For much of the eighteenth and nineteenth centuries, the British East India Company consolidated its rule over India, evolving from a trading venture to a colonial administrative force. Yet its territorial gains far outpaced its understanding of the region and the people who lived there, and its desperate efforts to gain knowledge of the area led to the 1815 appointment of army officer Colin Mackenzie as the first Surveyor General of India. This volume carefully reconstructs the life and career of Mackenzie, showing how the massive survey of India that he undertook became one of the most spectacular and wide-ranging knowledge production initiatives in British colonial history.

Filled with more than a hundred full-color photographs and artwork, this book takes readers to the major archaeological sites of different places, times, and civilizations in history, revealing the remarkable stories behind the fascinating expeditions, the discoveries, and the people who uncovered them.

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Perhaps no scholar has done more to reveal the ancient history of Polynesia than noted archaeologist Patrick Vinton Kirch. For close to fifty years he explored the Pacific, as his work took him to more than two dozen islands spread across the ocean, from Mussau to Hawai'i to Easter Island. In this lively memoir, rich with personal—and often amusing—anecdotes, Kirch relates his many adventures while doing fieldwork on remote islands. At the age of thirteen, Kirch was accepted as a summer intern by the eccentric Bishop Museum zoologist Yoshio Kondo and was soon participating in archaeological digs on the islands of Hawai'i and Maui. He continued to apprentice with Kondo during his high school years at Punahou, and after obtaining his anthropology degree from the University of Pennsylvania, Kirch joined a Bishop Museum expedition to Anuta Island, where a traditional Polynesian culture still flourished. His appetite whetted by these adventures, Kirch went on to obtain his doctorate at Yale University with a study of the traditional irrigation-based chiefdoms of Futuna Island. Further expeditions have taken him to isolated Tikopia, where his excavations exposed stratified sites extending back three thousand years; to Niuatoputapu, a former outpost of the Tongan maritime empire; to Mangaia, with its fortified refuge caves; and to Mo'orea, where chiefs vied to construct impressive temples to the war god 'Oro. In Hawai'i, Kirch traced the islands' history in the Anahulu valley and across the ancient district of Kahikinui, Maui. His joint research with ecologists, soil scientists, and paleontologists elucidated how Polynesians adapted to their island ecosystems. Looking back over the past half-century of Polynesian archaeology, Kirch reflects on how the questions we ask about the past have changed over the decades, how archaeological methods have advanced, and how our knowledge of the Polynesian past has greatly expanded.

People all over the world make art and take pleasure in it, and they have done so for millennia. But acknowledging that art is a universal part of human experience leads us to some big questions: Why does it exist? Why do we enjoy it? And how do the world’s different art traditions relate to art and to each other? Art Without Borders is an extraordinary exploration of those questions, a profound and personal meditation on the human hunger for art and a dazzling synthesis of the whole range of inquiry into its significance. Esteemed thinker Ben-Ami Scharfstein’s encyclopedic erudition is here brought to bear on the full breadth of the world of art. He draws on neuroscience and psychology to understand the way we both perceive and conceive of art, including its resistance to verbal exposition. Through examples of work by Indian, Chinese, European, African, and Australianartists, Art Without Borders probes the distinction between accepting a tradition and defying it through innovation, which leads to a consideration of the notion of artistic genius. Continuing in this comparative vein, Scharfstein examines the mutual influence of European and non-European artists. Then, through a comprehensive evaluation of the world’s major art cultures, he shows how all of these individual traditions are gradually, but haltingly, conjoining into a single current of universal art. Finally, he concludes by looking at the ways empathy and intuition can allow members of one culture to appreciate the art of another. Lucid, learned, and incomparably rich in thought and detail, Art Without Borders is a monumental accomplishment, on par with the artistic achievements Scharfstein writes about so lovingly in its pages.

This book explores the cultural and intellectual stakes of medieval and renaissance Britain's sense of itself as living in the shadow of Rome: a city whose name could designate the ancient, fallen, quintessentially human power that had conquered and colonized Britain, and also the alternately sanctified and demonized Roman Church. Wallace takes medieval texts in a range of languages (including Latin, medieval Welsh, Old English and Old French) and places them in conversation with early modern English and humanistic Latin texts (including works by Gildas, Bede, Chaucer, Shakespeare, Bacon, St. Augustine, Dante, Erasmus, Luther and Montaigne). 'The Ordinary', 'The Self', 'The Word', and 'The Dead' are taken as compass points by which individuals lived out their orientations to, and against, Rome, isolating important dimensions of Rome's enduring ability to shape and complicate the effort to come to terms with the nature of self and the structure of human community.

This book examines how Shakespeare’s plays resurface in current complex TV series. Its four case studies bring together The Tempest and the science fiction-Western Westworld, King Lear and the satirical dynastic drama of Succession, Hamlet and the legal thriller Black Earth Rising, as well as Coriolanus and the political thriller Homeland. The comparative readings ask what new insights the twenty-first-century remediations may grant us into Shakespeare’s texts and, vice versa, how Shakespearean returns help us understand topical concerns negotiated in the series, such as artificial intelligence, the safeguarding of democracy, terrorism, and postcolonial justice. This study also proposes that the dramaturgical seriality typical of complex TV allows insights into the seriality Shakespeare employed in structuring his plays. Discussing a broad spectrum of adaptational constellations and establishing key characteristics of the new adaptational aggregate of serial Shakespeare, it seeks to initiate a dialogue between Shakespeare studies, adaptation studies, and TV studies.