Products

“A Free Ballot and a Fair Count” examines the efforts by the Department of Justice to implement the federal legislation passed by Congress in 1870–71 known as the Enforcement Acts. These laws were designed to enforce the voting rights guarantees for African-Americans under the recently ratified Fifteenth Amendment. The Enforcement Acts set forth a range of federally enforceable crimes aimed at combating white southerners’ attempts to deny or restrict black suffrage.

There are several aspects of this work that distinguish it from other, earlier works in this area. Contrary to older interpretative studies, Goldman’s primary thesis is that, the federal government’s attempts to protect black voting rights in the South did not cease with the Supreme Court’s hostile rulings in U.S. v. Reese and U.S. v. Cruikshank in 1875. Nor, it is argued, did enforcement efforts cease at the end of Reconstruction and the so-called Compromise of 1877. Rather, federal enforcement efforts after 1877 reflected the continued commitment of Republican Party leaders, for both humanitarian and partisan reasons, to what came to be called “the free ballot and a fair count.”

Another unique aspect of this book is its focus on the role of the federal Department of Justice and its officials in the South in the continued enforcement effort. Created as a cabinet-level executive department in 1870, the Justice Department proved ill-equipped to respond to the widespread legal and extra-legal resistance to black suffrage by white southern Democrats in the years during and after Reconstruction. The Department faced a variety of internal problems such as insufficient resources, poor communications, and local personnel often appointed more for their political acceptability than their prosecutorial or legal skills. By the early 1890s, when the election laws were finally repealed by Congress, enforcement efforts were sporadic at best and largely unsuccessful. The end of federal involvement, coupled with the wave of southern state constitution revisions, resulted in the disfranchisement of the vast majority of African-American voters in the South by the beginning of the Twentieth Century. It would not be until the 1960s and the “Second Reconstruction” that the federal government, and the Justice Department, would once again attempt to ensure the “free ballot and a fair count”.

Canada's first audition book, with monologues from plays of the seventies, also useful as a survey of Canadian playwriting.

The best-known literary achievement of Anglo-Saxon England, Beowulf is a poem concerned with monsters and heroes, treasure and transience, feuds and fidelity. Composed sometime between 500 and 1000 C.E. and surviving in a single manuscript, it is at once immediately accessible and forever mysterious. And in Craig Williamson's splendid new version, this often translated work may well have found its most compelling modern English interpreter.

Williamson's Beowulf appears alongside his translations of many of the major works written by Anglo-Saxon poets, including the elegies "The Wanderer" and "The Seafarer," the heroic "Battle of Maldon," the visionary "Dream of the Rood," the mysterious and heart-breaking "Wulf and Eadwacer," and a generous sampling of the Exeter Book riddles. Accompanied by a foreword by noted medievalist Tom Shippey on Anglo-Saxon history, culture, and archaeology, and Williamson's introductions to the individual poems as well as his essay on translating Old English, the texts transport us back to the medieval scriptorium or ancient mead hall to share an exile's lament or herdsman's recounting of the story of the world's creation. From the riddling song of a bawdy onion that moves between kitchen and bedroom, to the thrilling account of Beowulf's battle with a treasure-hoarding dragon, the world becomes a place of rare wonder in Williamson's lines. Were his idiom not so modern, we might almost think the Anglo-Saxon poets had taken up the lyre again and begun to sing after a silence of a thousand years.

Pain is the most frequent cause of disability in America. And pain specialists estimate that as many as thirty to sixty million Americans suffer from chronic pain. Chronic pain is a complex phenomenon—often extremely difficult to treat, and surprisingly difficult to define.

Just as medical literature in general neglects the experience of illness, so the clinical literature on pain neglects the experience of pain. "Camp Pain" takes an approach different from most studies of chronic pain, which are typically written from a medical or social perspective. Based on a year's fieldwork in a pain treatment center, this book focuses on patients' perspectives—on their experiences of pain, what these experiences mean to them, and how this meaning is socially constructed.

Jackson explores the psychological burden imposed on many sufferers when they are judged not to have "real" pain, and by harsh moral judgments that sufferers are weak, malingering, or responsible in some way for their pain. Jackson also looks at the ways in which severe pain erodes and destroys personal identity, studying in particular the role of language.

While keeping her focus on patients' experiences, Jackson explores Western concepts of disease, health, mind, and body; assumptions about cause and effect; and notions of shame, guilt, and stigma. "Camp Pain" does not attempt to resolve the uncertainties and misperceptions associated with pain but rather aims at enhancing our understanding of the wider implications of chronic pain by focusing on the sufferers themselves.

What is the university's role in the production of cultural ideals? With increasingly interdisciplinary approaches being employed in scholarship, can we speak of discrete fields of study?

The results of a collaborative research project by the Critical Theory Institute at the University of California, Irvine, this collection explores the role that scholars and universities play in shaping and defining culture, and how teaching and research institutions are changing in response to international movements and social forces. Investigating the way "high" culture (literature, liberal education) and popular culture (fashion, film) are dealt with in the classroom, these essays show that the "culture wars" of the 1980s and '90s are by no means over; they have simply warped into new, less visible struggles for control of educational funding, curricula, academic "standards," and pedagogical authority.

The essays in this volume range widely. Sacvan Bercovitch defends the literary ideal of culture through his examination of Faulkner's Light in August; Linda Williams explores visual culture through Hitchcock's Psycho; and Leslie Rabine considers the intersections of fashion, race, and gender. J. Hillis Miller details how "cultural studies" might positively change the structure of the university, and Mark Poster challenges historians to develop methods of representing history that are adequate to the complexity of lived experience.

During the late 1960s, throughout the 1970s, and into the 1980s, New York City poets and musicians played together, published each other, and inspired one another to create groundbreaking art. In "Do You Have a Band?", Daniel Kane reads deeply across poetry and punk music to capture this compelling exchange and its challenge to the status of the visionary artist, the cultural capital of poetry, and the lines dividing sung lyric from page-bound poem.

Kane reveals how the new sounds of proto-punk and punk music found their way into the poetry of the 1960s and 1970s downtown scene, enabling writers to develop fresh ideas for their own poetics and performance styles. Likewise, groups like The Fugs and the Velvet Underground drew on writers as varied as William Blake and Delmore Schwartz for their lyrics. Drawing on a range of archival materials and oral interviews, Kane also shows how and why punk musicians drew on and resisted French Symbolist writing, the vatic resonance of the Beat chant, and, most surprisingly and complexly, the New York Schools of poetry. In bringing together the music and writing of Richard Hell, Patti Smith, and Jim Carroll with readings of poetry by Anne Waldman, Eileen Myles, Ted Berrigan, John Giorno, and Dennis Cooper, Kane provides a fascinating history of this crucial period in postwar American culture and the cultural life of New York City.

