Davis, soldier missionary : a biography of Rev. Jerome D. Davis, D.D., Lieut-Colonel of volunteers and for thirty-nine years a missionary of the American Board of Commissioners for Foreign Missions in Japan

http://www.archive.org/details/davissoldiermiss00davirich

Alexander Mackay : missionary hero of Uganda.

http://www.archive.org/details/alexandermackay00unknuoft/

The martyrs of Golbanti : or missionary heroism illustrated in the lives of Rev. John and Mrs. Houghton, of East Africa / by Robert Brewin.

http://www.archive.org/details/martyrsofgolbant00brewiala

In the Ojibway country : a story of early missions on the Minnesota frontier

http://www.archive.org/details/inojibwaycountry00scheiala

On the Indian trail : stories of missionary work among the Cree and Saulteaux Indians / by Egerton R. Young.

http://www.canadiana.org/ECO/ItemRecord/30577 View document online

Arthur Douglas : missionary on Lake Nyasa, the story of his life

http://www.archive.org/details/arthurdouglasmi00douguoft

Gathering for God : George Brown in Oceania

Combining 'the gathering of artefacts with the gathering of souls', George Brown was a key figure in the Christian, and especially the Wesleyan Methodist, history of nineteenth-century Oceania. Using his life as a case study, Helen Bethea Gardner examines the role of Christian missionaries in the Pacific Islands. Brown's career (1860-1908) spanned one of the most tumultuous political periods in the South Pacific, as one by one islands were colonised by imperial nations. He was one of the most politically engaged of all missionaries, encouraging colonial rule in the Pacific by America, Britain, Germany and, eventually, Australia and New Zealand. Originally from the north of England, he worked as a missionary in Samoa from 1860, moving to the Bismarck Archipelago (now Papua New Guinea) in 1875. From the 1880s until his retirement in 1907, he worked in Sydney as the general secretary of the Australasian Methodist Overseas Mission. Gathering for God examines Brown's missionary letters, journals and journalism, exploring how he attracted Pacific Islanders to Christian teachings, analysing his leadership during an armed attack on New Britain villages accused of cannibalism, and looking at his work in the new discipline of anthropology. He was a major collector of artefacts (his collection is now in the Osaka Museum) and photographer of Pacific peoples (his collection is in the Australian Museum).

An Englishwoman's twenty-five years in tropical Africa: being the biography of Gwen Elen Lewis, missionary to the Cameroons and the Congo, by George Hawker

http://www.archive.org/details/anenglishwomanst00hawkuoft

Portraits of American Protestant missionaries to Hawaii ; published by the Hawaiian Mission Children's Society.

http://www.archive.org/details/portraitsofameri00hawarich

The Japan Baptist annual ...

Mode of access: Internet.

Makers of Japan /

His majesty the Emperor of Japan -- Prince Tokugawa Keiki, the last of the Shoguns -- Fujita Toko -- Sakuma Shuri (otherwise Shozan) -- Yoshida Torajiro (otherwise Sho-in) -- Marquis Ito -- Prince Iwakura Tomomi -- Prince Sanjo Sanetomi -- Count Inouye Kaoru -- Viscount Okubo Toshimichi -- Count Gogo Shojiro -- Marshal Saigo Takamori -- Field-marshal Marquis Yamagata -- Count Okuma Shigenobu -- Field-marshal Marquis Oyama -- Fukusawa Yukichi -- Marquis Kido Koin -- Count Itagaki -- Count Matsukata Masoyoshi -- Admiral Viscount Enomoto -- Admiral Togo Heigachi -- Baron Eichi Shibusawa.

Printmaking as an expanding field in contemporary art practice : a case study of Japan, Australia and Thailand

This thesis proposes that contemporary printmaking, at its most significant, marks the present through reconstructing pasts and anticipating futures. It argues this through examples in the field, occurring in contexts beyond the Euramerican (Europe and North America). The arguments revolve around how the practice of a number of significant artists in Japan, Australia and Thailand has generated conceptual and formal innovations in printmaking that transcend local histories and conventions, whilst paradoxically, also building upon them and creating new meanings. The arguments do not portray the relations between contemporary and traditional art as necessarily antagonistic but rather, as productively dialectical. Furthermore, the case studies demonstrate that, in the 1980s and 1990s particularly, the studio practice of these printmakers was informed by other visual arts disciplines and reflected postmodern concerns. Departures from convention witnessed in these countries within the Asia-Pacific region shifted the field of the print into a heterogeneous and hybrid realm. The practitioners concerned (especially in Thailand) produced work that was more readily equated with performance and installation art than with printmaking per se. In Japan, the incursion of photography interrupted the decorative cast of printmaking and delivered it from a straightforward, craft-based aesthetic. In Australia, fixed notions of national identity were challenged by print practitioners through deliberate cultural rapprochements and technical contradictions (speaking across old and new languages).However time-honoured print methods were not jettisoned by any case study artists. Their re-alignment of the fundamental attributes of printmaking, in line with materialist formalism, is a core consideration of my arguments. The artists selected for in-depth analysis from these three countries are all innovators whose geographical circumstances and creative praxis drew on local traditions whilst absorbing international trends. In their radical revisionism, they acknowledged the specificity of history and place, conditions of contingency and forces of globalisation. The transformational nature of their work during the late twentieth century connects it to the postmodern ethos and to a broader artistic and cultural nexus than has hitherto been recognised in literature on the print. Emerging from former guild-based practices, they ambitiously conceived their work to be part of a continually evolving visual arts vocabulary. I argue in this thesis that artists from the Asia-Pacific region have historically broken with the hermetic and Euramerican focus that has generally characterised the field. Inadequate documentation and access to print activity outside the dominant centres of critical discourse imply that readings of postmodernism have been too limited in their scope of inquiry. Other locations offer complexities of artistic practice where re-alignments of customary boundaries are often the norm. By addressing innovative activity in Japan, Australia and Thailand, this thesis exposes the need for a more inclusive theoretical framework and wider global reach than currently exists for ‘printmaking’.

A comparative overview of "know-how" protection in Japan and Australia

"Know How" protection varies enormously from country to country and is a complex equation of legal, political, cultural and economic factors. A contrast between Japan and Australia serves to highlight some of these factors. For the purposes of this article, a working definition of "know how" is required. In Australia and other common law systems, no statutory definition of "know how" exists, "confidential information" proving the closest comparative term in Australia ('trade secret law' in the United States).