"Nezhukumatathil’s poems contain elegant twists of a very sharp knife. She writes about the natural world and how we live in it, filling each poem, each page with a true sense of wonder." —Roxane Gay “Cultural strands are woven into the DNA of her strange, lush... poems. Aphorisms...from another dimension.” —The New York Times “With unparalleled ease, she’s able to weave each intriguing detail into a nuanced, thought-provoking poem that also reads like a startling modern-day fable.” —The Poetry Foundation “How wonderful to watch a writer who was already among the best young poets get even better!” —Terrance Hayes With inquisitive flair, Aimee Nezhukumatathil creates a thorough registry of the earth’s wonderful and terrible magic. In her fourth collection of poetry, she studies forms of love as diverse and abundant as the ocean itself. She brings to life a father penguin, a C-section scar, and the Niagara Falls with a powerful force of reverence for life and living things. With an encyclopedic range of subjects and unmatched sincerity, Oceanic speaks to each reader as a cooperative part of the earth, an extraordinary neighborhood to which we all belong. From “Starfish and Coffee”: And that’s how you feel after tumbling like sea stars on the ocean floor over each other. A night where it doesn’t matter which are arms or which are legs or what radiates and how— only your centers stuck together. Aimee Nezhukumatathil is the author of four collections of poetry. Recipient of a National Endowment for the Arts fellowship and the prestigious Eric Hoffer Grand Prize, Nezhukumatathil teaches creative writing and environmental literature in the MFA program at the University of Mississippi.

Fluid dynamics is fundamental to our understanding of the atmosphere and oceans. Although many of the same principles of fluid dynamics apply to both the atmosphere and oceans, textbooks tend to concentrate on the atmosphere, the ocean, or the theory of geophysical fluid dynamics (GFD). This textbook provides a comprehensive unified treatment of atmospheric and oceanic fluid dynamics. The book introduces the fundamentals of geophysical fluid dynamics, including rotation and stratification, vorticity and potential vorticity, and scaling and approximations. It discusses baroclinic and barotropic instabilities, wave-mean flow interactions and turbulence, and the general circulation of the atmosphere and ocean. Student problems and exercises are included at the end of each chapter. Atmospheric and Oceanic Fluid Dynamics: Fundamentals and Large-Scale Circulation will be an invaluable graduate textbook on advanced courses in GFD, meteorology, atmospheric science and oceanography, and an excellent review volume for researchers. Additional resources are available at www.cambridge.org/9780521849692.

Refocusing Ethnographic Museums through Oceanic Lenses offers a collaborative ethnographic investigation of Indigenous museum practices in three Pacific museums located at the corners of the so-called Polynesian triangle: Bernice Pauahi Bishop Museum, Hawai‘i; Museum of New Zealand Te Papa Tongarewa; and Museo Antropológico Padre Sebastián Englert, Rapa Nui. Since their inception, ethnographic museums have influenced academic and public imaginations of other cultural-geographic regions, and the often resulting Euro-Americentric projection of anthropological imaginations has come under intense pressure, as seen in recent debates and conflicts around the Humboldt Forum in Berlin, Germany. At the same time, (post)colonial renegotiations in former European and American colonies have initiated dramatic changes to anthropological approaches through Indigenous museum practices. This book shapes a dialogue between Euro-Americentric myopia and Oceanic perspectives by offering historically informed, ethnographic insights into Indigenous museum practices grounded in Indigenous epistemologies, ontologies, and cosmologies. In doing so, it employs Oceanic lenses that help to reframe Pacific collections in, and the production of public understandings through, ethnographic museums in Europe and the Americas. By offering insights into Indigenous museologies across Oceania, the coauthors seek to recalibrate ethnographic museums, collections, and practices through Indigenous Oceanic approaches and perspectives. This, in turn, should assist any museum scholar and professional in rethinking and redoing their respective institutional settings, intellectual frameworks, and museum processes when dealing with Oceanic affairs; and, more broadly, in doing the “epistemic work” needed to confront “coloniality,” not only as a political problem or ethical obligation, but “as an epistemology, as a politics of knowledge.” A noteworthy feature is the book’s layered coauthorship and multi-vocality, drawing on a collaborative approach that has put the (widespread) philosophical commitment to dialogical inquiry into (seldom) practice by systematically co-constituting ethnographic knowledge. Further, the book shapes an “ethnographic kaleidoscope,” proposing the metaphor of the kaleidoscope as a way of encouraging fluid ethnographic engagements to avoid the impulse to solidify and enclose differences, and remain open to changing ethnographic meanings, positions, performances, and relationships. The coauthors collaboratively mobilize Oceanic eyes, bodies, and sovereignties, thus enacting an ethnographic kaleidoscopic process and effect aimed at refocusing ethnographic museums through Oceanic lenses.

Freshly presents world history through its oceans and seas in uniquely wide-ranging, original chapters by leading experts in their fields.

Waves in Oceanic and Coastal Waters describes the observation, analysis and prediction of wind-generated waves in the open ocean, in shelf seas, and in coastal regions with islands, channels, tidal flats and inlets, estuaries, fjords and lagoons. Most of this richly illustrated book is devoted to the physical aspects of waves. After introducing observation techniques for waves, both at sea and from space, the book defines the parameters that characterise waves. Using basic statistical and physical concepts, the author discusses the prediction of waves in oceanic and coastal waters, first in terms of generalised observations, and then in terms of the more theoretical framework of the spectral energy balance. He gives the results of established theories and also the direction in which research is developing. The book ends with a description of SWAN (Simulating Waves Nearshore), the preferred computer model of the engineering community for predicting waves in coastal waters.

The first book on this prestigious and exceptional liner, the pinnacle of ship-building in her day

Combining rigorous theory with practical application, this book provides a unified and detailed account of the fundamental equations governing atmospheric and oceanic fluid flow on which global, quantitative models of weather and climate prediction are founded. It lays the foundation for more accurate models by making fewer approximations and imposing dynamical and thermodynamical consistency, moving beyond the assumption that the Earth is perfectly spherical. A general set of equations is developed in a standard notation with clearly stated assumptions, limitations, and important properties. Some exact, non-linear solutions are developed to promote further understanding and for testing purposes. This book contains a thorough consideration of the fundamental equations for atmospheric and oceanic models, and is therefore invaluable to both theoreticians and numerical modellers. It also stands as an accessible source for reference purposes.

This volume examines how Indigenous theatre and performance from Oceania has responded to the intensification of globalisation from the turn of the 20th to the 21st centuries. It foregrounds a relational approach to the study of Indigenous texts, thus echoing what scholars such as Tui Nicola Clery have described as the stance of a “Multi-Perspective Culturally Sensitive Researcher.” To this end, it proposes a fluid vision of Oceania characterized by heterogeneity and cultural diversity calling to mind Epeli Hau‘ofa’s notion of “a sea of islands.” Taking its cue from the theories of Deleuze and Guattari, the volume offers a rhizomatic, non-hierarchical approach to the study of the various shapes of Indigeneity in Oceania. It covers Indigenous performance from Aotearoa/New Zealand, Hawai’i, Samoa, Rapa Nui/Easter Island, Australia and the Torres Strait Islands. Each chapter uses vivid case histories to explore a myriad of innovative strategies responding to the interplay between the local and the global in contemporary Indigenous performance. As it places different Indigenous cultures from Oceania in conversation, this critical anthology gestures towards an “imparative” model of comparative poetics, favouring negotiation of cultural difference and urging scholars to engage dialogically with non-European artistic forms of expression.