DOCSLIB.ORG

Iknights 2021 Background Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Iknights 2021 Background Guide iMUNC 2021 Background Guide iKnights Chair: Kate Montano Crisis Director: Elly Tuffey Saturday, April 10 | NYC iSchool Letters From The Dias Hello Delegates, My name is Kate Montano, and I am super excited to be the chair for iKnights! I joined Model UN at the beginning of my freshman year at iSchool and am now a Junior. This is my first time chairing for iMUNC-- something that I’m excited (and nervous) for. At iSchool, Model UN is a pretty popular club so I thought I would try it out. When I began Model UN, I honestly had no idea how to conduct myself. I was incredibly intimidated by my more experienced peers, and I hardly participated. After lots of practice and lots of learning though, I found my voice and really began to love Model UN. Something that I appreciate about Model UN is the innumerable ways in which a delegate can act or lead the conference; it can start out really serious, but can also be really silly or have many unexpected endings. Model UN also intensified my love for my school; the iSchool never puts pressure on the club to be overly formal or serious. During my first conferences, I was always so worried about saying or doing something that was incorrect, but I’ve learned that you really can’t do anything incorrect in Model UN because making choices is a part of the fun. Be creative with your characters and the way you portray them-- it's all up to you! This committee in particular is based on a myth, so you really can’t go wrong with it. iMUNC should not be thought of as work, so enjoy yourself!! I look forward to getting to see all of you :) Kate Montano (she/her) ([email protected]) Hey Delegates! My name is Elly Tuffey and I will be your crisis director for iKnights! I am a junior here at NYC iSchool and this is my first time writing a committee and being a crisis director. I must admit, it was very stressful, let's hope my stress was worth it. My interest in Model UN was sparked when I took a class in my freshman year literally called “Model UN”, and learned how to debate using parliamentary procedure. Since then I have been fascinated with Model UN and the amount of researching and critical thinking that goes into it. I did not officially join the Model UN club until my sophomore year and I have only participated in five or six conferences. I know, I'm a bit of a noob, but I always have lots of fun and end up feeling really good about myself. One aspect of Model UN that I have always struggled with are my nerves before conferences, and the feeling that every speech I make has to be perfect. If you are like me, and you let your nerves get the best of you, just remember that Model UN is a space for learning and experimenting. The world's problems are not going to be solved in one conference that lasts a day. Nobody is judging you or thinking that what you said is unintelligent or makes no sense. Truthfully, most people are only half listening because they are worried about what they are going to say next. Remember to take chances, and feel free to make mistakes. It will help you learn. This committee was written with the intention that you would use your creativity and imagination to make the world come alive. No need to research much when prepping, most of the stuff written here came from my imagination. I truly do look forward to seeing how you come up with solutions to problems that will only ever plague you in this committee. Please remember that although we are dealing with medieval times and magic, I still would love you to realistically take on your role and think about what part you play in the grand scheme of things. If when you read this background guide it reminds you a little bit of D&D (to all my fantasy nerds out there) that is because even before I knew what Model UN was, I was an avid D&D player. One last thing, I would love it if you dressed up like your character! Something in my brain just thinks that that would be the most hilarious thing ever. No pressure if you don’t feel comfortable or you believe that it would be unprofessional, but even just a little token that represents your character would be appreciated ;) Best of luck, and remember to have fun! Elly Tuffey (she/her/hers) ([email protected]) Zoom Procedure Delegates… PLEASE remember to update your zoom to the current version available before this conference. We will be using the yes/no buttons for voting procedure and the raise hand button for points, motions, and to call on delegates wishing to speak. We will also be using breakout rooms for unmods, which means we will rely on the fact that everyone will be able to put themselves into the rooms they wish to be in. You must have your cameras on during this debate. Please email us if you are in a situation where you are unable to have your camera on, but otherwise being able to see all participants ensures that everyone is paying attention and allows for a more fruitful debate. Accepted Documents Crisis Note This is a direct action taken by you as a delegate. They should be written as notes to the chair and must have three core pieces: what you want to do, how you are going to achieve it or what means you will use, and why you are trying to do