After 1933, New York City gave shelter to many leading German and German-Jewish intellectuals. Stripped of their German citizenship by the Nazi-regime, these public figures either stayed in the New York area or moved on to California and other places. This compendium, adopting the title of a famous volume published by Klaus and Erika Mann in 1939, explores the impact the US, and NYC in particular, had on these authors as well as the influence they in turn exerted on US intellectual life. Moreover, it addresses the transformations that took place in the exiled intellectuals’ thinking when it was translated into another language and addressed to an American audience. Among the individuals presented in this volume, are such prominent names as T.W. Adorno, H. Arendt, W. Benjamin, E. Bloch, B. Brecht, S. Kracauer, the Mann family, S. Morgenstern, and E. Panofsky.

The authors of the essays in this compendium were free to choose the angle (biography, theory, politics) or aspect (a single work, a personal constellation) deemed best to illuminate the given intellectual’s work. Acclaimed NYC photographer Fred Stein, a German-Jewish refugee from Dresden, produced numerous portraits of exiled intellectuals and artists. A selection of these compelling portraits is reproduced in this book for the first time.

In a series of lengthy letters, the unsettled and unruly Ethel Sutherland writes to an initially unnamed and ungendered correspondent, and patiently discloses the troubled history of her past romantic attachments to both men and women. Not until the third letter does she reveal that her correspondent is Ernest, the man to whom she is engaged to be married. Wanting to make him understand how all of her past loves are included and sublimated in her love for him, she especially wants to explain how "women often love each other with as much fervor and excitement as they do men"; and although this love is curiously "freed from all the grosser elements of passion, as it exists between sexes," nevertheless it "retains its energy, its abandonment, its flush, its eagerness, its palpitation, and its rapture."

Margaret Jane Mussey Sweat (1823-1908), a native of Portland, Maine, and wife of a United States congressman, published Ethel's Love-Life in 1859. The book is sometimes credited as an early—even the first—"lesbian" American novel, but such a label, Christopher Looby observes in his Introduction, somewhat misrepresents what is distinctive and surprising about the book. Ethel's Love-Life confounds our received binary distinctions between the spiritual and the carnal and, indeed, between the sexual and the nonsexual—the boundaries between such categories being not nearly as well-policed at the time as they later became. It is here reprinted, along with Sweat's Verses (1890) and five of her published essays, on Charlotte Brontë, George Sand, the contemporary novel, and the friendships of women.

Die Religionsgeschichte im Okzident besitzt – wie jede religiöse Tradition – ein spezifisches Profil, so die These dieses Buches: In der Spätantike entstand ein neues Konzept religiöser Zugehörigkeit, das Europa fundamental und bis heute prägt: Menschen konnten einer „Religion“ nicht mehr nur durch Geburt, sondern auch aufgrund einer Entscheidung angehören. Das klingt banal, revolutionierte aber das Religionssystem. Dies dokumentieren Erfindungen des frühen Christentums: ein Ritus zum Eintritt („Taufe“), religiöse Unterweisung („Katechese“), Ausbreitung jenseits ethnischer Grenzen („Universalismus“) durch „Mission“ und „Konversion“. Diese Elemente führten zu einem neuen, demjenigen Verständnis von „Religion“, welches heute den umgangssprachlichen und religionswissenschaftlichen Religionsbegriff prägt.

Der Eigensinn dieser Entwicklung im Okzident wird durch komparative Perspektiven sichtbar, etwa in der Frage, in welchem Sinn man im Buddhismus von einer „Mission“ sprechen kann oder in welchem Ausmaß das Verständnis von „wahrer“ und „falscher“ Religion im Islam auf dessen Verknüpfung mit der Christentumsgeschichte zurückgeht.

Dem zentralen Kapitel über „Entscheidung“ folgen vier Kapitel zu kulturellen Konsequenzen einer auf Entscheidung gegründeten Zugehörigkeit.

Zwei gegenwartsbezogene Konsequenzen im Bereich von Religionspolitik und Kultur werden exemplarisch genannt: Das Problem religiöser Pluralität, die damit verbundene Verfolgung aus religiösen Gründen und die dann entstandene Religionsfreiheit sind nicht ohne die Forderung nach einer Entscheidung in Religionsangelegenheiten zu verstehen. Und: Das neue Religionskonzept prägt aufgrund der europäischen Expansion heute das Verständnis von Religion in einer globalisierten Kultur.

Reveals a complex new portrait of John Brown, radical abolitionist and leader of the 1859 raid on Harper's Ferry

John Brown is usually remembered as a terrorist whose unbridled hatred of slavery drove him to the ill-fated raid on Harper's Ferry, Virginia, in 1859. Tried and executed for seizing the arsenal and attempting to spur a liberation movement among the slaves, Brown was the ultimate cause celebre for a country on the brink of civil war.

“Fire from the Midst of You” situates Brown within the religious and social context of a nation steeped in racism, showing his roots in Puritan abolitionism. DeCaro explores Brown's unusual family heritage as well as his business and personal losses, retracing his path to the Southern gallows. In contrast to the popular image of Brown as a violent fanatic, DeCaro contextualizes Brown's actions, emphasizing the intensely religious nature of the antebellum US in which he lived. He articulates the nature of Brown's radical faith and shows that, when viewed in the context of his times, he was not the religious fanatic that many have understood him to be. DeCaro calls Brown a “Protestant saint”—an imperfect believer seeking to realize his own perceived calling in divine providence.

In line with the post-millennial theology of his day, Brown understood God as working through mankind and the church to renew and revive sinful humanity. He read the Bible not only as God's word, but as God's word to John Brown. DeCaro traces Brown's life and development to show how by forging faith as a radical weapon, Brown forced the entire nation to a point of crisis.

“Fire from the Midst of You” defies the standard narrative with a new reading of John Brown. Here is the man that the preeminent Black scholar W.E.B. Du Bois called a "mighty warning" and the one Malcolm X called “a real white liberal.”

One hundred and forty years after his assassination on April 14, 1865, Abraham
Lincoln towers more than ever above the landscape of American politics. In
myth and memory, he is always the Great Emancipator and savior of the Union,
second in stature only to George Washington.

But was Lincoln always so exalted?Was he, as some historians argue, a poor
President, deeply disliked, whose legacy was ennobled only by John Wilkes
Booth’s bullet?

In this fascinating book, a leading historian finally takes the full measure of
Lincoln’s reputation. Drawing on a remarkable range of primary documents—
speeches, newspaper accounts and editorials, private letters, memoirs, and
other sources—Hans L. Trefousse gives us the voices of Lincoln’s own time. From
North and South, at home and abroad, here are politicians and ordinary people,
soldiers and statesmen, abolitionists and slaveholders alike, in a rich chorus of
American opinion. The result is a masterly portrait of Lincoln the President in
the eyes of his fellow Americans.

