Book launch: Aesthetic Teaching Pedagogies: A Voice of Experience by Reynaldo B. Inocian

We are delighted to share news that Reynaldo B. Inocian’s new book with Cambridge Scholars Publishing, Aesthetic Teaching Pedagogies: A Voice of Experiencewas successfully launched today at Cebu Normal University in the Philippines.

After welcoming remarks from Dr. Filomena T. Dayagbil and Genara Pacana, Reynaldo presented the key message of the book at an attentive audience, highlighting his core arguments and narrating his passion for the art of teaching. Afterwards, Reynaldo was presented with a plaque of recognition in honour for his ongoing educational research and teaching.

Please see below for some photographs from the launch, and the book can be purchased directly from Cambridge Scholars by clicking here.

Reynaldo putting pen to paper and signing copies of the book
Reynaldo and his richly deserved plaque of recognition
“Teaching as a Work of Art”

Meet our Authors: Francis Etheredge – December 2018

Francis Etheredge is a lecturer, poet, philosopher, and influential Catholic writer. Throughout his long and distinguished life he has contributed articles to a number of journals on the intersection of ethics and Catholicism, and he is a regular writer for Catholic publications such as The Catholic Times and The Catholic Universe.

In 2016, Francis published his magnum opus with Cambridge Scholars Publishing, the culmination of a lifetime of thinking and writing about religion and philosophy. Released in three volumes, From Truth and truth is an exhilarating tour through philosophy, reason, experience, faith, and numerous other themes both ancient and modern. Prior to this, Francis also published Scripture: A Unique Word, a multifarious exploration of the nature and meaning of scripture today.

Francis outlines his experiences of working with Cambridge Scholars on these projects, and how his own approach to thinking and writing has developed as a result:

“The first book I published with Cambridge Scholars was Scripture: A Unique Word, and reflecting on the process the various people with whom I worked were very responsive and, altogether, helped me to establish a ‘book style’ which has been foundational for subsequent work. As the book included a dedicated exploration of the opening lines of the Hebrew text, a marvellously literary work communicating a wonderful combination of analogy and mystery, I offered my own Hebrew-word design for the cover. This resulted in a highly interactive process of suggestions and refinements with Cambridge Scholars’ design team, which, in due course, culminated in a book that I am more than pleased with.

“I then began writing full time, and we eventually collaborated on another book, my From Truth and truth. It was originally supposed to be a single book, but as I assembled the material it evolved into a trilogy. Cambridge Scholars were very flexible and positive towards these changes, and we developed a strong marketing campaign for the trilogy including posters and book advertisements.

“Now, two years on, Cambridge Scholars continue to support the marketing and publicity of my books. We are developing a ‘Christmas package’ with reviews and blog posts, with a view to benefitting writer and publisher alike. This is testament to their approach to their authors, and I am delighted that they continue to support me in these ways.”

As part of the Meet our Authors campaign, we are offering our readers a 50% discount on all of Francis’ books with Cambridge Scholars; his Scripture: A Unique Word, and Volume I, Volume II, and Volume III of From Truth and truth. To redeem your discount, please enter the promotional code MOADEC18 during checkout. Please note that this is a time-limited offer that will expire on 15th January 2018.

Meet our Authors: Takesure Taringana – December 2018

Takesure Taringana is an economic historian and a Lecturer in the Department of Economic History at the University of Zimbabwe. He obtained his BA Honours degree in Economic History and his MPhil in African Economic History in 2008 and 2015 respectively. He has a sharp interest in agricultural commodities and development in Africa, and mainly focuses on coffee production in both colonial and post-colonial Zimbabwe. His research is also concerned with water and development, gender, language, climate change and community development.

In June 2018, Takesure published his first research monograph with Cambridge Scholars Publishing, entitled Agrarian Capitalism and the Development of the Coffee Industry in Colonial Zimbabwe 1900-1980. The book is an important touchstone for economic historians, political economists, and anyone who is interested in the dual logics of capitalism and colonialism as they have played out in Africa over the past 100 years.

Takesure explains why he chose to publish his first book with Cambridge Scholars:

“A major attraction to working with Cambridge Scholars Publishing was their strong reputation and the wide range of subjects that they cover. This offered me a timely and convenient entry into the world of distinguished scholarship. These virtues were further enhanced by Cambridge Scholars’ publicity drive, which enabled my book to reach a wide global readership and, therefore, make a significant impact on global scholarship.

