For most bills in American legislatures, the issue of turf—or which committee has jurisdiction over a bill—can make all the difference. Turf governs the flow and fate of all legislation. In this innovative study, David C. King explains how jurisdictional areas for committees are created and changed in Congress. Political scientists have long maintained that jurisdictions are relatively static, changing only at times of dramatic reforms. Not so, says King. Combining quantitative evidence with interviews and case studies, he shows how on-going turf wars make jurisdictions fluid. According to King, jurisdictional change stems both from legislators seeking electoral advantage and from nonpartisan House parliamentarians referring ambiguous bills to committees with the expertise to handle the issues. King brilliantly dissects the politics of turf grabbing and at the same time shows how parliamentarians have become institutional guardians of the legislative process. Original and insightful, Turf Wars will be valuable to those interested in congressional studies and American politics more generally.
Many major American cities are defying the conventional wisdom that suburbs are the communities of the future. But as these urban centers prosper, they increasingly confront significant constraints. In City Bound, Gerald E. Frug and David J. Barron address these limits in a new way. Based on a study of the differing legal structures of Boston, New York, Atlanta, Chicago, Denver, San Francisco, and Seattle, City Bound explores how state law determines what cities can and cannot do to raise revenue, control land use, and improve city schools. Frug and Barron show that state law can make it much easier for cities to pursue a global-city or a tourist-city agenda than to respond to the needs of middle-class residents or to pursue regional alliances. But they also explain that state law is often so outdated, and so rooted in an unjustified distrust of local decision making, that the legal process makes it hard for successful cities to develop and implement any coherent vision of their future. Their book calls not for local autonomy but for a new structure of state-local relations that would enable cities to take the lead in charting the future course of urban development. It should be of interest to everyone who cares about the future of American cities, whether political scientists, planners, architects, lawyers, or simply citizens.
The aftermath of Hurricane Katrina laid bare the tragedy of American cities. What the storm revealed about the social conditions in New Orleans shocked many Americans. Even more shocking is how widespread these conditions are throughout much of urban America. Plagued by ineffectual and inegalitarian governance, acute social problems such as extreme poverty, and social and economic injustice, many American cities suffer a fate similar to that of New Orleans before and after the hurricane. Gentrification and corporate redevelopment schemes merely distract from this disturbing reality. Compounding this tragedy is a failure in urban analysis and scholarship. Little has been offered in the way of solving urban America's problems, and much of what has been proposed or practiced remains profoundly misguided, in David Imbroscio's view. In Urban America Reconsidered, he offers a timely response. He urges a reconsideration of the two reigning orthodoxies in urban studies: regime theory, which provides an understanding of governance in cities, and liberal expansionism, which advocates regional policies linking cities to surrounding suburbs. Declaring both approaches to be insufficient—and sometimes harmful—Imbroscio illuminates another path for urban America: remaking city economies via an array of local economic alternative development strategies (or LEADS). Notable LEADS include efforts to build community-based development institutions, worker-owned firms, publicly controlled businesses, and webs of interdependent entrepreneurial enterprises. Equally notable is the innovative use of urban development tools to generate indigenous, stable, and balanced growth in local economies. Urban America Reconsidered makes a strong case for the LEADS approach for constructing progressive urban regimes and addressing America's deepest urban problems.
Ernst Lubitsch's Trouble in Paradise (1932) was released at a critical moment in cinema history, just after the advent of synchronized sound technology and just before the full implementation of the production code. By the time of its release, Lubitsch had already directed more than 50 films, but it was unlike anything he had done before. Aside from being his first non-musical talking picture, the film introduced a level of sophistication and visual subtlety that established the benchmark for classic Hollywood cinema for years to come. In his study of the film, David Weir explores its significance within Lubitsch's career, but also its larger cultural significance within the history of cinema, and the social context of its release during the Great Depression. Paying careful attention to the film itself, Weir discusses its source material, its mise-en-scène and art deco production design, and its inventive use of post-synchronized sound. Drawing on original archival research, Weir traces Trouble in Paradise's reception history, including its critical reception, and the effect of the Motion Picture Production Code, which led to the film being denied approval for re-release in 1935.