Das astrologische Handbuch des Antigonos von Nikaia (um 150 n.Chr.) war ein Meilenstein in der Entwicklung der antiken Sterndeutung. Sein bedeutendstes Fragment (F1) ist eine postum verfasste, vollständige Analyse des Geburtshoroskops des Kaisers Hadrian. Dies ist das elaborierteste unter den ca. 350 erhaltenen antiken Horoskopen. Es illustriert am klarsten die Lehren von Nechepsos und Petosiris, den Archegeten der hellenistischen Sterndeutung. Dieser Text ist auch althistorisch von Interesse, da er wahrscheinlich auf der verlorenen Autobiographie Hadrians basiert und die früheste literarische Quelle zum Leben Hadrians und seines Großneffen Pedanius Fuscus bildet. Die übrigen Fragmente bewahren wertvolles Material zur Frühphase der hellenistischen Astrologie.

Die neue Edition bietet erstmals einen verlässlichen Text auf der Grundlage aller Handschriften. Der Kommentar hellt das voraussetzungsreiche Werk unter Heranziehung aller erhaltenen antiken astrologischen Handbücher und Horoskope auf. Zahlreiche Einzellehren werden erstmals durch systematische, diachron angelegte Untersuchungen erschlossen. Die Ausgabe bietet ferner einen vollständigen Katalog aller antiken Horoskope mit aktuellen Einzelbibliographien sowie detaillierte Indices.

In 1823, Sir Henry Bunbury discovered a badly bound volume of twelve Shakespeare plays in a closet of his manor house. Nearly all of the plays were first editions, but one stood out as extraordinary: a previously unknown text of Hamlet that predated all other versions. Suddenly, the world had to grapple with a radically new—or rather, old—Hamlet in which the characters, plot, and poetry of Shakespeare's most famous play were profoundly and strangely transformed.

Q1, as the text is known, has been declared a rough draft, a shorthand piracy, a memorial reconstruction, and a pre-Shakespearean "ur-Hamlet," among other things. Flickering between two historical moments—its publication in Shakespeare's early seventeenth century and its rediscovery in Bunbury's early nineteenth—Q1 is both the first and last Hamlet. Because this text became widely known only after the familiar version of the play had reached the pinnacle of English literature, its reception has entirely depended on this uncanny temporal oscillation; so too has its ongoing influence on twentieth- and twenty-first-century ideas of the play.

Zachary Lesser examines how the improbable discovery of Q1 has forced readers to reconsider accepted truths about Shakespeare as an author and about the nature of Shakespeare's texts. In telling the story of this mysterious quarto and tracing the debates in newspapers, London theaters, and scholarly journals that followed its discovery, Lesser offers brilliant new insights on what we think we mean when we talk about Hamlet.

American comics reflect the distinct sensibilities and experiences of the Jewish American men who played an outsized role in creating them, but what about the contributions of Jewish women? Focusing on the visionary work of seven contemporary female Jewish cartoonists, Tahneer Oksman draws a remarkable connection between innovations in modes of graphic storytelling and the unstable, contradictory, and ambiguous figurations of the Jewish self in the postmodern era.

Oksman isolates the dynamic Jewishness that connects each frame in the autobiographical comics of Aline Kominsky Crumb, Vanessa Davis, Miss Lasko-Gross, Lauren Weinstein, Sarah Glidden, Miriam Libicki, and Liana Finck. Rooted in a conception of identity based as much on rebellion as identification and belonging, these artists' representations of Jewishness take shape in the spaces between how we see ourselves and how others see us. They experiment with different representations and affiliations without forgetting that identity ties the self to others. Stemming from Kominsky Crumb's iconic 1989 comic "Nose Job," in which her alter ego refuses to assimilate through cosmetic surgery, Oksman's study is an arresting exploration of invention in the face of the pressure to disappear.

Creating and managing an effective classroom management and discipline system in today’s urban classroom can be an arduous task for even the most competent teacher, let alone those who are new to the classroom. Urban teachers are faced with unique challenges, (poor working conditions, limited administrative support, and under resourced environments), that impact implementation and supervision of an effective classroom management plan, and often influences the teacher to transfer to another school or district or leave the profession all together.

The basis of 'I’ll See You in Court' Supporting Social Justice, Diversity, Equity, and Critical Thinking Through Classroom Management and Discipline in Urban Schools, is to provide aspiring and veteran teachers with a classroom model that highlights an instructional and relational approach for managing the urban classroom. Authentic learning opportunities are centered, and provide the means to integrate social justice, cultural responsiveness, problem solving, and communication skills.

This classroom management text is using a legal framework in order to catch the reader’s attention, and to get the reader and in turn, classroom students, to understand that just as 'societal management' has rules and consequences, it also includes the promise of due process which hopefully leads to equitable and fair outcomes. 'I’ll See You In Court' is a fun way for teachers and students to make sense of classroom management in a practical and analogous application.

"In the Days of Serfdom" and Other Stories, originally published in 1911, presents in miniature themes developed in Tolstoy's longer works War and Peace and Anna Karenina. The compelling stories in this collection have largely been ignored by contemporary scholars and teachers because of their general unavailability. Available once again, the stories reveal new thematic and stylisitic dimensions to Tolstoy's oeuvre.

While not all of the stories deal with actual serfdom, they all address the legacy of serfdom, of choicelessness, in Tolstoy's Russia. These stories are also thoroughly modern, concerned as they are with the market economy, changing values, and women's roles in society. Artistically and historically significant, they constitute ethical and spiritual questionings that deal with lives out of control, with characters making sense of the experience of living.

An examination of the efforts of faith-based organizations to expand the rights of the formerly incarcerated

The use of religion to rehabilitate and redeem formerly incarcerated individuals has been a cultural touchstone of the modern era. Yet religious outreach to those with criminal records has typically been associated with an emphasis on private spirituality, with efforts focused on repentance, conversion, and restorative justice. This book sheds light on how faith-based organizations utilize the public arena, mobilizing to expand the social and political rights of former inmates.

In “Jesus Saved an Ex-Con,” Edward Orozco Flores profiles Community Renewal Society and LA Voice, two faith-based organizations which have actively waged community organizing campaigns to expand the rights of people with records. He illuminates how these groups help the formerly incarcerated re-enter broader communities through the expansion of citizenship rights and participation in civic engagement.

Most work on prisoner reentry has focused on how the behavior of those with records may be changed through interventions, rather than considering how those with records may change the society that receives them. Flores explores how the formerly incarcerated use redemption scripts to participate in civic engagement, to remove the felony conviction question from employment applications and to restrict the use of criminal background checks in housing and employment. He shows that people with records can redeem themselves while also challenging and changing the way society receives them.