it. This will help your chairs effectively build crisis narratives for you and will make more of what you want to happen come true. Notes can be written directly to the chair, or in character as the person/delegation you are representing. Directive This is an action taken by the whole committee, either collective action by each delegate or using a power vested in the whole committee. They have sponsors (who wrote it), signatories (who want to see it voted on—not necessarily supporting it), and operative clauses that specify what actions are being taken. Directives must be voted on, passed, and then will be implemented by the crisis team. Communiqué A communique is a communication sent by the whole committee to another person or group. They are a way of representing the interests of everyone to other groups you may be trying to work with or are bargaining with. Press Release A press release is an announcement from the committee to the public at large. They are a useful way to generate public sentiment, and some delegations may demand them in the name of transparency at certain points. Background Information In a 6th century country that resembles the United Kingdom, three kingdoms reign supreme: the Kingdom of Camelot led by King Arthur, the Kingdom of Cornwall led by King Mark, and the Kingdom of Tintagel led by King Thomas. These three kingdoms have rich histories surrounding their royal families, their kingdom boundaries, and the fundamental principles they follow. Each kingdom has a complicated relationship with the others that includes disagreements regarding land, disrespect of each other’s crowns, and religion. The kingdoms have around 40,000 people each that are spread out within kingdom boundaries and depend on their kings to lead them. Citizens trust that their royal family will give them decent lives and care for them. You are all living in a medieval time which means that the technology is very limited. Another notable aspect of your world is that magic does exist and forms of it can be used. As knights and princes, you have no magical powers, but there are people around you that do. History of Camelot Before Arthur Pendragon was king, or even a mere thought, his mother was married to a duke in Camelot. With her husband, she had a daughter whom she named Morgan Le Fey. Morgan le Fey exhibited strong powers before she was even able to walk, and by the time she was able to talk her father made the executive decision that she was to be sent away to live in a remote part of the kingdom by the forest. She grew up without a real family. Her powers grew and she learned how to control them, but she was a lonely child. She was kept away from children her age and the only person she communicated with was her caretaker. By the time she turned 20, she disappeared and was never heard from again. Five years after Morgan le Fey was born, the King of Camelot at the time, Uther Pendragon, caught a look at her mother and immediately fell in love. As the King, he was able to take her as his wife and in a matter of months Arthur was born. As the first child of the King he was coddled and grew up with everything he could desire. However, there is a custom in Camelot where the king must complete a quest to show that he is worthy of leading his people. When Arthur was 18 he began this quest to prove his worth. He was tasked with finding the den of mountain wolves that had been terrorizing a village near the border of the kingdom, and killing them. One of the possessions that he gathered from this quest was Excalibur, a sword that was bestowed upon him from the Lady of the Lake, who saw excellence and beauty in him.
Load more

Recommended publications
  • The Stannaries
    THE STANNARIES A STUDY OF THE MEDIEVAL TIN MINERS OF CORNWALL AND DEVON G. R. LEWIS First published 1908 PREFACE THEfollowing monograph, the outcome of a thesis for an under- graduate course at Harvard University, is the result of three years' investigation, one in this country and two in England, - for the most part in London, where nearly all the documentary material relating to the subject is to be found. For facilitating with ready courtesy my access to this material I am greatly indebted to the officials of the 0 GEORGE RANDALL LEWIS British Museum, the Public Record Office, and the Duchy of Corn- wall Office. I desire also to acknowledge gratefully the assistance of Dr. G. W. Prothero, Mr. Hubert Hall, and Mr. George Unwin. My thanks are especially due to Professor Edwin F. Gay of Harvard University, under whose supervision my work has been done. HOUGHTON,M~CHIGAN, November, 1907. CONTENTS INTRODUCTION purpose of the essay. Reasons for choice of subject. Sources of informa- tion. Plan of treatment . xiii CHAPTER I Nature of tin ore. Stream tinning in early times. Early methods of searching for ore. Forms assumed by the primitive mines. Drainage and other features of medizval mine economy. Preparation of the ore. Carew's description of the dressing of tin ore. Early smelting furnaces. Advances in mining and smelt- ing in the latter half of the seventeenth century. Preparation of the ore. Use of the steam engine for draining mines. Introduction of blasting. Pit coal smelting. General advance in ore dressing in the eighteenth century. Other improvements.