A dense, challenging and important book.' Philip French Observer 'At the very least, this blockbuster is probably the best single volume history of Hollywood we're likely to get for a very long time.' Paul Kerr City Limits 'Persuasively argued, the book is also packed with facts, figures and photographs.' Nigel Andrews Financial Times Acclaimed for their breakthrough approach, Bordwell, Staiger and Thompson analyze the basic conditions of American film-making as a historical institution and consider to what extent Hollywood film production constitutes a systematic enterprise, in both its style and its business operations. Despite differences of director, genre or studio, most Hollywood films operate within a set of shared assumptions about how a film should look and sound. Such assumptions are neither natural nor inevitable; but because classical-style films have been the type most widely seen, they have come to be accepted as the 'norm' of film-making and viewing. The authors show how these classical conventions were formulated and standardized, and how they responded to the arrival of sound, colour, widescreen ratios and stereophonic sound. They argue that each new technological development has served a function within an existing narrational system. The authors also examine how the Hollywood cinema standardized the film-making process itself. They describe how, over the course of its history, Hollywood developed distinct modes of production in a constant search for maximum efficiency, predictability and novelty. Set apart by its combination of theoretical analysis and empirical evidence, this book is the standard work on the classical Hollywood cinema style of film-making from the silent era to the 1960s. Now available in paperback, it is a 'must' for film students, lecturers and all those seriously interested in the development of the film industry.
This “outstanding history” of the 1911 disaster that changed the course of 20th-century politics and labor relations “is social history at its best” (Kevin Baker, The New York Times Book Review). New York City, 1911. As the workday was about to end, a fire broke out in the Triangle shirtwaist factory of Greenwich Village. Within minutes it consumed the building’s upper three stories. Firemen were powerless to rescue those trapped inside: their ladders simply weren’t tall enough. People on the street watched in horror as desperate workers jumped to their deaths. Triangle is both a harrowing chronicle of the Triangle shirtwaist fire and a vibrant portrait of an era. It follows the waves of Jewish and Italian immigration that supplied New York City’s garment factories with cheap, mostly female labor. It portrays the Dickensian work conditions that led to a massive waist-worker’s strike in which an unlikely coalition of socialists, socialites, and suffragettes took on bosses, police, and magistrates. And it shows how a public outcry over the fire led to an unprecedented alliance between labor reformers and Tammany Hall politicians. With a memorable cast of characters, including J.P. Morgan’s blue-blooded activist daughter Anne, and political king maker Charles F. Murphy, as well as the many workers who lost their lives in the fire, Triangle presents a dramatic account of early 20th century New York and the events that gave rise to urban liberalism. A New York Times Book Review Notable Book
This incisive book provides a critical history and analysis of community organizing, the tradition of bringing groups together to build power and forge grassroots leadership for social, economic, racial, and environmental justice. Begun by Saul Alinsky in the 1930s, there are today nearly 200 institution-based groups active in 40 U.S. states, and the movement is spreading internationally. David Walls charts how community organizing has transcended the neighborhood to seek power and influence at the metropolitan, state, and national levels, together with such allies as unions and human rights advocates. Some organizing networks have embraced these goals while others have been more cautious, and the growing profile of community organizing has even charged political debate. Importantly, Walls engages social movements literature to bring insights to our understanding of community organizing networks, their methods, allies and opponents, and to show how community organizing offers concepts and tools that are indispensable to a democratic strategy of social change. Community Organizing will be essential reading for advanced undergraduates and graduate students of sociology, social movements and social work. It will also inform organizers and grassroots leaders, as well as the elected officials and others who contend with them.
“Wild Art” refers to work that exists outside the established, rarified world of art galleries and cultural channels. It encompasses uncatalogued, uncommodified art not often recognized as such, from graffiti to performance, self-adornment, and beyond. Picking up from their breakthrough book on the subject, Wild Art, David Carrier and Joachim Pissarro here delve into the ideas driving these forms of art, inquire how it came to be marginalized, and advocate for a definition of “taste,” one in which each expression is acknowledged as being different while deserving equal merit. Arguing that both the “art world” and “wild art” have the same capacity to produce aesthetic joy, Carrier and Pissarro contend that watching skateboarders perform Christ Air, for example, produces the same sublime experience in one audience that another enjoys while taking in a ballet; therefore, both mediums deserve careful reconsideration. In making their case, the two provide a history of the institutionalization of “taste” in Western thought, point to missed opportunities for its democratization in the past, and demonstrate how the recognition and acceptance of “wild art” in the present will radically transform our understanding of contemporary visual art in the future. Provocative and optimistic, Aesthetics of the Margins / The Margins of Aesthetics rejects the concept of “kitsch” and the high/low art binary, ultimately challenging the art world to become a larger and more inclusive place.