For twenty-three years during the golden age of radio in Canada, stories for children by Mary Grannan, "Just Mary," were broadcast by CBC and beloved across the country. She retired from broadcasting in 1962 and died in 1975, but her sweet-tempered and humorous stories still have the power to entertain, while recapturing the atmosphere of another time.

Grannan published stories from Just Mary and Maggie Muggins in over thirty best-selling books, but she had other radio series that were never released in print. The "Just Mary" Reader presents for the first time a selection of her stories from two other radio drama series. Jubilee Road tells the adventures and misadventures of Johnny and Patty Little and their friend Salty Pickle. Or, as Johnny describes it: "We get into quite a few messes, but if you know us, you'll know that it's hardly ever our fault."

In Land of Supposing, Grannan retold fairy tales and legends from around the world, as well as a few legends of her own making. Previously unpublished selections from Just Mary and Maggie Muggins complete the collection.

'Lesser Breeds' focuses on racism as manifested in the popular culture of nineteenth- and early twentieth-century Britain, exemplified by attitudes to the Chinese, Arabs, Blacks and Jews. This compelling book investigates the manifold expressions of prejudice in the popular arts of the period. Like Diamond's successful 'Victorian Sensation', this is a comparative exploration of how popular racism was naturalised, what issues it raised and fed off, and what this said about British people at the time. One of the author's key concerns is the way in which the popular media feeds on stereotypes, which go on to reinforce relatively uninformed cultural and social assumptions. The parallel to our own cultural and political climate is compelling. This fascinating title will be of interest given the current trend of tabloid racism; it will also appeal to a general and unfailing interest in the intriguingly vulgar British Empire.

The fascinating tale of how a bipartisan coalition worked successfully to lower the voting age

“Let Us Vote!” tells the story of the multifaceted endeavor to achieve youth voting rights in the United States. Over a thirty-year period starting during World War II, Americans, old and young, Democrat and Republican, in politics and culture, built a movement for the 26th Amendment to the US Constitution, which lowered the voting age from twenty-one to eighteen in 1971. This was the last time that the United States significantly expanded voting rights.

Jennifer Frost deftly illustrates how the political and social movements of the time brought together bipartisan groups to work tirelessly in pursuit of a lower voting age. In turn, she illuminates the process of achieving political change, with the convergence of “top-down” initiatives and “bottom-up” mobilization, coalition-building, and strategic flexibility. As she traces the progress toward achieving youth suffrage throughout the ’60s, Frost reveals how this movement built upon the social justice initiatives of the decade and was deeply indebted to the fight for African American civil and voting rights.

2021 marks the fiftieth anniversary of this important constitutional amendment and comes at a time when scrutiny of both voting age and voting rights has been renewed. As the national conversation around climate crisis, gun violence, and police brutality creates a new call for a lower voting age, “Let Us Vote!” provides an essential investigation of how this massive political change occurred, and how it could be brought about again.

In the years between the Revolution and the Civil War, as the question of black political rights was debated more and more vociferously, descriptions and pictorial representations of whites coupling with blacks proliferated in the North. Novelists, short-story writers, poets, journalists, and political cartoonists imagined that political equality would be followed by widespread inter-racial sex and marriage. Legally possible yet socially unthinkable, this "amalgamation" of the races would manifest itself in the perverse union of "whites" with "blacks," the latter figured as ugly, animal-like, and foul-smelling. In Miscegenation, Elise Lemire reads these literary and visual depictions for what they can tell us about the connection between the racialization of desire and the social construction of race.

Previous studies of the prohibition of interracial sex and marriage in the U.S. have focused on either the slave South or the post-Reconstruction period. Looking instead to the North, and to such texts as the Federalist poetry about Thomas Jefferson and Sally Hemings, James Fenimore Cooper's Last of the Mohicans, Edgar Allan Poe's "Murders in the Rue Morgue," and the 1863 pamphlet in which the word "miscegenation" was first used, Lemire examines the steps by which whiteness became a sexual category and same-race desire came to seem a biological imperative.

“‘Our Native Antiquity’ makes a valuable contribution to the emergent field of interdisciplinary scholarship scrutinizing the object world, in particular the role of artifacts in literary texts (as in the work of Bill Brown), in the Slavic field and beyond. Even such media spectacles as Vladimir Putin’s 2011 scuba dive to ‘recover’ ancient amphorae take on new meaning in light of Kunichika’s book, which makes clear that establishing Russia’s links with antiquity has long had implications for the nation's sense of self-worth. The past is a renewable resource.” —Julia Bekman Chadaga, Slavic Review

Walter Scott was a populist with a vision for the new province. A newspaperman, entrepreneur, and land speculator before being elected to the House of Commons in 1900, by 1905, Scott had become leader of the Saskatchewan Liberal party and premier of the new province. After the 1905 election, Scott embarked on a program to build the province's infrastructure, including the Legislative Building and the University of Saskatchewan. He believed that agriculture was a vital component in the fabric of Saskatchewan life, and by including farm leadership in cabinet, he created a political climate founded on agriculture. Scott's government was also instrumental in enacting prohibition and establishing female suffrage. The fruits of Walter Scott's labours in education, agriculture and public policy continue to be harvested in Saskatchewan today, but few remember who planted the original seeds.

In his day, Scott was respected for his leadership in the growth and development of Saskatchewan. With the publication of this landmark biography by Gordon L. Barnhart, Scott's pivotal role will be recognized anew by the generations who now live in the province he was instrumental in founding.

For more than 10 years, Rainer Ganahl has been engaged in a subtle exploration of the points of overlap of art and learning, using a variety of media including photographs, videos, books, wall texts, and tapestries. Much of Ganahl's work falls into the following categories: Libraries, collections of scholarly books, intended to be perused by gallery visitors; Seminars and Lectures, where he attends and photographs seminars and lectures by leading scholars; Readings, where he photographs and/or videotapes invited participants as they analyze theoretical texts with him; Studies, portraits of himself as a learning machine, documenting his efforts to study new languages; and Dialogs, either interviews or collaborations outside educational institutions. Ganahl has had numerous solo exhibitions in Europe and New York and was selected as one of three Austrian representatives to the Venice Biennale in 1999. William Kaizen, a Columbia University doctoral candidate in art history, is the curator of The Wallach Art Gallery (3230) exhibition and primary author of the exhibition catalogue, which provides a comprehensive overview and a scholarly exploration of the artist's work. In her introduction to the catalogue, Professor Gayatri Chakravorty Spivak discusses her personal connection to Ganahl. She sees in his work an answer to Marx's question, "Who will educate the educators?"

