This book provides a background to the modern geography of the Middle East by tracing the evolution of humanized managed landscapes from the domestication of cereals through to the initiation of the great transformations of the region in the mid-nineteenth century. By examining the natural potential of the region in terms of climate, natural vegetation and physical conditions, and charting the emergence of basic long-lasting traditional economies based on this environment, the author shows how the environment stimulated traditional life styles, which in turn perpetuated and molded the region.
Professor Lee provides a social and cultural history of the Cyreans, the mercenaries of Xenophon's Anabasis. While they have often been portrayed as a single abstract political community, this book reveals that life in the army was mostly shaped by a set of smaller social communities: the formal unit organisation of the lochos ('company'), and the informal comradeship of the suskenia ('mess group'). It includes full treatment of the environmental conditions of the march, ethnic and socio-economic relations amongst the soldiers, equipment and transport, marching and camp behaviour, eating and drinking, sanitation and medical care, and many other topics. It also accords detailed attention to the non-combatants accompanying the soldiers. It uses ancient literary and archaeological evidence, ancient and modern comparative material, and perspectives from military sociology and modern war studies. This book is essential reading for anyone working on ancient Greek warfare or on Xenophon's Anabasis.
This book offers an innovative collaborative approach to the study of a particular region of the Ottoman empire, the southwestern Peloponnese (or Morea), Greece.
Focuses on rural poverty and those countries in Asia with the largest number of chronically poor, including the two emerging superpowers of China and India, other countries of South Asia and the Mekong region as well as Indonesia and Philippines in Southeast Asia.
This book presents theological reflections on the changing nature of church mission and Christian identity within a theology of 'blurred encounter' - a physical, social, political and spiritual space where once solid hierarchies and patterns are giving way to more fluid and in many ways unsettling exchanges. The issues raised and dynamics explored apply to all socially-produced space, thus tending to 'blur' that most fundamental of theological categories - namely urban vs. rural theology. Engaging in a sharper way with some of the helpful but inevitably broad-brush conclusions raised by recent church-based reports (Mission-shaped Church, Faithful Cities), the authors examine some of the practical and theological implications of this research for the issue of effective management and therefore church leadership generally. Speaking to practitioners in the field of practical theology as well as those engaged in theological and ministerial training, key voices encompass dimensions of power and conflict, and identify some of the present and future opportunities and challenges to church/faith-based engagement and leadership arising from blurred encounters. Contributors - practitioners and theorists - cover a wide spectrum of interdisciplinary professional contexts and academic/denominational interests. Contributors include: John Atherton, John Reader, Helen Cameron, Martyn Percy, Malcolm Brown, Karen Lord, Clare McBeath and Margaret Goodall.
Since the mid-twentieth century, conspiracy has pervaded our collective worldview, shaped by events such as the assassination of John F. Kennedy, the Vietnam War, Watergate, the Iran-Contra affair, and 9/11. Everything Is Connected examines how artists from the 1960s to the present have explored both the covert operations of power and the mutual suspicion between governments and their citizens. Featured are works by some thirty artists—including Sarah Charlesworth, Emory Douglas, Hans Haacke, Rachel Harrison, Jenny Holzer, Mike Kelley, Mark Lombardi, Cady Noland, Trevor Paglen, Raymond Pettibon, Jim Shaw, and Sue Williams—in media ranging from painting, drawing, and photography to video and installation art. Whether they uncover webs of deceit hidden in the public record or dive headlong into paranoid fever dreams, these artists use their work to take a powerful and proactive stance against the political corruption, consumerism, bureaucracy, and media manipulation that are hallmarks of contemporary life. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
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