Miller and Rivera explore how the fundamental changes to the physical landscape after Hurricane Katrina set the stage for dramatic changes to come for the city and region, and how these changes altered the economic, cultural, and political lives of the survivors.
The Progressive Era has been depicted as a seismic event in American history—a landslide of reform that curbed capitalist excesses and reduced the gulf between rich and poor. Progressive Inequality cuts against the grain of this popular consensus, demonstrating how income inequality’s growth prior to the stock market crash of 1929 continued to aggravate class divisions. As David Huyssen makes clear, Progressive attempts to alleviate economic injustice often had the effect of entrenching class animosity, making it more, not less, acute. Huyssen interweaves dramatic stories of wealthy and poor New Yorkers at the turn of the twentieth century, uncovering how initiatives in charity, labor struggles, and housing reform chafed against social, economic, and cultural differences. These cross-class actions took three main forms: prescription, in which the rich attempted to dictate the behavior of the poor; cooperation, in which mutual interest engendered good-faith collaboration; and conflict, in which sharply diverging interests produced escalating class violence. In cases where reform backfired, it reinforced a set of class biases that remain prevalent in America today, especially the notion that wealth derives from individual merit and poverty from lack of initiative. A major contribution to the history of American capitalism, Progressive Inequality makes tangible the abstract dynamics of class relations by recovering the lived encounters between rich and poor—as allies, adversaries, or subjects to inculcate—and opens a rare window onto economic and social debates in our own time.
If the made-for-television movie has long been regarded as a poor stepchild of the film industry, then telefilm horror has been the most uncelebrated offspring of all. Considered unworthy of critical attention, scary movies made for television have received little notice over the years. Yet millions of fans grew up watching them--especially during the 1970s--and remember them fondly. This exhaustive survey addresses the lack of critical attention by evaluating such films on their own merits. Covering nearly 150 made-for-TV fright movies from the 1970s, the book includes credits, a plot synopsis, and critical commentary for each. From the well-remembered Don't Be Afraid of the Dark to the better-forgotten Look What's Happened to Rosemary's Baby, it's a trustworthy and entertaining guide to the golden age of the televised horror movie.
Carefully prepared scholarly work that fully annotates official and unofficial sources with 661 entries covering broad range of categories (various citations fall under more than one). A useful starting point for anyone interested in the Organization ofAmerican States and Pan Americanism. Excellent index"--Handbook of Latin American Studies, v. 57.
The “greater fool” theory of economics states that it’s possible to make money by buying paper (securities), whether overvalued or not, and later, selling it at a profit because there will always be an even greater fool willing to pay the higher price. Many described in this book profited by peddling such worthless junk to foolish investors. But for some people—Bernie Madoff, Norman Hsu, Sholam Weiss, and “Crazie Eddie” Antar, aka the “Darth Vader of Capitalism”—overvalued securities were not enough. Outright fraud was their way of life. History of Greed is the compelling inside story of the names you know—Charles Ponzi, Baron Rothschild, Lou Pearlman—and the names you don’t—Isaac Le Maire, the world’s first “naked” short-seller. It’s also our story—why we ignore the lessons of the past and fall prey, most every time, to the promise of easy money. For thousands of years, alchemists unsuccessfully tried to turn worthless base metals into gold. Where science failed at turning nothing into something, business succeeded. Sometimes we praise the creators of derivatives, collateral debt obligations, subprime mortgages, credit default swaps, or auction rate securities as Wall Street’s new financial wizards, the creators of “magic paper.” Other times, we vilify and prosecute them as scam artists. Sometimes, it’s hard to tell who is who. History of Greed reveals the inside secrets of how the markets really work, and how scam artists abuse them to gain an unfair edge or to outright steal. It describes how luftgescheft (“air business”), wizardry, dishonesty, and fraud are used to swindle people. Along with a comprehensive bibliography, History of Greed also details: 400 years of financial fraud—from everyday fraud to the odd and unusual Accounting fraud (phantom sales), stock option fraud (backdating), auction rate securities, hedge fund fraud, Ponzi schemes, promotion fraud (pump-and-dump scams), and money laundering How to detect fraudulent schemes How government regulation only fixes yesterday’s problems If it’s too good to be true, it probably is. If they say you can’t lose, you probably will. History of Greed shows that there really is no such thing as a free lunch, while also detailing how not to become the “greater fool.”