Kaizen's essay takes up the politics of Rainer Ganahl's claim that education is art's "abhorred other" and discusses the means through which the artist creates possibilities for both art and knowledge production. A color plate section with commentary by the artist includes more than 400 images that document Ganahl's varied artistic practices during the past decade. Two additional contributions by the artist—"Marx and again Marx: Antonio Negri interviewed by Rainer Ganahl" and "A Portable Library for Columbia University"—expand the understanding of his practice.

Republication on the twenty-fifth anniversary of “Pretends to Be Free” recognizes the signal importance of its sterling presentation of northern self-emancipation. Today, even more than a quarter-century ago, these fugitive slave notices are the best verbal snapshots of enslaved Americans before and during the American Revolution. Through these notices, readers can discover how enslaved blacks chose allegiance during our War for Independence.

Replete with a preface by Edward E. Baptist, the leading scholar of slavery and capitalism and director of a massive project aimed at digitalizing every escape notice, and with a new Introduction and teacher’s guide by Graham Hodges, this new edition makes this documentary study more relevant than ever.

A frank analysis of the medical and emotional inequalities that pervade the healthcare process for critically ill children

Families who have a child with a life-threatening illness face a daunting road ahead of them, one that not only upends their everyday lives, but also strikes at the very heart of parenthood. In “Save My Kid,” Amanda M. Gengler traces the emotional difficulties these families navigate as they confront a fundamentally unequal healthcare system in the United States.

Gengler reveals the unrecognized, everyday inequalities tangled up in the process of seeking medical care, showing how different families manage their children’s critical illnesses. She also uncovers the role that emotional goals—deeply rooted in the culture of illness and medicine—play in medical decision-making, healthcare interactions, and the end of children’s lives.

A deeply compassionate read, “Save My Kid” is an inside look at inequality in healthcare among those with the most at stake.

Die rund 700 erhaltenen Briefe des Dresdner Künstlerpaars Hans Grun­dig (1901–1958) und Lea Grundig (1906–1977) sind in ihrer Art einzigar­tig und bis heute mehrheitlich unver­öffentlicht. Vor allem die Liebes­- und Künstlerbriefe umfassen nicht nur drei Gesellschaftssysteme, sondern auch mehrere Länder. Sie thematisieren Fragen des Verhältnisses von Kunst und Politik, von Religion und Gesell­schaft sowie von Widerstand, Exil und Migration. Im Vorfeld der geplanten Edition geben Beiträge ausgewiesener Autor/­-innen Einblick in die Editionsar­beit und vor allem auch die Dimension und zeitgeschichtliche Umgebung der Korrespondenz. Ihre Erschließung wird die Grundlage für Forschungsprojekte im Kontext deutscher Diktaturerfah­rungen, jüdischer Geschichte, künstle­rischer Milieus und Netzwerke bilden.

• Hintergründe zur Erforschung eines bisher unbekannten Briefwechsels

Baer's biography of the former Czechoslovak foreign minister Vladimír Clementis (1902–1952) is the first historical study on the Communist politician who was executed with Rudolf Slánský and other top Communist Party members after the show trial of 1952. Born in Tisovec, Central Slovakia, Clementis studied law at Charles University in Prague in the 1920s and had his own law firm in Bratislava in the 1930s. After the Munich Agreement of 1938, he went into exile to France and Great Britain, where he worked at the Czechoslovak broadcast at the BBC for the exile government of Edvard Beneš. After the Second World War, Clementis' political career at the Czechoslovak Foreign Ministry blossomed. In 1945, he became Assistant Secretary of State under Foreign Minister Jan Masaryk. After Masaryk's mysterious death in 1948, Clementis was appointed foreign minister. This biography offers an unprecedented insight into the mind of a Slovak leftist intellectual of the interwar generation who died at the command of the comrade he had admired since his youth: Generalissimus Stalin.

Best known today as the author of Don Quixote—one of the most beloved and widely read novels in the Western tradition—Miguel de Cervantes Saavedra (1547-1616) was a poet and a playwright as well. After some early successes on the Madrid stage in the 1580s, his theatrical career was interrupted by other literary efforts. Yet, eager to prove himself as a playwright, shortly before his death he published a collection of his later plays before they were ever performed.

With their depiction of captives in North Africa and at the Ottoman court, two of these, "The Bagnios of Algiers" and "The Great Sultana," draw heavily on Cervantes's own experiences as a captive, and echo important episodes in Don Quixote. They are set in a Mediterranean world where Spain and its Muslim neighbors clashed repeatedly while still remaining in close contact, with merchants, exiles, captives, soldiers, and renegades frequently crossing between the two sides. The plays provide revealing insights into Spain's complex perception of the world of Mediterranean Islam.

Despite their considerable literary and historical interest, these two plays have never before been translated into English. This edition presents them along with an introductory essay that places them in the context of Cervantes's drama, the early modern stage, and the political and cultural relations between Christianity and Islam in the early modern period.

This book offers the first in-depth treatment in English language of Habermas’s long-awaited work on religion, Auch eine Geschichte der Philosophie, published in 2019. Charting the contingent origins and turning points of occidental thinking through to the current "postmetaphysical" stage, the two volumes provide striking insights into the intellectual streams and conflicts in which core components of modern self-understanding have been forged. The encounter of Greek metaphysics with biblical monotheism has led to a theology of history as salvation, expanding in bold arcs from Adam’s Fall to Christ and the Last Judgement. The reconstruction of key turns in the relationship between faith and knowledge ends, however, with locating the uniqueness of religion in "ritual" and defining reason as inherently secular.

The book exposes the sources and trajectories, analysed by Habermas with great erudition, to different assessments in biblical studies, theology, and philosophy of subjectivity. Apart from Paul and Augustine, key lines of continuity are identified in the Gospels, early patristic theology, Duns Scotus and Schleiermacher that retain the internal connection of faith to autonomous freedom.

Was there more to medieval and Renaissance comedy than Chaucer and Shakespeare? Bien sûr. For a real taste of saucy early European humor, one must cross the Channel to France. There, in the fifteenth and early sixteenth centuries, the sophisticated met the scatological in popular performances presented by roving troupes in public squares that skewered sex, politics, and religion. For centuries, the scripts for these outrageous, anonymously written shows were available only in French editions gathered from scattered print and manuscript sources. Now prize-winning theater historian Jody Enders brings twelve of the funniest of these farces to contemporary English-speaking audiences in "The Farce of the Fart" and Other Ribaldries. Enders's translation captures the full richness of the colorful characters, irreverent humor, and over-the-top plotlines, all in a refreshingly uncensored American vernacular.

Those who have never heard the one about the Cobbler, the Monk, the Wife, and the Gatekeeper should prepare to be shocked and entertained. "The Farce of the Fart" and Other Ribaldries is populated by hilarious characters high and low. For medievalists, theater practitioners, and classic comedy lovers alike, Enders provides a wealth of information about the plays and their history. Helpful details abound for each play about plot, character development, sets, staging, costumes, and props. This performance-friendly collection offers in-depth guidance to actors, directors, dramaturges, teachers, and their students.

