David McKnight – författare

Based on extensive ethnographic fieldwork this is a vital addition to the literature on alcohol use and problem drinking, social change and postcolonialism.From Hunting to Drinking reveals the social change witnessed over a period of 30 years by an anthropologist on Mornington Island, off the North Queensland Coast, Australia, most notably the devastating effects that alcohol has had on this community.

Based on extensive ethnographic fieldwork this is a vital addition to the literature on alcohol use and problem drinking, social change and postcolonialism.From Hunting to Drinking reveals the social change witnessed over a period of 30 years by an anthropologist on Mornington Island, off the North Queensland Coast, Australia, most notably the devastating effects that alcohol has had on this community.

In 2009, Gregory McCoy, a noted New Jersey Andy Warhol Collector discovered while searching online, four remarkable and unknown silk screen prints of Marilyn Monroe, what struck McCoy immediately was the remarkable resemblance to Andy Warhol's iconic 1962 silkscreen portrait of the actor. After investigating the origins of the Marilyns, he purchased four proof copies from a Swedish art dealer. Through his painstaking research, McCoy has discovered that the screen prints were, most likely, made in Sweden in 1968 at the time of Warhol's first international exhibition at the Moderna Museet in Stockholm. Excited by his discovery, McCoy has spent the past twelve years acquiring over three hundred multicolored Marilyns. Not used in the Stockholm exhibition, it appears that the screen prints went underground and were gifted to a circle of Swedes who were associated with Pontus Hultén, the controversial Director of the Moderna Museet.In 2016, McCoy was introduced to Penn Libraries Director of the Rare Book and Manuscript Library; after examining a sample of the Marilyn silkscreens, McCoy and Penn Libraries formed a partnership to exhibit a selection of the Marilyns. Why Penn? It seemed obvious. Penn had played a significant role in launching Warhol's career when the recently founded Institute for Contemporary Art (ICA) mounted Warhol's first institutional retrospective of his work in 1965. The ICA exhibit is legendary. Given Penn's role in Warhol's Pop Art career, Penn seemed to McCoy to be the obvious venue to unveil his important discovery to the art world.To date the question of Andy Warhol's role in the production of this collection of Marilyn's remains unanswered, which is part of the intellectual challenge of defining these art objects within the context of Pontus Hultén curatorial vision and Andy Warhol's ethos and aesthetic. The catalogue includes an interview with the collector, essays by noted Warhol scholars: Reva Wolf and Kenneth Goldsmith; an essay on the 1965 ICA exhibition by Art Librarian Hannah Bennett; and an essay on the iconography of Marilyn Monroe by David McKnight, editor and curator of the show. The volume concludes with a Catalogue Raisonné of the McCoy Marilyns collection, prepared by Maureen McCormick, former Chief Registrar at the Princeton University Art Gallery. There will be 1,968 catalogues printed, commemorating the year in which the prints were made.

In 2009, Gregory McCoy, a noted New Jersey Andy Warhol Collector discovered while searching online, four remarkable and unknown silk screen prints of Marilyn Monroe, what struck McCoy immediately was the remarkable resemblance to Andy Warhol's iconic 1962 silkscreen portrait of the actor. After investigating the origins of the Marilyns, he purchased four proof copies from a Swedish art dealer. Through his painstaking research, McCoy has discovered that the screen prints were, most likely, made in Sweden in 1968 at the time of Warhol's first international exhibition at the Moderna Museet in Stockholm. Excited by his discovery, McCoy has spent the past twelve years acquiring over three hundred multicolored Marilyns. Not used in the Stockholm exhibition, it appears that the screen prints went underground and were gifted to a circle of Swedes who were associated with Pontus Hultén, the controversial Director of the Moderna Museet.In 2016, McCoy was introduced to Penn Libraries Director of the Rare Book and Manuscript Library; after examining a sample of the Marilyn silkscreens, McCoy and Penn Libraries formed a partnership to exhibit a selection of the Marilyns. Why Penn? It seemed obvious. Penn had played a significant role in launching Warhol's career when the recently founded Institute for Contemporary Art (ICA) mounted Warhol's first institutional retrospective of his work in 1965. The ICA exhibit is legendary. Given Penn's role in Warhol's Pop Art career, Penn seemed to McCoy to be the obvious venue to unveil his important discovery to the art world.To date the question of Andy Warhol's role in the production of this collection of Marilyn's remains unanswered, which is part of the intellectual challenge of defining these art objects within the context of Pontus Hultén curatorial vision and Andy Warhol's ethos and aesthetic. The catalogue includes an interview with the collector, essays by noted Warhol scholars: Reva Wolf and Kenneth Goldsmith; an essay on the 1965 ICA exhibition by Art Librarian Hannah Bennett; and an essay on the iconography of Marilyn Monroe by David McKnight, editor and curator of the show. The volume concludes with a Catalogue Raisonné of the McCoy Marilyns collection, prepared by Maureen McCormick, former Chief Registrar at the Princeton University Art Gallery. There will be 1,968 catalogues printed, commemorating the year in which the prints were made.