David Landau’s Film Noir Production: The Whodunit of the Classic American Mystery Film is a book meant for those who like a good story, one the Noir Films always delivered, concentrating on the characters more than anything else. Readers will find in these pages many behind-the-scenes tales of the productions of certain hard-boiled film classics and the prime players involved in their creation, from Darryl Zanuck and Raymond Chandler to John Seitz and Billy Wilder. This book features: A clear understanding of how movies are actually made and all the creative artists that contribute, creating a better appreciation for the many talented artistic collaborators that worked in the Hollywood Studio System and who together created film noir. A behind-the-scenes look at the making of a classic film noir movie that typifies the chapter’s subject, allowing the reader to view that film in a new light and think about it from a new prospective. Appendices of suggested films to screen, film noir books for further reading, and downloadable files containing discussion points and class assignments for each chapter. An informative and conversational writing style, making the subject matter easy to digest and fun to read. This book is an indispensible companion text for anyone studying or interested in film noir, film history, the bygone days of the Hollywood film factories or how movies are actually made.
Everyone needs and deserves housing. But today our homes are being transformed into commodities, making the inequalities of the city ever more acute. Profit has become more important than social need. The poor are forced to pay more for worse housing. Communities are faced with the violence of displacement and gentrification. And the benefits of decent housing are only available for those who can afford it. In Defense of Housing is the definitive statement on this crisis from leading urban planner Peter Marcuse and sociologist David Madden. They look at the causes and consequences of the housing problem and detail the need for progressive alternatives. The housing crisis cannot be solved by minor policy shifts, they argue. Rather, the housing crisis has deep political and economic roots-and therefore requires a radical response.
The populations of American cities have always included poor people, but the predicament of the urban poor has worsened over time. Their social capital, that is, the connections and organizations that traditionally enabled them to form communities, has shredded. Economically comfortable Americans have come to increasingly care less about the plight of the urban poor and to think of them in terms of “us and them.” Considered lazy paupers in the early nineteenth century, the urban poor came to be seen as a violent criminal “underclass” by the end of the twentieth. Living primarily in the nation’s deindustrialized inner cities and making up nearly 15 percent of the population, today’s urban poor are oppressed people living in the midst of American affluence. This book examines how law works for, against, and with regard to the urban poor, with “law” being understood broadly to include not only laws but also legal proceedings and institutions. Law is too complicated and variable to be seen as simply a club used to beat down the urban poor, but it does work largely in negative ways for them. An essential text for both law students and those drawn to areas of social justice, Containment and Condemnation shows how law helps create, expand, and perpetuate contemporary urban poverty.
In Taking Morality Seriously: A Defense of Robust Realism David Enoch develops, argues for, and defends a strongly realist and objectivist view of ethics and normativity more broadly. This view—according to which there are perfectly objective, universal, moral and other normative truths that are not in any way reducible to other, natural truths—is familiar, but this book is the first in-detail development of the positive motivations for the view into reasonably precise arguments. And when the book turns defensive—defending Robust Realism against traditional objections—it mobilizes the original positive arguments for the view to help with fending off the objections. The main underlying motivation for Robust Realism developed in the book is that no other metaethical view can vindicate our taking morality seriously. The positive arguments developed here—the argument from the deliberative indispensability of normative truths, and the argument from the moral implications of metaethical objectivity (or its absence)—are thus arguments for Robust Realism that are sensitive to the underlying, pre-theoretical motivations for the view.
Helps readers harness the capabilities of the LEGO MINDSTORMS NXT set and effectively plan, build and program NXT 2.0 robots, offering an overview of the pieces in the NXT set, practical building techniques, instruction on the official NXT-G programming language and step-by-step instructions for building, programming and testing a variety of sample robots. Original.