    [Show full text]
  • An Arthurian Drama
    EXCALIBUR: AN ARTHURIAN DRAMA RALPH ADAMS CRAM EXCALIBUR: AN ARTHURIAN DRAMA Table of Contents EXCALIBUR: AN ARTHURIAN DRAMA...........................................................................................................1 RALPH ADAMS CRAM..............................................................................................................................1 Advertisement:...............................................................................................................................................1 Prologue.........................................................................................................................................................2 Act I................................................................................................................................................................6 ACT II..........................................................................................................................................................44 i EXCALIBUR: AN ARTHURIAN DRAMA RALPH ADAMS CRAM This page copyright © 2002 Blackmask Online. http://www.blackmask.com • Advertisement: • Prologue • Act I • ACT II Advertisement: Excalibur is the introductory drama of a contemplated trilogy founded on the Arthurian legends as the perfect embodiment of the spirit and impulse of that great Christian epoch we call Mediævalism. The attempt is again madehowever inadequately to do for the epic of our own race, and in a form adapted to dramatic presentation, a small measure of that which
    [Show full text]
  • Malory to Milton. In: Demaria, Robert, Chang, Heesok and Zacher, Samantha (Eds.) the Blackwell Companion to British Literature: Early Modern Literature 1450-1660
    Maley, Willy, and Swann, Adam (2014) The fortunes of Arthur: Malory to Milton. In: DeMaria, Robert, Chang, Heesok and Zacher, Samantha (eds.) The Blackwell Companion to British Literature: Early Modern Literature 1450-1660. Series: Blackwell companions to literature, 2. John Wiley & Sons Ltd., Oxford, pp. 16-28. ISBN 9780470656044 Copyright © 2014 John Wiley & Sons Ltd. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge Content must not be changed in any way or reproduced in any format or medium without the formal permission of the copyright holder(s) When referring to this work, full bibliographic details must be given http://eprints.gla.ac.uk/70567/ Deposited on: 10 June 2014 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk The Fortunes of Arthur: Malory to Milton Willy Maley and Adam Swann David Matthews, in his contribution to this volume, identifies a tension between veneration of significant figures from the past and scepticism surrounding their authorship, their arguments, and in some cases their existence. Elsewhere, Paul Stevens has shown the extent to which Milton was in a similar predicament, wanting to find in England’s history a subject worthy of epic, but torn between the rigorous revisionism of the likes of Camden and Selden and ‘the patriotic [tradition] mediated through Spenser, Shakespeare, and Drayton’ (Stevens 2012: 157). Between Thomas Malory’s Morte Darthur, completed by 1470, and published by Caxton – with carefully qualified scepticism about Arthur’s existence – in 1485, and Milton’s History of Britain (1670), we can follow the fortunes of Arthur as a figure contested and celebrated in equal measure.
    [Show full text]
  • Stories of King Arthur
    : Stori 9547 King Arthur had hardly spoken, before a white hart ran into the hall." (See pa^e 19.) STORIES OF KING ARTHUR BY A. L. HAYDON With Four Coloured Plates and other 2-s"- Illv-stratwns by ARTHUR RACKHAM, A.R.W.S. - o CASSELL AND COMPANY, LIMITED LONDON, NEW YORK, TORONTO AND MELBOURNE MCMX THE NEW YORK BUG LIBRARY A8TOH. LENOX AND TfLDEN FOUNDATIONS, \:" t^-^v^v' ;,/": - , . c 'c ClC.,,I *. ' e e ti .'. .: '.*' t , e c e . c t i , l i f. .ee , . c ALL RIGHTS RESERVED 3 ^ H CONTENTS PAGE I. OF ARTHUR'S BIRTH, AND How HE CAME INTO HIS KINGDOM 9 II. OP KING ARTHUR'S MARRIAGE, AND How SIR TOR PROVED HIMSELF A WORTHY KNIGHT . 16 III. OF Sm BEAUMAINS AND HIS QUEST . .23 IV. OF SIR TRISTRAM OF LYONESSE AND LA BELLE YSOLDE 31 V. OF BALIN AND BALAN AND THE DOLOROUS STROKE 40 VI. OF SIR BREUNOR AND THE ADVENTURE OF THE BLACK SHISLO , v. 49 VII. OF SIR GALAHAD AND THE QUEST FOR THE HOLY G?>,A:L . .57 VIII. OF SIR GALAHAD AND How HE ACHIEVED THE QUEST OF TH>; HOLY GHAIL . .65 IX. OF THE JEST OF SIR DAGONET . .73 X. OF THE QUEEN'S MAYING, AND How SIR LANCELOT RODE IN A CART . .79 XI. OF THE SWORD EXCALIBUR, AND THE PASSING OF ARTHUR . 87 LIST OF COLOURED PLATES " KING ARTHUR HAD HARDLY SPOKEN, BEFORE A WHITE HART RAN INTO THE HALL" Frontispiece "THIS KNIGHT HE SERVED AS HE HAD DONE " THE OTHER Facing page . 29 "TRISTRAM SMITING HIM CLEAN OFF HIS HORSE " 37 "BREUNOR FLUNG HIS SWORD HIGH ABOVE HIS HEAD" 50 STORIES OF KING ARTHUR I.
