British imperial power was greatly bolstered by new techniques in surveying and map-making during the eighteenth century. Well before James Cook sailed for the Pacific in 1768, British army engineers working on the coastline from Quebec to Rhode Island had set new scientific standards for cartography that would assist the British in mapping future conquests. Surveyors of Empire explores the groundbreaking work of these engineers, which formed the basis of The Atlantic Neptune, a four-volume hydrographic atlas that stands as a monument of European Enlightenment science. Using research from both sides of the Atlantic, Stephen Hornsby examines the development of British military cartography in North America during and after the Seven Years War, as well as advancements in military and scientific equipment used in surveying. At the same time, he follows the land speculation of two leading surveyors, Samuel Holland and J.F.W. Des Barres, and the publication history of The Atlantic Neptune. Richly illustrated with images from The Atlantic Neptune and earlier maps, Surveyors of Empire is an insightful account of the relationship between science and imperialism, and the British shaping of the Atlantic world.
Basically, there are three measures of success in the cinema. First off are pictures like "The Crowd" and "Applause" that achieve rave reviews and even go on to win awards, but don't recover their negative costs. Then there are the movies the critics hate, but the public enjoys. All three versions of "Back Street", for instance. Finally come the pictures everyone loves, like "From Here To Eternity" or "Sunset Boulevard". In the annals of success in Hollywood's Golden Age, one name stands out above all others: Cecil B. DeMille. His famous pictures reviewed here include both versions of "The Buccaneer", "The Crusades", "Sign of the Cross", "The Story of Dr Wassell" and "Union Pacific". But the book also notes a DeMille "B" movie that tied up a fair amount of money but proved so unpopular it was released in some territories as a support. The book also covers some of Hollywood's other disastrous failures, including the M-G-M movie that cost over $4 million to make and returned virtually nothing.
What is the meaning of a word? Most readers turn to the dictionary for authoritative meanings and correct usage. But what is the source of authority in dictionaries? Some dictionaries employ panels of experts to fix meaning and prescribe usage, others rely on derivation through etymology. But perhaps no other dictionary has done more to standardize the English language than the formidable twenty-volume Oxford English Dictionary in its 1989 second edition. Yet this most Victorian of modern dictionaries derives its meaning by citing the earliest known usage of words and by demonstrating shades of meaning through an awesome database of over five million examples of usage in context. In this fascinating study, John Willinsky challenges the authority of this imperial dictionary, revealing many of its inherent prejudices and questioning the assumptions of its ongoing revision. "Clearly, the OED is no simple record of the language `as she is spoke,'" Willinsky writes. "It is a selective representation reflecting certain elusive ideas about the nature of the English language and people. Empire of Words reveals, by statistic and table, incident and anecdote, how serendipitous, judgmental, and telling a task editing a dictionary such as the OED can be." Willinsky analyzes the favored citation records from the three editorial periods of the OED's compilation: the Victorian, imperial first edition; the modern supplement; and the contemporary second edition composed on an electronic database. He reveals shifts in linguistic authority: the original edition relied on English literature and, surprisingly, on translations, reference works, and journalism; the modern editions have shifted emphasis to American sources and periodicals while continuing to neglect women, workers, and other English-speaking countries. Willinsky's dissection of dictionary entries exposes contradictions and ambiguities in the move from citation to definition. He points out that Shakespeare, the most frequently cited authority in the OED, often confounds the dictionary's simple sense of meaning with his wit and artfulness. He shows us how the most famous four-letter words in the language found their way through a belabored editorial process, sweating and grunting, into the supplement to the OED. Willinsky sheds considerable light on how the OED continues to shape the English language through the sometimes idiosyncratic, often biased selection of citations by hired readers and impassioned friends of the language. Anyone who is fascinated with words and language will find Willinsky's tour through the OED a delightful and stimulating experience. No one who reads this book will ever feel quite the same about Murray's web of words.
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