This is a history and critical appreciation of an unusually fertile period for the production of great or near-great silent films: late 1927 through early 1929, in the midst of the tumult and upheaval of Hollywood's transition from silent to sound. The book offers in-depth looks at several of the best of these films and discusses the gifted artists such as Charlie Chaplin, Mary Pickford, and Lillian Gish who helped bring them to life, even as the art they had taken to remarkable heights was about to be obliterated. It depicts some of the silent medium's most talented filmmakers and their efforts--in the face of inescapable technological change--to give their dying art a rousing last hurrah.
This third edition of a classic urban sociology text examines critical but often-neglected aspects of urban life from a social-psychological theoretical perspective. Symbolic interaction is among the most central theoretical paradigms in sociology and the theory that most thoroughly attends to how individuals give meaning to their world—in this case, how city dwellers interpret and respond to their daily experiences as urbanites. This thoroughly updated edition of Being Urban: A Sociology of City Life remains true to this particular theoretical angle of vision—the symbolic interactionist approach—focusing on specific topics that are relatively neglected in other urban sociology texts, and that lend themselves to the kind of social-psychological analyses that define the distinctive conceptual core of the authors' efforts. After the first two chapters supply readers with theoretical foundations of urban sociology, the next four chapters describe the various ways that individuals experience and make sense of key aspects of urban life. The final section—also composed of four chapters—addresses strategically chosen urban institutions and related processes of social change. Specific subject areas covered include sports, everyday public life, tolerance for diversity, women in cities, urban politics, and the arts. Readers will learn about how order is maintained in public urban places, understand why cities naturally breed a tolerance for diversity that may not be so easily achieved in less urban settings, and appreciate the delicate political and economic tensions between cities and their surrounding suburbs.
He was the final addition to Universal's "royal family" of movie monsters: the Creature from the Black Lagoon. With his scaly armor, razor claws and a face only a mother octopus could love, this Amazon denizen was perhaps the most fearsome beast in the history of Hollywood's Studio of Horrors. But he also possessed a sympathetic quality which elevated him fathoms above the many aquatic monsters who swam in his wake. Everything you ever wanted to know about the Gill Man and his mid-1950s film career (Creature from the Black Lagoon, Revenge of the Creature, The Creature Walks Among Us) is collected in this book, packed to the gills with hour-by-hour production histories, cast bios, analyses, explorations of the music, script-to-screen comparisons, in-depth interviews and an ocean of fin-tastic photos.
People often bemoan the spread of malls, suburban strips, subdivisions, and other sprawling places in contemporary America. But are these places as bad as critics claim? In Sprawling Places, David Kolb questions widely held assumptions about our built environments. Kolb agrees there is a lot not to like about many contemporary places, but to write them off simply as commodified “nonplaces” does not treat them critically. Too often, Kolb says, aesthetic character and urban authenticity are the focus of critics, when it is more important to understand a place’s complexity and connectedness. Kolb acknowledges that the places around us increasingly have banal exteriors, yet they can be complex and can encourage their inhabitants to use them in multiple, nonlinear ways. Ultimately, Kolb believes human activity within a place is what defines it. Even our most idealized, classical places, he shows, change over the course of history when subjected to new linkages and different flows of activity. Engaging with the work of such writers and critics as Henri Lefebvre, Manuel Castells, Karsten Harries, and Christian Norberg-Schulz, Kolb seeks to move discussions about sprawl away from the idea that we must “choose between being rooted in the local Black Forest soil or wandering in directionless space.” By increasing our awareness of complexity and other issues, Kolb hopes to broaden and deepen people’s thinking about the contemporary built environment and to encourage better designs in the future.
W.D. Ross (1877-1971) was the most important opponent of utilitarianism and consequentialism in British moral philosophy between 1861 and 1939. In Rossian Ethics, David Phillips offers the first monograph devoted exclusively to Ross's seminal contribution to moral philosophy. The book has two connected aims. The first is to interpret and evaluate Ross's moral theory. The second is to articulate a distinctive view intermediate between consequentialism and absolutist deontology, which Phillips calls "classical deontology.
