This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The present collection was written to commemorate the third centenary of the death of the Portuguese Jesuit, Tomás Pereira (1645–1708). Dealing with some of the most decisive and controversial moments in the history of the Jesuit mission in China during the Kangxi era (1662–1722), these essays were produced by an international team of scholars and cover a wide range of topics that reflect a permanent academic interest, in Europe and America as well as in China, in the history of the Catholic mission in China, Sino-Russian diplomacy, the history of Western science and music in China, intercultural history, and history of art. While the names of such missionaries as Matteo Ricci, Adam Schall and Ferdinand Verbiest are well known, Pereira has been relatively neglected, and this volume seeks to redress that imbalance. Pereira was important as a musician and diplomat and was closer to the Kangxi emperor than any other Westerner, something that enabled him to exert considerable influence for the protection of the Chinese Christians and also to further the interests of Portugal in China. However, towards the end of his life he saw his efforts undermined by the damaging consequences of the papal legation to China led by Charles-Thomas Maillard de Tournon.

Lights and Shadows of a Macao Life, the title chosen by Harriet Low for her journal, aptly describes the conflicting emotions of the first American woman to live in China. Making a rude transition from the tranquility of Salem, Massachusetts into a world of sampans and sedan chairs, women with bound feet and men with queues, the lively young American records a detailed portrait of her life in Macao from 1829-1834. The constricted lifestyle of foreign merchants' wives, forced by the Chinese to live in Macao while their husbands traded tea and opium in Canton; balls, operas and picnics; Chinese customs and Catholic processions; true friendship and false; romance or religion are all reflected in the pages of her journal. Throughout nine volumes, Harriett Low displays wit and courage as she metamorphoses from a socially naive girl into a mature, independent woman.

Lighting and shadows are used within a range of art forms to create aesthetic effects. Piotr Sadowski's study of light and shadow in Weimar cinema and contemporaneous visual arts is underpinned by the evolutionary semiotic theories of indexicality and iconicity. These theories explain the unique communicative and emotive power of light and shadow when used in contemporary indexical media including the shadow theatre, silhouette portraits, camera obscura, photography and film. In particular, Sadowski highlights the aesthetic and emotional significance of shadows. The 'cast shadow', as an indexical sign, maintains a physical connection with its near-present referent, such as a hidden person, stimulating a viewer's imagination and provoking responses including anxiety or curiosity. The 'cinematic shadow' plays a stylistic role, by enhancing image texture, depth of field, and tonal contrast of cinematic moments. Such enhancements are especially important in monochromatic films, and Sadowski interweaves the book with accounts of seminal Weimar cinema moments. Sadowski's book is distinctive for combining historical materials and theoretical approaches to develop a deeper understanding of Weimar cinema and other contemporary art forms. The Semiotics of Light and Shadows is an ideal resource for both scholars and students working in linguistics, semiotics, film, media, and visual arts.