    [Show full text]
  • Frank Martin's Interpretation of the Tristan and Isolde Myth
    MARTA SZOKA (Łódź) Frank Martin’s Interpretation of the Tristan and Isolde Myth: Following the Trail of a Certain Novel Some people may frown at a juxtaposition of the Tristan and Isolde myth, one of the greatest sources of artistic inspiration in Euro­ pean culture, and its numerous musical representations with a novel by Charles Morgan, a minor writer known today almost exclusively to English literature scholars. If, however, we assume that the practice of musicology, apart from the analysis of music in terms of purely sonic structures, embraces also critical reflection, then we can put forward a perspective which will - to quote Polish poet Zbigniew Herbert - ‘open up a dialogue with the maker of the work, with his unique inner world, his love, passion and dilemmas, and also the path of perfection charac­ teristic of him and given to him’.1 I set out to scrutinise Frank Martin’s work in view of certain cul­ tural and psychological issues, as well as the social aspect of myth. Taken out of its complex context, the music score is forced to be an autonomous organism, and thus the multidimensional sense of art in the modern world becomes forgotten. Bearing an artistic and cultural message, a work of art is a carrier of meanings beyond the author’s in­ tent - meanings to be reached and understood. Moreover, this process of reaching out toward meaning does not exhaust itself in a single act of cognition, supposed to establish a certain truth once and for all. I would like to adopt here Hans-Georg Gadamer’s premise of the ‘inexhaustibil­ ity’ of the meaning of art as well as the ever renewed process of its un­ derstanding.2 1 Zbigniew Herbert, ‘Willem Duyster (1599-1635) albo Dyskretny urok soldateski’ [Willem Duyster, or the Discreet charm of the soldiery], Zeszyty Literackie 68 (1999), 18.
    [Show full text]
  • Arthurian Legend
    Nugent: English 11 Fall What do you know about King Arthur, Camelot and the Knights of the Round Table? Do you know about any Knights? If so, who? If you know anything about King Arthur, why did you learn about King Arthur? If you don’t know anything, what can you guess King Arthur, Camelot, or Knights. A LEGEND is a story told about extraordinary deeds that has been told and retold for generations among a group of people. Legends are thought to have a historical basis, but may also contain elements of magic and myth. MYTH: a story that a particular culture believes to be true, using the supernatural to interpret natural events & to explain the nature of the universe and humanity. An ARCHETYPE is a reoccurring character type, setting, or action that is recognizable across literature and cultures that elicits a certain feeling or reaction from the reader. GOOD EVIL • The Hero • Doppelganger • The Mother The Sage • The Monster • The Scapegoat or sacrificial • The Trickster lamb • Outlaw/destroyer • The Star-crossed lovers • The Rebel • The Orphan • The Tyrant • The Fool • The Hag/Witch/Shaman • The Sadist A ROMANCE is an imaginative story concerned with noble heroes, chivalric codes of honor, passionate love, daring deeds, & supernatural events. Writers of romances tend to idealize their heroes as well as the eras in which the heroes live. Romances typically include these MOTIFS: adventure, quests, wicked adversaries, & magic. Motif: an idea, object, place, or statement that appears frequently throughout a piece of writing, which helps contribute to the work’s overall theme 1.
