The authors underline the fact that aid and other forms of external intervention need to be better directed in the so-called "fragile states" of the developing world. The authors argue that confusion permeates Western aid programmes in countries where states either face escalating violent challenges or are attempting reconstruction and state-building in the wake of war. The report, which includes country and city case studies in Africa, Asia and Latin America and analysis of regional conflict trends, looks into the drivers of violent conflict in the developing world and why some states and cities have fared better than others in avoiding large-scale violence or in rebuilding public and private organisations after war. It highlights policy-relevant findings under seven thematic chapters.
Modernists and the Theatre is the first study to examine how theories of modernism intersect with those of the theatre within the works, philosophies and literary lives of six key modernist writers. Drawing on a wealth of unfamiliar archive material and fresh readings of neglected documents, James Moran reveals how these literary figures interacted with the theatre through playwriting, by engaging in philosophical debates and participating in theatrical performances. Chapters assess W.B. Yeats's very earliest playwriting, Ezra Pound's onstage acting, the interconnections between James Joyce's and D.H. Lawrence's sense of drama, Eliot's thinking about theatre in Dublin, and the feminist politics of Virginia Woolf's small-scale theatrical experiments. While these writers valued coterie production and often made hostile comments about drama, this volume highlights the paradoxical fact that, despite their harsh words, the theatrically 'large-scale' also attracted each of these writers. The theatre event of 'restricted production' offered modernists a satisfying mode of sharing their work amongst the like-minded, and the book discloses a set of unfamiliar events of this sort that allowed these writers to act as agents of legitimation in granting cultural value. The book explores their engagements with popular drama, as well as the long-forgotten acting performances in which each of these writers personally participated. Moran uncovers how the playhouse became a key geographical space where the high-modernists could explore a tension that fascinated them, and which motivated much of their wider thinking and literary work.
This comprehensive overview of William Faulkner's short fiction is a systematic study of this body of work, which Faulkner produced over a period of forty years. The author examines Faulkner's struggle to master the special problems posed by the genre. The book is organized topically. A chronological survey of Faulkner's career as a writer of short fiction is followed by chapters devoted to aspects of Faulkner's craft: thematic patterns, points of view, and other technical and formal patterns. The author offers a frank assessment of Faulkner's failures and successes as a writer of short fiction.
In his life and writings, William Faulkner continually created and "performed" selves. Even in letters, he often played a part—gentleman dandy, soldier, farmer—while in his fictions these and other personae are counterpoised against one another to create a world of controlled chaos, made in Faulkner's own protean image and reflective of his own multiple sense of self. In this groundbreaking book, James Watson draws on the entire Faulkner canon, including letters and photographs, to decipher the complicated ways in which Faulkner put himself forth as the artist he felt himself to be through written performances and displays based on the life he actually lived and the ones he imagined living. The topics Watson treats include the overtly performative aspects of The Sound and the Fury, self-presentation and performance in private records of Faulkner's life, the ways in which his complicated marriage and his relationships to male mentors underlie his fictions' recurring motifs of marriages and fatherhood, Faulkner's readings of Melville, Hawthorne, and Thoreau and the problematics of authorial sovereignty, his artist-as-God creation of a fictional cosmos, and the epistolary relationships with women that lie in the correspondence behind Requiem for a Nun.
A book of heroic dimensions, this is the first full-length biography of one of the greatest artists of the twentieth century—a man as fascinating, difficult, and compelling as the paintings he produced. Drawing on exclusive access to Mark Rothko's personal papers and over one hundred interviews with artists, patrons, and dealers, James Breslin tells the story of a life in art—the personal costs and professional triumphs, the convergence of genius and ego, the clash of culture and commerce. Breslin offers us not only an enticing look at Rothko as a person, but delivers a lush, in-depth portrait of the New York art scene of the 1930s, ’40s, and ’50s—the world of Abstract Expressionism, of Pollock, Rothko, de Kooning, and Klein, which would influence artists for generations to come. "In Breslin, Rothko has the ideal biographer—thorough but never tedious, a good storyteller with an ear for the spoken word, fond but not fawning, and possessed of a most rare ability to comment on non-representational art without sounding preposterous."—Robert Kiely, Boston Book Review "Breslin impressively recreates Mark Rothko's troubled nature, his tormented life, and his disturbing canvases. . . . The artist's paintings become almost tangible within Breslin's pages, and Rothko himself emerges as an alarming physical force."—Robert Warde, Hungry Mind Review "This remains beyond question the finest biography so far devoted to an artist of the New York School."-Arthur C. Danto, Boston Sunday Globe "Clearly written, full of intelligent insights, and thorough."—Hayden Herrera, Art in America "Breslin spent seven years working on this book, and he has definitely done his homework."-Nancy M. Barnes, Boston Phoenix "He's made the tragedy of his subject's life the more poignant."—Eric Gibson, The New Criterion "Mr. Breslin's book is, in my opinion, the best life of an American painter that has yet been written . . . a biographical classic. It is painstakingly researched, fluently written and unfailingly intelligent in tracing the tragic course of its subject's tormented character."—Hilton Kramer, New York Times Book Review, front page review James E. B. Breslin (1936-1996) was professor of English at the University of California, Berkeley, and author of From Modern to Contemporary: American Poetry, 1945-1965 and William Carlos Williams: An American Artist.