"The Farce of the Fart" and Other Ribaldries puts fifteenth-century French farce in its rightful place alongside Chaucer, Shakespeare, commedia dell'arte, and Molière—not to mention Monty Python. Vive la Farce!

This volume offers the first book-length academic investigation of Florian Henckel von Donnersmarck’s Oscar-winning film The Lives of Others (2006). The aim of this edited collection is twofold. On the one hand, it offers new insight into one of the most successful German films of the past two decades, placing The Lives of Others within its wider historical, political, aesthetic and industrial context. On the other, it offers this group of scholars, which includes many of the leading international figures in the field, opportunity to make a series of interventions on the state of contemporary German film and German film studies.

"Perhaps it is no coincidence that the nineteenth century—the century when, it has been said, sexuality as such (and various taxonomized sexual identities) were invented—is the period when American short stories were invented, and when they were the queerest."—Christopher Looby, from the Introduction

A man in small-town America wears the clothing of his wife and sisters; satisfied at last that he has "a perfect suit of garments appropriate for my sex," he commits suicide, asking only that he be buried dressed as a woman. A country maid has a passionate summer relationship with an heiress, the memory of which sustains her for the next forty years. A girl is carried by a strong wind to a place where she discovers that everything is made of candy, including the "queer people," whom she licks and eats. If these are not the kinds of stories we expect to find in nineteenth-century American literature, it is perhaps because we have been looking in the wrong places.

The stories gathered here are written by a diverse assortment of writers—women and men, obscure and famous: Herman Melville, Willa Cather, and Louisa May Alcott, among others. Exploring the vagaries of gender identity, erotic desire, and affectional attachments that do not map easily onto present categories of sex and gender, they celebrate, mourn, and question the different modes of embodiment and forgotten styles of pleasure of nineteenth-century America.

"Stoddard was, next to Melville and Hawthorne, the most strikingly original voice in the mid-nineteenth-century American novel, a voice . . . that ought to gain a more sympathetic and perceptive hearing in our time than in her own."—from the Introduction

The centerpiece of this volume is The Morgesons (1862), one of the few outstanding feminist bildungsromanae of that century. Additional selections include arresting short stories and provocative journalistic essays/reviews, plus a number of letters and manuscript journals that have never before been published. The texts are fully edited and documented.

This literary guide leads students with advanced knowledge of Russian as well as experienced scholars through the text of Nikolai Gogol’s absurdist masterpiece “The Nose.” Part I focuses on numerous instances of the writer’s wordplay, which is meant to surprise and delight the reader, but which often is lost in English translations. It traces Gogol’s descriptions of everyday life in St. Petersburg, familiar to the writer’s contemporaries and fellow citizens but hidden from the modern Western reader. Part II presents an overview of major critical interpretations of the story in Gogol scholarship from the time of its publication to the present, as well as its connections to the works of Shostakovich, Kafka, Dalí, and Kharms.

Die Schwulenbewegung in der DDR der 1970er und 1980er Jahre war in Ursprung und Entwicklung immer ostdeutsch und deutsch-deutsch zugleich. Teresa Tammer beschreibt die Bedeutung der Teilung Deutschlands insbesondere für den Schwulenaktivismus in der DDR, aber auch in West-Berlin und der Bundesrepublik seit Anfang der 1970er Jahre; sie analysiert eingehend die Selbstbehauptungsstrategien der Ostdeutschen, zu denen Selbstdarstellungen, Aneignungen, Positionierungen und Forderungen gegenüber unterschiedlichen Adressaten gehörten. Zudem untersucht sie die Netzwerke und Transfers zwischen ost- und westdeutschen Schwulenaktivisten. Die Akteure in der DDR mussten stets balancieren zwischen Anpassung und Auflehnung sowie zwischen verschiedenen Zugehörigkeiten, etwa zur DDR und einer transnationalen Bewegung oder zwischen Staat und Kirche. Teresa Tammer erzählt eine multiperspektivische Geschichte der DDR-Schwulenbewegung, die eingebettet ist in die deutsch-deutsche Geschichte, aber auch in transnationale und globale Prozesse, und die über den Mauerfall hinausreicht.

This is the history of the most significant translator, publisher, and distributor of left-wing literature in the United States. Based in Chicago and still publishing, Charles H. Kerr & Company began in 1886 as a publisher of Unitarian tracts. The company's focus changed after its founder, the son of abolitionist activists, became a socialist at the turn of the century.

Tracing Kerr's political development and commitment to radical social change, "We Called Each Other Comrade" also tells the story of the difficulties of exercising the First Amendment in an often hostile business and political climate. A fascinating exploration in left-wing culture, this revealing chronicle of Charles H. Kerr and his revolutionary publishing company looks at the remarkable list of books, periodicals, and pamphlets that the firm produced and traces the strands of a rich tradition of dissent in America.

The three essays collected in this book offer a succinct introduction to Agamben's recent work through an investigation of Foucault's notion of the apparatus, a meditation on the intimate link of philosophy to friendship, and a reflection on contemporariness, or the singular relation one may have to one's own time.

"Apparatus" (dispositif in French) is at once a most ubiquitous and nebulous concept in Foucault's later thought. In a text bearing the same name ("What is a dispositif?") Deleuze managed to contribute its mystification, but Agamben's leading essay illuminates the notion: "I will call an apparatus," he writes, "literally anything that has in some way the capacity to capture, orient, determine, intercept, model, control, or secure the gestures, behaviors, opinions, or discourses of living beings." Seen from this perspective, Agamben's work, like Foucault's, may be described as the identification and investigation of apparatuses, together with incessant attempts to find new ways to dismantle them.

Though philosophy contains the notion of philos, or friend, in its very name, philosophers tend to be very skeptical about friendship. In his second essay, Agamben tries to dispel this skepticism by showing that at the heart of friendship and philosophy, but also at the core of politics, lies the same experience: the shared sensation of being.

Guided by the question, "What does it mean to be contemporary?" Agamben begins the third essay with a reading of Nietzsche's philosophy and Mandelstam's poetry, proceeding from these to an exploration of such diverse fields as fashion, neurophysiology, messianism and astrophysics.

Malcolm X, describing his childhood experience of “when the welfare people came” and introduced him to the US child protection system, called it “legal, modern slavery—however kindly intentioned.” That shocking characterization obscures some of the complexities of the state response to childhood poverty, but it reflects sentiments that are common among communities of color, where child welfare investigations are most concentrated. A radical assessment of institutional racism in the child welfare system is needed now more than ever.