The nineteenth-century countercultures that came to define the bohemian lifestyle spanned both sides of the Atlantic, ranging from Walt Whitman to Josephine Baker, and from Gertrude Stein to Thelonius Monk. Bohemians is the graphic history of this movement and its illustrious figures, recovering the utopian ideas behind millennial communities, and covering the rise of Greenwich Village, the multiracial and radical jazz world, and West Coast and Midwest bohemians, among other scenes. Drawn by an all-star cast of comics artists, including rising figures like Sabrina Jones, Lance Tooks, and Summer McClinton, alongside established artists like Peter Kuper and Spain Rodriguez, Bohemians is a broad and entertaining account of the rebel impulse in American cultural history. featuring work by Spain Rodriguez, Sharon Rudahl, Peter Kuper, Sabrina Jones, David Lasky, Afua Richardson, Lance Tooks, Milton Knight, and others. The ebook edition is expanded from the paperback edition, and includes additional chapters on the swing music scene, La Boheme and midwest bohemians, as well as expanded material on the Greenwich Village intellectuals, Walt Whitman and Harlem jazz club Minton's Playhouse.
From bestselling author David Nasaw, a sweeping new history of the one million refugees left behind in Germany after WWII In May 1945, after German forces surrendered to the Allied powers, millions of concentration camp survivors, POWs, slave laborers, political prisoners, and Nazi collaborators were left behind in Germany, a nation in ruins. British and American soldiers attempted to repatriate the refugees, but more than a million displaced persons remained in Germany: Jews, Poles, Estonians, Latvians, Lithuanians, Ukrainians, and other Eastern Europeans who refused to go home or had no homes to return to. Most would eventually be resettled in lands suffering from postwar labor shortages, but no nation, including the United States, was willing to accept more than a handful of the 200,000 to 250,000 Jewish men, women, and children who remained trapped in Germany. When in June, 1948, the United States Congress passed legislation permitting the immigration of displaced persons, visas were granted to sizable numbers of war criminals and Nazi collaborators, but denied to 90% of the Jewish displaced persons. A masterwork from acclaimed historian David Nasaw, The Last Million tells the gripping but until now hidden story of postwar displacement and statelessness and of the Last Million, as they crossed from a broken past into an unknowable future, carrying with them their wounds, their fears, their hope, and their secrets. Here for the first time, Nasaw illuminates their incredible history and shows us how it is our history as well.
Examining the work of social justice groups in Minneapolis following the 2008 recession Since the Great Recession, even as protest and rebellion have occurred with growing frequency, many social justice organizers continue to displace as much as empower popular struggles for egalitarian and emancipatory change. In A Voice but No Power, David Forrest explains why this is the case and explores how these organizers might better reach their potential as advocates for the abolition of exploitation, discrimination, and other unjust conditions. Through an in-depth study of post-2008 Minneapolis—a center of progressive activism—Forrest argues that social justice organizers so often fall short of their potential largely because of challenges they face in building what he calls “contentious identities,” the public identities they use to represent their constituents and counteract stigmatizing images such as the “welfare queen” or “the underclass.” In the process of assembling, publicizing, and legitimating contentious identities, he shows, these organizers encounter a series of political hazards, each of which pushes them to make choices that weaken movements for equality and freedom. Forrest demonstrates that organizers can achieve better outcomes, however, by steadily working to remake their hazardous political terrain. The book’s conclusion reflects on the 2020 uprising that followed the police killing of George Floyd, assessing what it means for the future of social justice activism. Ultimately, Forrest’s detailed analysis contributes to leading theories about organizing and social movements and charts possibilities for further emboldening grassroots struggles for a fairer society.
With its jagged, stylised sets, menacing shadows and themes of murder, madness and delirium, Das Cabinet des Dr. Caligari (1920) remains the source and essence of German Expressionist cinema. Fusing carnival spectacle with the paranoia of the psychological thriller, it centres on the haunting, sexually ambivalent presence of Conrad Veidt as Cesare – the somnambulist exploited as an instrument by the sinister Dr. Caligari. David Robinson challenges long accepted versions of the history and reception of Caligari and redefines its relationship to the larger phenomenon of Expressionist art. His reassessment of the relative contributions of director, designers and writers becomes a fascinating detective story, as he investigates the status and significance of the single surviving copy of the original script, which came to light only in the late 1980s when almost all those involved in the production were dead. This second edition features a new introduction that considers the place of German Expressionist cinema within the European revival of Gothic at the turn of the twentieth century, and original cover artwork by Ben Goodman.