While it is true that genocide prevention is not what tends to land on the front pages of national newspapers today, it is what prevents the worst headlines from ever being made. Despite the post-Holocaust consensus that "Never Again" would the world allow civilians to be victims of genocide, the reality is closer to "Again and Again." As many as 170 million civilians across the world were victims of genocide and mass atrocity in the 20th century. Now that we have entered the 21st century, little light has been brought to that darkness as civilians still find themselves under brutal attack in South Sudan, Burma, Syria, the Central African Republic, Burundi, Iraq, and a score of other countries in the world beset by state fragility and extremist identity politics. Drawing on over two decades of primary research and scholarship from a wide range of disciplinary perspectives, Confronting Evil: Engaging Our Responsibility to Prevent Genocide is grounded in the belief that preventing mass atrocity is an achievable goal, but only if we have the collective will to do so. This groundbreaking book from one of the foremost leaders in the field presents a fascinating continuum of research-informed strategies to prevent genocide from ever taking place; to prevent further atrocities once genocide is occurring; and to prevent future atrocities once a society has begun to rebuild after genocide. With remarkable insight, Dr. James Waller challenges each of us to accept our responsibilities as global citizens-in whichever role and place we find ourselves-and to think critically about one of the world's most pressing human rights issues in which there are no sidelines, only sides.
In the early 1960s, civil rights activists and the Kennedy administration engaged in parallel, though not always complementary, efforts to overcome Mississippi’s extreme opposition to racial desegregation. In The Mississippi Civil Rights Movement and the Kennedy Administration, 1960–1964, James P. Marshall uncovers this history through primary source documents that explore the legal and political strategies of the federal government, follows the administration’s changing and sometimes contentious relationship with civil rights organizations, and reveals the tactics used by local and state entities in Mississippi to stem the advancement of racial equality. A historian and longtime civil rights activist, Marshall collects a vast array of documents from the John F. Kennedy Presidential Library and excerpts from his own 1960s interviews with leading figures in the movement for racial justice. This volume tracks early forms of resistance to racial parity adopted by the White Citizens’ Councils and chapters of the Ku Klux Klan at the local level as well as by Mississippi congressmen and other elected officials who used both legal obstructionism and extra-legal actions to block efforts meant to promote integration. Quoting from interviews and correspondence among the Student Nonviolent Coordinating Committee members, government officials, and other constituents of the Democratic Party, Marshall also explores decisions about voter registration drives and freedom rides as well as formal efforts by the Kennedy administration—including everything from minority hiring initiatives to federal litigation and party platform changes—to exert pressure on Mississippi to end segregation. Through a carefully curated selection of letters, interviews, government records, and legal documents, The Mississippi Civil Rights Movement and the Kennedy Administration, 1960–1964 sheds new light on the struggle to advance racial justice for African Americans living in the Magnolia State.
Why do Americans mistrust the news media? It may be because show like "The McLaughlin Group" reduce participating journalists to so many shouting heads. Or because, increasingly, the profession treats issues as complex as health-care reform and foreign policy as exercises in political gamesmanship. These are just a few of the arguments that have made Breaking the News so controversial and so widely acclaimed. Drawing on his own experience as a National Book Award-winning journalist--and on the gaffes of colleagues from George Will to Cokie Roberts--Fallows shows why the media have not only lost our respect but alienated us from our public life. "Important and lucid...It moves smartly beyond the usual attacks on sensationalism and bias to the more profound problems in modern American journalism...dead-on."--Newsweek
This book analyzes the Philippine economy from the 1960s to the 1980s. During this period, the benefits of economic growth conspicuously failed to "trickle down". Despite rising per capita income, broad sectors of the Filipino population experienced deepening poverty. Professor Boyce traces this outcome to the country's economic and political structure and focuses on three elements of the government's development strategy: the "green revolution" in rice agriculture, the primacy accorded to export agriculture and forestry, and massive external borrowing. James Boyce is the author of "Agrarian Impasse in Bengal" and co-author of "A Quiet Violence: View from a Bangladesh Village".
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