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This timely work examines the scale and root causes of terrorism across Southeast Asia, including the role of al-Qaeda's ascendancy in the region. It begins with an overview of the analytical and theoretical framework for discussing the subject. Individual chapters then examine terrorist activities from both functional and country-specific perspectives. The book traces fundamental linkages between terrorism and security issues, such as illegal immigration, narcotics trafficking, and other criminal activity. In addition, it considers the issue of convergence - the growing connection between criminal groups and terrorism, and how this may facilitate future violence. Written by a range of experts in the field, the individual chapters reflect a variety of perspectives. The contributions fall into two broad categories - chapters that directly address terrorism (the groups, their ideologies, their modus operandi, their origins, and state responses to them); and chapters that address the "enabling environment" that exists in Southeast Asia (the role of transnational crime, porous borders, convergence between terrorism and crime).
Making Moros offers a unique look at the colonization of Muslim subjects during the early years of American rule in the southern Philippines. Hawkins argues that the ethnological discovery, organization, and subsequent colonial engineering of Moros was highly contingent on developing notions of time, history, and evolution, which ultimately superseded simplistic notions about race. He also argues that this process was highly collaborative, with Moros participating, informing, guiding, and even investing in their configuration as modern subjects. Drawing on a wealth of archival sources from both the United States and the Philippines, Making Moros presents a series of compelling episodes and gripping evidence to demonstrate its thesis. Readers will find themselves with an uncommon understanding of the Philippines' Muslim South beyond its usual tangential place as a mere subset of American empire.
How did exhibitions become a vital tool for public communication in early twentieth century Britain? Showing resistance reveals how exhibitions were taken up by activists and politicians from 1933 to 1953, becoming manifestos, weapons of war and a means of signalling political solidarities. Drawing on dozens of examples mounted in empty shops, workers’ canteens, station ticket halls and beyond, this richly illustrated book shows how this overlooked form was created by significant makers including artists Paul Nash, John Heartfield and Oskar Kokoschka, architect Erno Goldfinger and photographer Edith Tudor-Hart. Showing resistance is the first study of exhibitions as communications in mid-twentieth century Britain.
This is a unique pictorial reference book on Royal Moro Armor from the Royal Court of Moroland Museum. This book contains specific information for each unique item, including full color pictures of the item, a brief description of its size, composition and location found. We were inspired to create this book with the intent of documenting these precious treasures of history for Moroland Museum Historical Archives and to share with others these unique historical weapons and artifacts. Many of these items have never been seen by the public in any form other than by their original owners as these are from private collections located in the Philippines and can only be viewed in the Moroland Museum Historical Publications books. This book is the ninth book in a series of rare books with multiple volumes on specific subjects from the Archives of the World Famous Moroland Museum. These subjects include swords, daggers, shields, armor, bows & arrows, artifacts, etc.
Paris was the artistic capital of the world in the 1920s and '30s, providing a home and community for the French and international avant-garde. Latin American artists contributed to and reinterpreted nearly every major modernist movement that took place in the creative center of Paris between World War I and World War II, including Cubism (Diego Rivera), Surrealism (Antonio Berni and Roberto Matta), and Constructivism (Joaquin Torres-Garcia). Yet their participation in the Paris art scene has remained largely overlooked until now. This book examines their collective role, surveying the work of both household names and an extraordinary array of lesser-known artists. Michele Greet illuminates the significant ways in which Latin American expatriates helped establish modernism and, conversely, how a Parisian environment influenced the development of Latin American artistic identity.