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In this monograph, Professor Gissurarson explains the Icelandic model of fisheries management, Individual Transferable Share Quotas (ITQs), implemented in 1979 to reverse the decline in Icelandic fish stocks. Access to Icelandic fisheries was traditionally open to all. In the 1960s and 1970s excessive catches of herring and then cod led to a decline in stocks of these important species in Iceland's waters. In response, Iceland's government imposed restrictions on the number of days trawlers could put to sea to catch certain species. This led to fishing Derbies, where fishermen competed to catch as many fish as possible in the limited time available. Inevitably, catches continued to exceed sustainable levels. Starting in 1979, the Icelandic government gradually introduced a system of individual transferable share quotas (ITQs), which essentially give boat owners the right to catch a specific proportion of the total allowable catch (TAC) of certain species. If a boat owner does not wish to use all his ITQ he can sell part of it to someone else. This encourages more efficient use of the capital invested in boats and equipment. Because ITQs entitle their owners to a specific share of the future stock of fish, they create incentives to ensure that stocks are sustainable. Since the introduction of ITQs, capital invested in Icelandic fisheries (boats and equipment) has been gradually falling and catches have fallen to sustainable levels, whilst the value of catches has risen. Because of the success of the ITQ system and the wealth it has created, there is now political pressure for an imposition of a resource rent tax. But such a tax would be contrary to the interests of effective conservation of fish stocks. A more appropriate next step would be to introduce a cost-recovery charge and, as a quid pro quo, give ITQ owners greater say in the administration and enforcement of the system. Owners of ITQ would have stronger incentives to ensure that catch levels were set at the economically optimal level.
Marilu Oliva's oeuvre is an essential means of understanding Italy's complexities of today in relation to those of the past. Like many of her protagonists, La Guerrera and Martina, she is a flaneuse through space and time who dares to push boundaries - literary, genre, societal - in her books and by speaking out at conferences, festivals, book launches. We have tried to capture a glimpse of her multi-faceted work with our essays, in English and Italian written in-between Italy and Australia, including authors from different professions. The authors of the book, through the analyses of Oliva's oeuvre argue that mezcla is the key to build empathy rather than hatred, appreciation rather than fear of otherness, an exorcism of current xenophobia. include gender. and that tranculturalism and translingualism to help encourage a more inclusive society. In the Italian/world noir panorama there still are no texts set within the world of salsa, or that narrates the origins of salsa. Hence the uniqueness of the trilogy. Oliva is the first crime writer to foreground the strong synergy between Bologna and Cuba. Marilu Oliva with La Guerrera has revolutioned noir and gender in noir, as well as ensuring the continuation of the genre by changing its skin. A fast-emerging noir writer from Bologna, unpublished in English - pluricultural and plurilingual - Like Calvino, she is chameleonic and surprises readers with mixing different genres and styles in each publication. In this multi-perspective book readers discover world myths as interpreted by different cultures in various continents, the world of Latin American Gods, literature and music, while connecting with the greatest Western author, Dante through the unforgettable protagonist La Guerrera. The authors', from the antipodes to Europe, will accompany you in analytical journeys through all corners of the globe in their comparative readings of Oliva's works, which also focus on current worst crimes: migrations and violence against women, precariato. Yet, in this bleak global landscape, both Marilu Oliva strives for to provide her characters with possibilities and readers with slight relief. With their different theoretical approaches (gender-based, postcolonial, anthropological and literary) inclusive of translations into English from Italian, Spanish and Portuguese, the authors of the book give readers, Italian and non Italian especially, an opportunity to appreciate the works of this fast emerging Bologna author who writes about World literature, culture and myth.
Tor Classics are affordably-priced editions designed to attract the young reader. Original dynamic cover art enthusiastically represents the excitement of each story. Appropriate "reader friendly" type sizes have been chosen for each title--offering clear, accurate, and readable text. All editions are complete and unabridged, and feature Introductions and Afterwords.
Jack Stillinger's concern is with the words of Keats's texts: "I wish," he says, "to get rid of the wrong ones and to suggest how to go about constructing texts with a greater proportion of the right ones." He finds that in the two best modern editions of Keats, one third of the texts have one or more wrong words. Modern editors have sometimes based their texts on inferior holograph, transcript, or printed versions; sometimes combined readings from separate versions; sometimes retained words added by copyists and early editors (who frequently made "improvements" when they thought the poems needed them); and sometimes, of course, introduced independent errors of their own. The heart of this book is a systematic account of the textual history of each of the 150 poems that can reasonably be assigned to Keats. In each history Stillinger dates the work, as closely as it can be dated; gives the details of first publication; specifies the existing variant readings and their sources; and suggests what might be the basis for a standard text.
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