    [Show full text]
  • Mordred, a Tragedy
    MORDRED, A TRAGEDY HENRY NEWBOLT MORDRED, A TRAGEDY Table of Contents MORDRED, A TRAGEDY......................................................................................................................................1 HENRY NEWBOLT.....................................................................................................................................1 ACT I..........................................................................................................................................................................2 SCENE I.........................................................................................................................................................2 SCENE II.......................................................................................................................................................6 ACT II.......................................................................................................................................................................11 SCENE I.......................................................................................................................................................11 SCENE II.....................................................................................................................................................15 SCENE III....................................................................................................................................................18 SCENE IV....................................................................................................................................................22
    [Show full text]
  • The Romance of Tristan by Beroul
    The Romance of Tristan By Beroul Richelle Runyon HUMN520 Fall 2012 Tristan’s Homeland Tristan hailed from Lyoness, which is shown in blue. There is debate as to whether the kingdom truly existed. www.tristanandisolde.net/articles/article/lyonesse Tristan’s Travels Cornwall and Ireland map courtesy of www.lonelyplanet.com/maps/europe Brittany map courtesy of www.discover.brittany.info Brief Synopsis King Rivalen of Lyoness married King Mark of Cornwall’s sister, Blanchefleur gave birth to a son, Tristan. After learning warlike and peaceful arts required of noble youth by his tutor, Governal, he sought out his uncle, King Mark, in Tintagel in an attempt to see other lands and seek adventure. Yet, he did so without revealing his identity. With his brevity and prowess, he launched himself to high status with the king. Tristan eventually revealed his royal lineage, but became wounded while fatally injuring Morholt, the brother of the Queen of Ireland. Giving all trust to God, he set out on a boat in faith that he would be sent somewhere to receive healing. Ironically, this journey took him to Ireland, where he received healing. This is where we first meet the barons, who quickly become Tristan’s enemies. Fearful that Tristan would inherit Mark’s riches, they pleaded with the king to find a wife. Begrudgingly, the king agreed to marry the woman who possessed the hair matching that of a strand he received from a swallow. Once again, we find our hero in route to Ireland, as the Irish king offered his daughter, Yseut as reward to any who could kill a dragon which had been reaping havoc on their land.
    [Show full text]
  • The Micro-Geography of Nineteenth Century Cornish Mining?
    MINING THE DATA: WHAT CAN A QUANTITATIVE APPROACH TELL US ABOUT THE MICRO-GEOGRAPHY OF NINETEENTH CENTURY CORNISH MINING? Bernard Deacon (in Philip Payton (ed.), Cornish Studies Eighteen, University of Exeter Press, 2010, pp.15-32) For many people the relics of Cornwall’s mining heritage – the abandoned engine house, the capped shaft, the re-vegetated burrow – are symbols of Cornwall itself. They remind us of an industry that dominated eighteenth and nineteenth century Cornwall and that still clings on stubbornly to the margins of a modern suburbanised Cornwall. The remains of this once thriving industry became the raw material for the successful World Heritage Site bid of 2006. Although the prime purpose of the Cornish Mining World Heritage Site team is to promote the mining landscapes of Cornwall and west Devon and the Cornish mining ‘brand’, the WHS website also recognises the importance of the industrial and cultural landscapes created by Cornish mining in its modern historical phase from 1700 to 1914.1 Ten discrete areas are inscribed as world heritage sites, stretching from the St Just mining district in the far west and spilling over the border into the Tamar Valley and Tavistock in the far east. However, despite the use of innovative geographic information system mapping techniques, visitors to the WHS website will struggle to gain a sense of the relative importance of these mining districts in the history of the industry. Despite a rich bibliography associated with the history of Cornish mining the historical geography of the industry is outlined only indirectly.2 The favoured historiographical approach has been to adopt a qualitative narrative of the relentless cycle of boom and bust in nineteenth century Cornwall.
    [Show full text]
  • The Problem with Page to Screen Adaptation: a Case Study of King Arthur and Tristan and Isolt
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-3-2019 The Problem with Page to Screen Adaptation: A Case Study of King Arthur and Tristan and Isolt Christina Miller Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons, and the Medieval Studies Commons The Problem with Page to Screen Adaptation: A Case Study of King Arthur and Tristan and Isolt Christina Miller May 3, 2019 / Spring 2019 Major: English Literature, Culture, & Media Advisor: Dr. Martha Driver Department: English Miller 1 Abstract The legends of King Arthur and Tristan and Isolt have been popular for centuries, leading to multiple translations and versions of each text. Modern filmmakers have added to this legacy. Though audiences have enjoyed various contemporary film adaptations of these medieval romances, several essential elements are lost while translating the works to screen. This paper identifies a central motif in each work—King Arthur’s Round Table and Isolt’s love potion— that shapes the subsequent love triangle, and by extension, the representation and motivation of honor. While tracing the continued appearance of such components and their importance in the text sources of Geoffrey of Monmouth, Wace, Chrétien de Troyes, Thomas Malory, Gottfried von Strassburg, and Joseph Bédier, this paper will then discuss how each is manipulated by modern filmmakers and the lasting consequences on the legends as a result of such changes. Miller 2 Table of Contents I. Introduction................................................................................................................................3 II. Central Motifs of the Legends………………………………………………………......….....9 III. Fateful Love Triangles………………………………………………………………....…….14 IV. Honor: Characterization and Motivation.................................................................................18 V.