From the 1930s to the 1950s a large number of left-wing men and women in the USA, Britain, Europe, Australia and Canada were recruited to the Soviet intelligence services. They were amateurs and the reason for their success is intriguing. Using Soviet archives, this work explores these successes.

This is a fascinating exploration of the relationship between marriage, violence and sorcery in an Australian Aboriginal Community, drawing on David McKnight’s extensive research on Mornington Island. The case studies, which occurred both before and after a Presbyterian Mission was established on the island, allow McKnight to show how the complexities of kin ties and increased sexual competition help to explain incidences of violence and sorcery, without resorting to psychiatric justifications. He demonstrates that kin ties both stimulated conflict and helped to mitigate it. Following on from McKnight’s previous book, Going the Whiteman’s Way (Ashgate 2004), Of Marriage, Violence and Sorcery offers an archive of valuable primary materials, drawing on the author’s forty-year knowledge of the community on Mornington Island.

This is a fascinating exploration of the relationship between marriage, violence and sorcery in an Australian Aboriginal Community, drawing on David McKnight’s extensive research on Mornington Island. The case studies, which occurred both before and after a Presbyterian Mission was established on the island, allow McKnight to show how the complexities of kin ties and increased sexual competition help to explain incidences of violence and sorcery, without resorting to psychiatric justifications. He demonstrates that kin ties both stimulated conflict and helped to mitigate it. Following on from McKnight’s previous book, Going the Whiteman’s Way (Ashgate 2004), Of Marriage, Violence and Sorcery offers an archive of valuable primary materials, drawing on the author’s forty-year knowledge of the community on Mornington Island.

From the 1930s to the 1950s a large number of left-wing men and women in the USA, Britain, Europe, Australia and Canada were recruited to the Soviet intelligence services. They were amateurs and the reason for their success is intriguing. Using Soviet archives, this work explores these successes.

This exhibition catalogue features over 100 highlights of a large and extraordinary collection of Canadian little magazines and Canadian small press and micro-press imprints assembled by David McKnight. As a determined collector/librarian imbued with remarkable passion and resolve, McKnight invested 30 years developing a private collection that has considerable potential for literary research in the areas of Canadian Modernist poetry, avant-garde literature, and the production of small magazines in Canada. McKnight generously donated the collection to the University of Alberta Libraries in 2012, and this publication unveils the collection publicly for the first time.

Former lobbyist and political insider Guy Pearse, media and politics commentator David McKnight and environment writer Bob Burton cut through the spin to expose the underbelly of an industry whose power continues to soar while its expansion feeds catastrophic climate change. They dissect the charm offensive (and muscle) the Australian coal industry uses to get its way, reveal the myth of ‘clean coal’ and chart the stratospheric rise of a new generation of coal barons. Most contentiously of all, they explore how Australia can break its dirtiest habit and move towards a prosperous, sustainable-energy future.

Populism can be a dirty word. Brexit and the election of Donald Trump have certainly given it a bad name. But rather than associating it with demagoguery and exclusion, might we better see it as a backlash against free market globalisation? Might it be harnessed as a positive force able to thrive in difficult times? This timely and persuasive book exposes the failures of globalisation: greedy banks, predatory privatisation, corporate tax avoidance and a growing underclass of temporary overseas workers. David McKnight argues that a progressive populism could address the genuine economic grievances of everyday people, without scapegoating immigrants or ethnic minorities. In fact, a progressive form of populism may be the best way of defeating the racist backlash of right-wing populism. It may also be the best way to save the planet. In a world where the super-rich get richer, one that is charged with hate-filled language as people look for someone else to blame, the case for progressive populism must be heard. This important book helps give it voice.

This volume gathers fifteen essays that offer new interpretations onPound’s poetics, as well as new perspectives on his critical reception globally.It includes authors from nine different countries and covers Pound’s work fromhis beginnings as a young poet in Philadelphia in the first decade of thecentury through his most productive years as a poet, critic, and translator tothe first critical treatments of his work in the 1940s and 50s, and on totranslations of The Cantos spanningthe last fifty years. Although, in our own era, such terms as “cross-culturalthinking,” “globalism,” “transnationalism,” and “internationalism” remain fluidand can often stir controversy in literary studies, especially in discussion ofthe impact of modernism, the place of Ezra Pound as a prominent modernist figureworldwide has remained unquestioned throughout the last century.