Ka Ho‘oilina/The Legacy, vol. 5 (2006)

ARTICLES

No ka Mahi‘ai ‘Ana, Māhele 6, p. 2
(Agricultural Lore, Part 6)
Holo Ho‘opai, ‘Ōiwi Parker Jones, a me (and) Keao NeSmith, Nā Laekahi ‘ōlelo (language specialists)

Nā Kānāwai o ke Aupuni Hawai‘i, Māhele 2, p. 24
(Laws of the Hawaiian Government, Part 2)
Jason Kāpena Achiu, Laekahi ‘ōlelo (language specialist)

Nā Nūpepa o ka Makahiki 1834, Māhele 6, p. 38
(The 1834 Newspapers, Part 6)
Jeffrey Kapali Lyon, Nā laekahi ‘ōlelo (language specialist)

Nā Nūpepa o ka Makahiki 1892, Māhele 6, p. 74
(The 1892 Newspapers, Part 6)
Jeffrey Kapali Lyon, Nā laekahi ‘ōlelo (language specialist)

Ka Puke Haumāna ‘o ‘Anatomia, Māhele 6, p. 150
(Students’ Materials, Anatomy, Part 6)
Kaliko Trapp, Laekahi ‘ōlelo (language specialist)

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Korean Studies, vol. 30 (2006)

Guest Editor: Kenneth R. Robinson

ARTICLES

Guest Editor’s Introduction
Kenneth R. Robinson, 1

Economic Growth in P’yŏngan Province and the Development of Pyongyang in the Late Chosŏn Period
Soo-chang Oh, 3

Pyongyang, one Korea’s oldest cities, was considered an important defense site during the Koryŏ dynasty, but did not develop significantly until the Chosŏn dynasty in the seventeenth century. This was partly because of its border location and unsuitability for farming but most of all because of discrimination by the central government. After the eighteenth century, however, Pyongyang led in the social development of Chosŏn. With stability in the relationship with Qing China, the area was free from the threat of war. The accumulated money and grains were used to entertain foreign diplomats and prepare for war while also providing commercial capital. The fact that the traditional ruling order and ideology were not strong was an advantage for the development of commerce. On the other hand, the government tried to induce Pyongyang’s development within the system, as by, for example, holding a special civil service examination and recruiting members for the Royal Guard. During that time, Pyongyang progressed and continued to develop as the new urban cultural center of the region.

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Manoa, vol. 18, no. 2 (2006): Where the Rivers Meet

Where the Rivers Meet cover imagePresented by Manoa: A Pacific Journal of International Writing

Where the Rivers Meet

Where the Rivers Meet is a remarkable collection of new fiction, essays, and poetry from Australia, a complex society and a country with a multilayered history. Among Australia’s many resources is a large community of outstanding writers that includes a growing number of novelists, poets, and essayists of Indigenous descent. Their stories—many of them previously untold in literature—deepen and expand our understanding of the experiences that make up Australia’s past and present.

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Pacific Science, vol. 60, no. 4 (2006)

BioOne logoThis issue is available in Project Muse and in BioOne.2

Invasion of French Polynesia by the Glassy-Winged Sharpshooter, Homalodisca coagulata (Hemiptera: Cicadellidae): A New Threat to the South Pacific
Julie Grandgirard, Mark S. Hoddle, George K. Roderick, Jérôme N. Petit, Diana Percy, Rudolph Putoa, Charles Garnier, and Neil Davies
pp. 429–438
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Biography, vol. 29, no. 4 (2006)

Biography 29.4 cover imageCover Art

Editors’ Note, p. v

ARTICLES

Erica L. Johnson
Auto-Ghostwriting Smile, Please: An Unfinished Autobiography, p. 563
Jean Rhys’s Smile, Please: An Unfinished Autobiography was not actually written by Rhys, but by novelist David Plante in an act that can only be characterized as ghostwriting. This essay theorizes ghostwriting in the context of autobiography and life writing, and shows how the ghostwriting process results in contested layers of written and spoken texts. Rhys resists the ghostwriter’s displacement of her spoken text by quoting her own written texts verbatim throughout Smile, Please, thus in effect auto-ghostwriting her autobiography.

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Asian Theatre Journal, vol. 23, no. 2 (2006)

ATJ 23.2 image

Editor’s Note, iii

PLAY

Primary Colors: A Play by Mishima Yukio
Introduction and translation by Christopher L. Pearce, 223

Primary Colors (Sangenshoku) is a 1955 play by Mishima Yukio that brings up issues of homosexuality and bisexuality. Its positive treatment of homosexual themes contrasts with the darkness of Forbidden Colors, the author’s novel of the same period. While the play has received only a few professional productions, its poetry and theme help us understand Mishima’s developing aesthetic.

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