 “I also really enjoyed the efficiency of the publication process, which was the result of a highly interactive relationship between the publisher and me. They managed to live up to their expectations of an author-orientated publishing process – this meant my involvement at every stage of the process, ensuring that my book is exactly what I wanted it to be!

 “As a junior scholar, publishing with Cambridge Scholars was my breakthrough in the scholarly world. It has boosted my confidence and encouraged me in my efforts to make a substantial and ongoing impact in the world of scholarly publishing.”

As part of the Meet our Authors campaign, we are offering our readers a 50% discount on Agrarian Capitalism and the Development of the Coffee Industry in Colonial Zimbabwe 1900-1980. To redeem your discount, please enter the promotional code MOADEC18 during checkout. Please note that this is a time-limited offer that will expire on 15th January 2019.

New book reviews published in Insight Turkey

Published since 1999, Insight Turkey is a leading journal in the area of academic studies of the Middle East and Islam. The journal covers a large range on topics, including but not restricted to Turkish domestic and foreign policy, as well as wider global affairs, particularly those surrounding the Middle East, the Balkans, the Caucasus and Europe.

We are delighted to share news that Insight Turkey has reviewed a number of Cambridge Scholars Publishing’s recent books. As well as this, they continue to publish a wide range of cutting-edge material that is essential reading for scholars interested in the contemporary Middle East.

Please click here to see the latest reviews of our books in the journal. All of the books can be purchased through our website.



Book launch – Protection, Patronage, or Plunder? British Machinations and (B)uganda’s Struggle for Independence

We are delighted to share news that Apollo N. Makubuya’s book Protection, Patronage, or Plunder? British Machinations and (B)uganda’s Struggle for Independence was launched successfully at Mestil Hotel in Kampala on Tuesday the 11th  of December 2018.


A full report and account of the launch can be read here, and please see below for a TV excerpt from Uganda’s national broadcaster.

The book is available directly from Cambridge Scholars Publishing now in hardback, and will be published in due course in a cheaper paperback version. For more information, please contact

Available now for £25.99 – Architectural Voices of India by Apurva Bose Dutta

Cambridge Scholars Publishing is delighted to announce that we will be offering Apurva Bose Dutta’s bestselling book, Architectural Voices of India: A Blend of Contemporary and Traditional Ethos, for a reduced price of £25.99 until further notice.

To purchase a copy of the book at the new price, please click here. For any larger orders, please contact to receive special shipping rates.

Paul Dawson-Bowling reviews Robert Letellier’s Giacomo Meyerbeer: A Critical Life and Iconography

This is a remarkable book, a groundbreaking book, a great book, an essential book for anybody with an interest in classical music or European high culture during the nineteenth century. For too long Meyerbeer has languished in limbo, a shadowy figure eclipsed and outshone by Richard Wagner.  It was not ever thus.  In the mid-nineteenth century there was an accepted consensus that whereas music’s Rafael was Mozart, its Michelangelo was Meyerbeer. Meyerbeer, not Beethoven, was music’s supreme icon.

How are the mighty fallen! How many people reading this review could hum or remember a single phrase of Meyerbeer. Once a titan in his own right, whose position in opera and ven music itself seemed impregnable, he has subsided into a footnote, a minor planet which begins to glimmer only when its orbit draws closer towards the sun of Wagner. Robert Letellier, probably the world’s supreme authority on Meyerbeer, draws attention to some of the reasons for this decline in his opening chapter of this book, which makes it one of its most fascinating. However the chapter’s title, The Sources, does it less than justice because it actually deals with so much more. It provides a masterly account of Meyerbeer’s Jewish origins, his operatic methods, his achievements and his burgeoning status. It reveals his ‘omnivoracious’ attitude to other music and to literature; it uncovers his relationships with singers, critics and the press; it discusses his own non-operatic creations and his family life; it sets out Meyerbeer’s mindboggling capacity for hard work and for taking infinite pains; it enters the toxic waters of the antisemitism which always damaged him, both in life and forever afterwards; and it does so much else.