    [Show full text]
  • The Lees of Quethiock Cornwall Their Family History from Ancient Times
    THE LEES OF QUETHIOCK CORNWALL THEIR FAMILY HISTORY FROM ANCIENT TIMES "Brave men have lived before Agamemnon, lots of them. But on all of them - eternal night lies heavy, for they left no records behind. (`ODES` Horace 65-8BC) This is the story of those who did This is the story of my ancestors, the Lee family, who have left records behind and from which the line can be traced from Alexander and Thomas born 1994 and 1990 respectively, back to John of Legh, alive in 1433, and Richard de Leye, alive in 1327. John and Richard lived at, and took their surname from Legh, a pre-Norman settlement in Cornwall recorded in the Domesday Book of 1086. Legh is situated in the present parish of Quethiock, some 5 miles west of the River Tamar and 5 miles east of Liskeard, just in the southeast corner of Cornwall. To uncover the history took ten and more years of research. So what stimulated me to commence? In 1986 I watched a television programme on early portraiture. It was explained that during the time of the Roman Empire (146BC-410AD) it was fashionable to have a statue carved of oneself together with ones father and grandfather. To illustrate this a statue from the 1st century AD was shown; I was astounded to note that it bore a likeness to my family and in particular to my brother, David Henry Lee. I immediately commented on this to my wife, Brenda, who replied `No, it is more like you`. From that moment the question lay in my mind `I look like a Roman from 2000 years ago; I have the surname of Lee which is derived from a Saxon-German word meaning pasture; my father`s family were known to have come from Cornwall and so presumably I have West Welsh Celtic blood; my mother claimed her family came from Devon and I was born in Devonport on the borders of Devon and Cornwall; so who am I? Cornwall over the millenniums had been invaded by 6 or so groups of different people; Ancient British (7000BC), Celts (700BC-63AD), Danes (800AD), Romans (63-401AD), Saxons (447-1066AD), Normans (1066).
    [Show full text]
  • Bounded by Heritage and the Tamar: Cornwall As 'Almost an Island'
    Island Studies Journal, 15(1), 2020, 223-236 Bounded by heritage and the Tamar: Cornwall as ‘almost an island’ Philip Hayward University of Technology Sydney, Australia [email protected] (corresponding author) Christian Fleury University of Caen Normandy, France [email protected] Abstract: This article considers the manner in which the English county of Cornwall has been imagined and represented as an island in various contemporary contexts, drawing on the particular geographical insularity of the peninsular county and distinct aspects of its cultural heritage. It outlines the manner in which this rhetorical islandness has been deployed for tourism promotion and political purposes, discusses the value of such imagination for agencies promoting Cornwall as a distinct entity and deploys these discussions to a consideration of ‘almost- islandness’ within the framework of an expanded Island Studies field. Keywords: almost islands, Cornwall, Devon, islands, Lizard Peninsula, Tamar https://doi.org/10.24043/isj.98 • Received May 2019, accepted July 2019 © 2020—Institute of Island Studies, University of Prince Edward Island, Canada. Introduction Over the last decade Island Studies has both consolidated and diversified. Island Studies Journal, in particular, has increasingly focussed on islands as complex socio-cultural-economic entities within a global landscape increasingly affected by factors such as tourism, migration, demographic change and the all-encompassing impact of the Anthropocene. Islands, in this context, are increasingly perceived and analysed as nexuses (rather than as isolates). Other work in the field has broadened the focus from archetypal islands—i.e., parcels of land entirely surrounded by water—to a broad range of locales and phenomena that have island-like attributes.
    [Show full text]