissioned by the Etty Hillesum Foundation, readers everywhere will resonate with the spirit of this amazing young woman.
He was born Bela Ferenc Dezso Blasko on October 20, 1882, in Hungary. He joined Budapest's National Theater in 1913 and later appeared in several Hungarian films under the pseudonym Arisztid Olt. After World War I, he helped the Communist regime nationalize Hungary's film industry, but barely escaped arrest when the government was deposed, fleeing to the United States in 1920. As he became a star in American horror films in the 1930s and 1940s, publicists and fan magazines crafted outlandish stories to create a new history for Lugosi. The cinema's Dracula was transformed into one of Hollywood's most mysterious actors. This exhaustive account of Lugosi's work in film, radio, theater, vaudeville and television provides an extensive biographical look at the actor. The enormous merchandising industry built around him is also examined.
The terror and purges of Stalin’s Russia in the 1930s discouraged Soviet officials from leaving documentary records let alone keeping personal diaries. A remarkable exception is the unique diary assiduously kept by Ivan Maisky, the Soviet ambassador to London between 1932 and 1943. This selection from Maisky's diary, never before published in English, grippingly documents Britain’s drift to war during the 1930s, appeasement in the Munich era, negotiations leading to the signature of the Ribbentrop–Molotov Pact, Churchill’s rise to power, the German invasion of Russia, and the intense debate over the opening of the second front. Maisky was distinguished by his great sociability and access to the key players in British public life. Among his range of regular contacts were politicians (including Churchill, Chamberlain, Eden, and Halifax), press barons (Beaverbrook), ambassadors (Joseph Kennedy), intellectuals (Keynes, Sidney and Beatrice Webb), writers (George Bernard Shaw, H. G. Wells), and indeed royalty. His diary further reveals the role personal rivalries within the Kremlin played in the formulation of Soviet policy at the time. Scrupulously edited and checked against a vast range of Russian and Western archival evidence, this extraordinary narrative diary offers a fascinating revision of the events surrounding the Second World War.
Sea-Brothers offers the most extensive analysis to date of the sea and its meaning in American literature. On the basis of his study of Melville, Crane, London, Hemingway, Matthiessen, and ten lesser-known sea-writers, Bert Bender argues that the tradition of American sea fiction did not end with the opening of the western frontier and the replacement of sailing ships by steamers. Rather, he demonstrates its continuity and vitality, identifying a central vision within the tradition and showing how particular authors draw from, transform, and contribute to it. What is most distinctive about American sea fiction, Bender contends, is its visionary, often mystical, response to the biological world and to man's perceived place in the larger universe. When Melville envisioned the sea as the essential element of life, indeed as life itself, he changed the course of American sea fiction by introducing the relevance of biological thought. But his meditations on the whale and "the ungraspable phantom of life" project a different reality from that envisioned by his successors. In American sea fiction after Melville, the influence of Origin of Species is as powerful as that of Moby Dick or the theme of sailing ships being displaced by steam. The ideal of brotherhood so central to American sea fiction was severely compromised by the biological reality of a competitive, warring nature. Twentieth-century sea fiction has continued to center on the biological world and address the possibility of democratic brotherhood, but the issues were fundamentally changed by Darwin's theories. This book will be a valuable source for students and scholars of American literature and will interest readers of sea fiction.
Virginia Woolf's career was shaped by her impression of the conflict between poetry and the novel, a conflict she often figured as one between masculine and feminine, old and new, bound and free. In large part for feminist reasons, Woolf promoted the triumph of the novel over poetry, even as she adapted some of poetry's techniques for the novel in order to portray the inner life. Woolf considered poetry the rival form to the novel. A monograph on Woolf's sense of genre rivalry thus offers a thorough reinterpretation of the motivations and aims of her canonical work. Drawing on unpublished archival material and little-known publications, the book combines biography, book history, formal analysis, genetic criticism, source study, and feminist literary history. Woolf's attitude towards poetry is framed within contexts of wide scholarly interest: the decline of the lyric poem, the rise of the novel, the gendered associations with these two genres, elegy in prose and verse, and the history of English Studies. Virginia Woolf and Poetry makes three important contributions. It clarifies a major prompt for Woolf's poetic prose. It exposes the genre rivalry that was creatively generative to many modernist writers. And it details how holding an ideology of a genre can shape literary debates and aesthetics.