Above all, it sets the scene for the book’s central narrative, its account of Meyerbeer’s life. This account is meticulously laid out year by year, making it easy to pick it up at repeated intervals and yet keep a clear grip on its direction. Its many fascinating footnotes are just that, not irritating end notes which are awkward to access. As whole, this account possesses a special authenticity because the author draws constantly on the sequence of Meyerbeer’s extraordinary diaries; indeed his extensive extracts both provide a structure and allow Meyerbeer to speak for himself. At the same time Letellier weaves rich garlands of supporting and clarifying detail around his central narrative. The range of his sources is wide indeed, revealing a depth of scholarship extending far beyond Meyerbeer. Not that there is anything over-scholarly or desiccated about his account. Throughout this biography the figure of Meyerbeer is not only sensitively drawn, but three dimensional and alive. His person grows ever more vivid until he stands steadily and strongly before us, glowing with humanity and human appeal, something that would not have been possible without a corresponding humanity in the author’s personal touch.  The result is a remarkable record of remarkable man.

Even without Meyerbeer’s music, Letellier’s book leaves no doubt that an extraordinary creative force has been treated unjustly; operas of such repute as Le Prophête must amount to more than strings of musical rubbish, technical incompetence and audience tedium – which is what his detractors have virtually maintained.  Le Prophête provides corroboration for Meyerbeer’s standing and repute, the evidence coming from the circumstances of its premiere. Even in anticipation, expectations had run so high that the French Parliament did not meet on the evening of the premiere, because the deputies, the members, were all going to be away at the Opera. They had individually booked out the grand tier and all the boxes. The event itself, on April 16th 1849, was a sensation both artistically and commercially. It made the Paris Opera 10.000 francs, a sum unique for a single performance. It also brought Meyerbeer 19.000 francs, another record, along with a golden wreath. In addition he was appointed soon afterwards to the Legion d’honneur, and his opera was hailed as the opera of the century, perhaps of all time. It went on to play in 30 different opera houses within a twelvemonth, and for comparison Die Meistersinger, whose premiere was Wagner’s greatest success, was taken up in the following year by a mere eight.

Ernest Newman had nothing but contempt for Le Prophête, and nothing provoked him to greater scorn than its chorus on roller skates, but Meyerbeer left nothing to chance ovwer ensuring success, and this was all part of the Paris Opera’s astonishing ability to provide him with a spectacle and suspend disbelief as he hoped.  Audience members at the time were thrilled and amazed to see a snowbound landscape onstage and the chorus/ballet apparently skating and gliding across it. There were other coups de theatres, above all the sun rising on this same scene. It had a blinding brightness that was previously beyond experience anywhere, as it was produced by a newly developed arc lamp. Meyerbeer’s attention to every circumstance went as far as feasting the critics at dinners and providing some of them with financial subsidies. Although Letellier demonstrates that the extent of these has been grossly exaggerated, the fact of them remains; but I would add in support of Meyerbeer that this was not moral turpitude, because different standards applied. There is a revealing parallel with my parents who found it hard to accept the different standards prevalent in India. There the willingness of civil servants to offer related jobs to family members was viewed as admirable, the expression of kindred loyalty and not culpable nepotism.  Talleyrand provided another illustration of different standards that was closer to Meyerbeer’s own time.  Just 50 years earlier, as Napoleon’s right hand man, he insisted that food was an aspect of diplomacy, but his legendary hospitality could never have been funded by his statesman’s salary alone, substantial though that was; the assumption and expectation were that he would take sweeteners from foreign and domestic agents hoping to do business. Even if the terms of such transactions have always seemed outrageous to Britons and North Germans with their rigorous Protestant ethic, the Jewish Meyerbeer and the critical fraternity of Paris seem to have understood each other.

Letellier says that Meyerbeer looked Jewish because of his dark colouring and large nose, but the illustrations (which are agreeably copious but often too small), do not entirely bear this out. It is intriguing that there is a particularly fine illustration of Meyerbeer opposite one of the French Emperor, Louis Napoleon, and that it is Frenchman who has the bigger, more Jewish nose. Another failing of the book is its dimension, less than full size and not of standard proportions that fit easily among the other books on a bookshelf, Meyerbeer was short of stature but dynamic; he wanted and achieved the best. And why such small print? No matter; this splendid biography is likely to set the standard for years, and is infinitely worth acquiring. It reveals a great musician and a remarkable business man, who ended his life piled high with honours, glory and riches. He emerges as kind and tolerant; indeed, he was a much-loved man.

His genius, which should be accepted as such, can be savoured on recordings, and perhaps his time will come. Sixty years ago, Mahler was the Jewish composer whose creations were a farrago of musical rubbish, technical incompetence and longwinded tedium for audiences, but his time has indeed come. Possibly, or even probably, Meyerbeer will soon follow Mahler out into the sunlight – likewise to remain there forever.

Paul Dawson-Bowling