In this sweeping look at the history and politics of the US child welfare system, “When the Welfare People Come” exposes the system—from the “orphan trains” and Indian boarding schools to current practices in child protective investigations, foster care, and mandated services—arguing that it constitutes a mechanism of control exerted over poor and working-class parents and children. Don Lash reveals the system’s role in the regulation of family life under capitalism and details the deep and continuing consequences of what happens “when the welfare people come.” Including first-person vignettes of parents, children, and workers in the US child protection system, Lash also offers practical and cogent ideas for its improvement and transformation.

Private James Herbert (Herb) Gibson was 26 years old when he volunteered for service in the Canadian Expeditionary Force in the First World War. Born near Perth, Ontario and descended from Scottish settlers, Gibson enlisted against his father's wishes because he viewed the war as justified and felt he needed to do his part. "Without fear and with a manly heart" collects his personal letters and diaries as well as those sent to him by family and friends. They reveal his beliefs, hopes, realizations, and tragedies through an account of his contribution to the war.


The letters trace Gibson's wartime service from 1916 to 1919 from his enlistment and training with the 130th (Lanark and Renfrew) Battalion to his service on the Western Front with the 75th Battalion. Gibson was wounded twice, first near Vimy during the Gas Raid of March 1917 and again more seriously during a night patrol in July 1918 which ended his war. He also had to deal with tragedy on the home front from afar. Gibson's religious beliefs significantly influenced and sustained him through his darkest hours. He felt himself a gentle man caught up "on an errand the full consequences of which we did not realize."

#1nspiring delivers clarity and ease of use and methods on how to move from purpose to profit. It offers a step-by-step approach beginning from the moment when an idea for a business is formulated to those who want to improve their business that is already up and running. In the start-up age and the era of the Internet of things, new methods to grow and improve businesses are available and required. #1nspiring offers these with tools and maps entrepreneurs can use to get going, determine where they should focus, and move from purpose to profit. Whether you are a self-employed professional or a small business owner, #1nspiring is invaluable for everyone who aspires to start, build and grow a business.

A firsthand account of systemic anti-Black racism in Canadian schools

The prevalence of anti-Black racism and its many faces, from racial profiling to police brutality, in North America is indisputable. How do we stop racist ideas and violence if the very foundation of our society is built upon white supremacy? How do we end systemic racism if the majority do not experience it or question its existence? Do our schools instill children with the ideals of equality and tolerance, or do they reinforce differences and teach children of colour that they don’t belong?

#BlackInSchool is Habiba Cooper Diallo’s high school journal, in which she documents, processes, and resists the systemic racism, microaggressions, stereotypes, and outright racism she experienced in Canada’s education system.

Powerful and eye-opening, Cooper Diallo illustrates how our schools reinforce rather than erode racism: the handcuffing and frisking of students of colour by police at school, one-dimensional, tokenistic curricula of Black people, and the constant barrage of overt racism from students and staff alike. She shows how systemic racism works, how it alienates and seeks to destroys a child’s sense of self. She shows how our institutions work to erase the lived experiences of Black youth and tries to erase Black youth themselves.

Cooper Diallo’s words will resonate with some, but should shock, appall, and animate a great many more into action towards a society that is truly equitable for all.

A new idea, opportunity, collaboration, or creative expression could be the key that unlocks an artist’s future. Ashley Kate believes that the thing an artist is currently afraid of might become their happy place and become pretty important to their future, so it should be explored. Throughout #BYOP, artists will explore these new lanes with Ashley Kate. They’ll explore the twists and turns of creating their own content, creating and collaborating with others, and most importantly how to Be Your Own Producer. Within #BYOP, artists learn how to be their own producer of:

Written by Broadway actress and award-winning indie film and music producer Ashley Kate Adams, #BYOP: Grief and Productivity for the Artist guides artists through loss, creative transformation, and healing.

In her second book, Adams shares that through grief, artists might find themselves more awake and creating more authentically than ever before. In this memoir-fueled, how-to guide filled with personal stories of loss and transformation, both in the entertainment industry and in her own life, she seeks to assist creatives through the most challenging times of their lives by focusing on the duality of creativity.

Through interviews, poems, and lyrics, she also celebrates the productivity of artistry when people dare to create through their sorrow and pain. Adams believes that grief allows the opportunity for true realignment and gives artists the understanding to live more boldly than ever before.

Our government is being strangled by partisan politics, youth employment is at a 60-year low, and student loan debt has surpassed $1 trillion—and yet young Americans are starting businesses in record numbers, all over the United States. If we want Millennials (and future generations) to survive and thrive in the new economy, then we need to funnel this entrepreneurial energy into something positive, or risk turning the Millennial generation into a lost generation. The solutions in this book represent the beginning of an important conversation about how to support and foster the real leaders of tomorrow.

From policy ideas and educational programs, to private sector solutions and philanthropic activities, #FixYoungAmerica provides best practices and tangible solutions for solving the epidemic of youth unemployment—straight from the individuals and organizations that are already in the trenches, working to rebuild an entrepreneurial America right now.

Social justice and human rights movements are entering a new phase. Social media, artificial intelligence, and digital forensics are reshaping advocacy and compliance. Technicians, lawmakers, and advocates, sometimes in collaboration with the private sector, have increasingly gravitated toward the possibilities and dangers inherent in the nonhuman. #HumanRights examines how new technologies interact with older models of rights claiming and communication, influencing and reshaping the modern-day pursuit of justice.

Ronald Niezen argues that the impacts of information technologies on human rights are not found through an exclusive focus on sophisticated, expert-driven forms of data management but in considering how these technologies are interacting with other, "traditional" forms of media to produce new avenues of expression, public sympathy, redress of grievances, and sources of the self. Niezen considers various ways that the pursuit of justice is happening via new technologies, including crowdsourcing, social media–facilitated mobilizations (and enclosures), WhatsApp activist networks, and the selective attention of Google's search engine algorithm. He uncovers how emerging technologies of data management and social media influence the ways that human rights claimants and their allies pursue justice, and the "new victimology" that prioritizes and represents strategic lives and types of violence over others. #HumanRights paints a striking and important panoramic picture of the contest between authoritarianism and the new tools by which people attempt to leverage human rights and bring the powerful to account.

#iamdone is a new frontier of ambitious, awakened creators, innovators and movement-makers.

It allows readers to join the movement-makers who are done with:

They are done recycling through the same lessons over and over. Done dancing on the fringes of their big meaningful work. Done not being the full expression of THEMSELVES and their MASTERY.

They. Are. Done. Are you?

Idle No More bewildered many Canadians. Launched by four women in Saskatchewan in reaction to a federal omnibus budget bill, the protest became the most powerful demonstration of Aboriginal identity in Canadian history. Thousands of Aboriginal people and their supporters took to the streets, shopping malls, and other venues, drumming, dancing, and singing in a collective voice.



