Following a lead on the kidnapping of the construction minister's grandson, Officers Ooishi and Akasaka spot a secluded outpost station that shows signs of recent traffic. A little poking around brings them face to face with the boy's abductors, and the criminals aren't going down without a fight. Once the boy is recovered, the dam project is put on hold, and it seems to be a happy ending for everyone.
What could Rika's warning possibly have been about...?
This book is an exciting new look at how archaeology has dealt with the bodily senses and offers an argument for how the discipline can offer a richer glimpse into the human sensory experience. Yannis Hamilakis shows how, despite its intensely physical engagement with the material traces of the past, archaeology has mostly neglected multi-sensory experience, instead prioritizing isolated vision and relying on the Western hierarchy of the five senses. In place of this limited view of experience, Hamilakis proposes a sensorial archaeology that can unearth the lost, suppressed, and forgotten sensory and affective modalities of humans. Using Bronze Age Crete as a case study, Hamilakis shows how sensorial memory can help us rethink questions ranging from the production of ancestral heritage to large-scale social change, and the cultural significance of monuments. Tracing the emergence of palaces in Bronze Age Crete as a celebration of the long-term, sensuous history and memory of their localities, Hamilakis points the way to reconstituting archaeology as a sensorial and affective multi-temporal practice. At the same time, he proposes a new framework on the interaction between bodily senses, things, and environments, which will be relevant to scholars in other fields.
Combining oral and visual history, this description of the Crimean War is compiled with the use of extracts from a considerable number of eye-witness accounts in the form of letters and diaries of soldiers, sailors, doctors, nurses, artists and reporters. They include views from all sides of the conflict - not only British, but French, Russian and Turkish. The war was the first to be photographed (by Roger Fenton and his colleagues), and the first to which professional war artists were assigned, and the book is extensively illustrated with images created by those photographers and artists.
International Aces (Volume 4: Canada - South Africa - Australia - New Zealand) features the graphic story retelling of five flying aces of World War One:William 'Billy' Bishop; Andrew 'Proccy' Beauchamp-Proctor; Robert Little; Keith Caldwell and Edward 'Eddie' V. Rickenbacker It is Volume Four of a series of four