Explores Jackie Robinson’s compelling and complicated legacy Before the United States Supreme Court ruled against segregation in public schools, and before Rosa Parks refused to surrender her bus seat in Montgomery, Alabama, Jackie Robinson walked onto the diamond on April 15, 1947, as first baseman for the Brooklyn Dodgers, making history as the first African American to integrate Major League Baseball in the twentieth century. Today a national icon, Robinson was a complicated man who navigated an even more complicated world that both celebrated and despised him. Many are familiar with Robinson as a baseball hero. Few, however, know of the inner turmoil that came with his historic status. Featuring piercing essays from a range of distinguished sportswriters, cultural critics, and scholars, this book explores Robinson’s perspectives and legacies on civil rights, sports, faith, youth, and nonviolence, while providing rare glimpses into the struggles and strength of one of the nation’s most athletically gifted and politically significant citizens. Featuring a foreword by celebrated directors and producers Ken Burns, Sarah Burns, and David McMahon, this volume recasts Jackie Robinson’s legacy and establishes how he set a precedent for future civil rights activism, from Black Lives Matter to Colin Kaepernick.
Kathryn Kish Sklar calls this work "a major contribution to our historical understanding of the role of women in organizing American miners in the twentieth century." Agnes Burns Wieck was a crusading labor organizer, an activist known as "the Mother Jones of Illinois." This first book-length biography is a unique portrait of her energy and unremitting dedication to social justice. Wieck organized miners' wives and led a movement of Illinois coalfield women. She used her talents as a journalist and a public speaker to campaign for a decent standard of living, for good schools and working conditions in communities free of corporate domination, and for union democracy, racial equality, and acceptance of women in political life.
Our Own Time retells the story of American labor by focusing on the politics of time and the movements for a shorter working day. It argues that the length of the working day has been the central issue for the American labor movement during its most vigorous periods of activity, uniting workers along lines of craft, gender and ethnicity. The authors hold that the workweek is likely again to take on increased significance as workers face the choice between a society based on free time and one based on alienated work and unemployment.
The second half of a two-part study on Operation Barbarossa, Hitler’s plan to invade Soviet Russia during World War II, and what went wrong. At dawn on 10 July 1941, massed tanks and motorized infantry of German Army Group Center’s Second and Third Panzer Groups crossed the Dnepr and Western Dvina Rivers, beginning what Hitler and most German officers and soldiers believed would be a triumphal march on Moscow, the Soviet capital. Less than three weeks before, on 22 June Hitler had unleashed his Wehrmacht’s massive invasion of the Soviet Union, code-named Operation Barbarossa, which sought to defeat the Soviet Red Army, conquer the country, and unseat its Communist ruler, Josef Stalin. Between 22 June and 10 July, the Wehrmacht advanced up to 500 kilometers into Soviet territory, killed or captured up to one million Red Army soldiers, and reached the western banks of the Western Dvina and Dnepr Rivers, by doing so satisfying the premier assumption of Plan Barbarossa that the Third Reich would emerge victorious if it could defeat and destroy the bulk of the Red Army before it withdrew to safely behind those two rivers. With the Red Army now shattered, Hitler and most Germans expected total victory in a matter of weeks. The ensuing battles in the Smolensk region frustrated German hopes for quick victory. Once across the Dvina and Dnepr Rivers, a surprised Wehrmacht encountered five fresh Soviet armies. Quick victory eluded the Germans. Instead, Soviet forces encircled in Mogilev and Smolensk stubbornly refused to surrender, and while they fought on, during July, August, and into early September, first five and then a total of seven newly mobilized Soviet armies struck back viciously at the advancing Germans, conducting multiple counterattacks and counterstrokes, capped by two major counteroffensives that sapped German strength and will. Despite immense losses in men and materiel, these desperate Soviet actions derailed Operation Barbarossa. Smarting from countless wounds inflicted on his vaunted Wehrmacht, even before the fighting ended in the Smolensk region, Hitler postponed his march on Moscow and instead turned his forces southward to engage “softer targets” in the Kiev region. The “derailment” of the Wehrmacht at Smolensk ultimately became the crucial turning point in Operation Barbarossa. This groundbreaking study, now significantly expanded, exploits a wealth of Soviet and German archival materials, including the combat orders and operational of the German OKW, OKH, army groups, and armies and of the Soviet Stavka, the Red Army General Staff, the Western Main Direction Command, the Western, Central, Reserve, and Briansk Fronts, and their subordinate armies to present a detailed mosaic and definitive account of what took place, why, and how during the prolonged and complex battles in the Smolensk region from 10 July through 10 September 1941. The structure of the study is designed specifically to appeal to both general readers and specialists by a detailed two-volume chronological narrative of the course of operations, accompanied by a third volume and a fourth, containing archival maps and an extensive collection of specific orders and reports translated verbatim from Russian. The maps, archival and archival-based, detail every stage of the battle.
A revised and expanded edition of one of the most original books ever written on the enigmatic artist Marcel Duchamp. Genius, anti-artist, charlatan, guru, impostor? Since he arrived on the scene in 1914, Marcel Duchamp has been called all of these. Almost no other artist of the twentieth century has inspired more passion and controversy, nor exerted a greater influence on art. At the same time, Duchamp continually challenged the very nature of art and strove to redefine it as conceptual rather than as product by questioning why the medium was mostly a "retinal" experience. Always the provocateur, Duchamp never ceased to be engaged, openly or secretly, in activities and works that transformed traditional artmaking. Through his works like Fountain; Bicycle Wheel; L.H.O.O.Q.; and Nude Descending a Staircase, No. 2, Duchamp played with the idea of what art can be, opening new possibilities for future generations. This revised entry in the World of Art series, written by three leading experts on twentieth-century art, and published with support of Duchamp’s widow, is one of the most original books written on this enigmatic artist. Featuring a new chapter and preface, as well as updates throughout from specialist scholars who are active in their fields, this is the definitive introduction to Duchamp. Thoroughly illustrated, this volume combines thirty years of research by the authors and challenges history’s presumptions, misunderstandings, and pieces of misinformation about Marcel Duchamp and his legacy.
Congressman David Price is uniquely qualified to guide readers through the labyrinth of rules, roles, and representatives that is Congress. As a trained political scientist, he connects the practical politics on the Hill with the theories of the discipline. He is equally focused on the ethics of public service at a time when politics seem to have reached a new low. Through it all, he conveys a clear sense of the challenges, disappointments, elations, and deep concerns implicit in serving as a member of Congress--especially at a time of national and international fragility. New to the 4th Edition • Covers elections and presidencies since the third edition including serving with Obama and Trump. • Details the Trump impeachment process and the subsequent pandemic bringing change to Congressional floor voting processes, putting current crises in context with prior occasions during the Clinton and George W. Bush presidencies. • Looks at the reform agenda and the prospects for national political renewal.
An investigation into how legislators have taken advantage of their positions—and of weak financial disclosure laws—to make millions. After a historic financial crisis led Congress to unprecedented economic intervention, the Pulitzer Prize-winning Washington Post began an investigation that pierced the secrecy of the deeply flawed financial disclosure system that governs the 535 men and women who draft the nation’s laws. Members of Congress directed millions of dollars to infrastructure projects near their residences and businesses, in some cases paving roads in front of their houses. They made major trades in the stocks of companies pressing them for legislation. They wrote laws favoring industries in which they were invested. They sponsored bills on which their own family members were paid to lobby. All of it is legal under the rules Congress has written for itself. Democracy Inc. shows the consequences of this system.
Combining a detailed case study of Chicago's Cabrini Green urban revitalization project with the concerns of modern political philosophy and rhetorical education, David Fleming examines the relationship between public discourse and the built environment in the contemporary United States. For more than half a century, low-income African American residents of the Cabrini Green public housing project have struggled against the extreme spatial inequality of their metropolitan region. The author examines three different options considered as part of revitalization efforts for the neighborhood: the dispersal of the project's residents into the largely white suburbs of Chicago; the building of a low-rise, mixed-income "urban village" on the same site; and the conversion of one of the original buildings into a democratically governed, not-for-profit housing cooperative. The author argues that each of these projects involves imagining the physical, socioeconomic, and rhetorical community of the contemporary city in dramatically different ways. Considered together, the projects provide evidence that places still matter in human flourishing, but show that the places of our contemporary landscape are unequal in resources and opportunities, and that our public philosophies support this inequality. Fleming reminds us, however, that these arrangements are plastic and can be redesigned to reflect a more equitable sharing of public problems and resources.
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