It was a protest against generations of injustice, a rallying cry for cultural survival, and a reassertion of Aboriginal identity.



Idle No More lasted for almost a year, and then the rallies dissipated. Many observers described it as a spent force. It was anything but. Idle No More was the most profound declaration of Indigenous identity and confidence in Canadian history, sparked by Aboriginal women and their supporters, sustained by young Indigenous peoples, filled with pride and determination. When the drums slowed, a new and different Canada was left in its wake. Partially stunned by the peaceful celebrations, but perplexed by a movement that seemed to have no centre and no leaders, most Canadians missed the point.



Through Idle No More Aboriginal people have declared that they are a vital and necessary part of Canada's future. The spirit of the drumming, singing, and dancing lives on in empowered and confident young Aboriginal people who will shape the future of this country for decades to come.

The protests following Iran's fraudulent 2009 Presidential election took the world by storm. As the Green Revolution gained protestors in the Iranian streets, #iranelection became the first long-trending international hashtag. Texts, images, videos, audio recordings, and links connected protestors on the ground and netizens online, all simultaneously transmitting and living a shared international experience.

#iranelection follows the protest movement, on the ground and online, to investigate how emerging social media platforms developed international solidarity. The 2009 protests in Iran were the first revolts to be catapulted onto the global stage by social media, just as the 1979 Iranian Revolution was agitated by cassette tapes. And as the world turned to social media platforms to understand the events on the ground, social media platforms also adapted and developed to accommodate this global activism. Provocative and eye-opening, #iranelection reveals the new online ecology of social protest and offers a prehistory, of sorts, of the uses of hashtags and trending topics, selfies and avatar activism, and citizen journalism and YouTube mashups.

Start on your path to success and the life you want to lead now--and don't look back.

Are you ready to take charge of your own life, but not exactly sure how to start? Mari Tautimes has created a 7 Simple Steps plan to get you there! You will find yourself motivated to take action immediately, using Mari's empowering techniques to transform your life and propel yourself into taking action in ways you have never been able to before. Whatever your situation or starting point, Mari's unique and inspiring methods show you how to overcome the toughest challenges you may be facing, form a clear view of what you want from life, and get you ready to live on a higher level!

Is it possible to chase your dreams in the face of rejection and self-doubt? CEO of College Magazine Amanda Nachman is here to share: “You are more qualified than you realize.”

There was a time when Amanda Nachman didn’t believe in herself. It wasn’t until she cast aside her soul-sucking 9–5 job that she was able to discover a life of true purpose.

In #Qualified: You Are More Impressive Than You Realize, Amanda shares her journey from working a job she hated to transforming her side hustle, College Magazine, into her main hustle. The key was uncovering her passion, rather than settling into the first hamster wheel of employment she could find. Today, Amanda is the CEO and publisher of College Magazine, reaching 9 million students across 200 college campuses. 

#Qualified reminds readers that it’s never too late to hit the pause button and follow their passion. Amanda outlines how to build a “qualified” mindset and skill set that includes:

• The 3 Actions for a #Qualified Mindset
• How to Establish WTF You Want to Do
• How to Interview Like a Boss
• Why Podcasting Is the Perfect Excuse to Interview Your Dream Mentors 
• How to Glow Up Your Strengths 
• Why to Apply Before They’re Even Looking
• A Professional DM Every Day Keeps The Real World Fears Awa​y 
• Step-by-Step Tutorial for Building a Personal Brand
  

By equipping individuals to go after what they want, #Qualified is the essential resource for anyone ready to achieve the life of their dreams.

Fill the void. Lift your voice. Say Her Name.

Black women, girls, and femmes as young as seven and as old as ninety-three have been killed by the police, though we rarely hear their names or learn their stories. Breonna Taylor, Alberta Spruill, Rekia Boyd, Shantel Davis, Shelly Frey, Kayla Moore, Kyam Livingston, Miriam Carey, Michelle Cusseaux, and Tanisha Anderson are among the many lives that should have been. 

#SayHerName provides an analytical framework for understanding Black women's susceptibility to police brutality and state-sanctioned violence, and it explains how—through black feminist storytelling and ritual—we can effectively mobilize various communities and empower them to advocate for racial justice.

Centering Black women’s experiences in police violence and gender violence discourses sends the powerful message that, in fact, all Black lives matter and that the police cannot kill without consequence.  This is a powerful story of Black feminist practice, community-building, enablement, and Black feminist reckoning.

With $4.83, you could buy a large coffee, grab a medium-sized movie theater popcorn, or even pay for thirty minutes of big city downtown parking. But with that same $4.83, through Christ-centered microfinance, you could impact the life of a child for one year—maybe forever. The evidence is overwhelming: when parents are given opportunities, the lives of their kids improve. Parent(s) + Opportunity = Kids Win. $4.83: The cost to impact the life of a child for a year....maybe Forever brings together data and real-life stories to highlight 10 areas where kids win through Christ-centered microfinance.

The Elizabethan popular audience had a natural love of clowning, slapstick and the mayhem that was released when the rules of society were relaxed, broken or subverted. A play set on Midsummer Night and structured as a dream was going to be fun and full of the resonances associated with a festal day that had age old overtones of love, marriage, misrule and jolllity. Midsummer was traditionally celebrated with dancing and feasting and always involved secret assignations in the woods later when it was dark. Indeed, A Midsummer Night’s Dream is a play with a bit of everything – magic, moonlight, mayhem, love’s mad entanglements, fairies, mistakes, mechanicals as mummers, all set in the spookiness of the woods at midnight - and all of it provoking laughter.

The business of comedy was more important and serious than simply raising a laugh. It has always served a much graver purpose than mere humorous entertainment, but has also been regarded by religious, moral and cultural guardians as a lesser form than tragedy and a morally questionable one. In a world where society was strictly stratified even the arts had hierarchies. In painting devotional studies (Annunciations, Nativities, Crucifixions) were thought to be the highest endeavour, and historical subjects were thought superior to landscape and portraiture. Grotesque topics of common life (card-playing, village dances, tavern scenes) were thought of as very low art. In literature the epic poem, tragic drama, religious poetry, history plays, even lyrics and love verses were thought of as higher forms than mere comedy. Though the plays of Terence and Plautus were studied, translated and performed by schoolboys and undergraduates, and the satires of Juvenal and Horace were similarly on educational syllabuses, comedy was regarded with suspicion. It was thought to be a too vulgar form, too associated with the bourgeoisie and the commoners, too concerned with trickery, knavery and sex.

 It would not be amiss to re-title the play A Midsummer Night’s Nightmare, for, though matters in Athens are complicated and tense enough, the escape to the woods releases all manner of dark things and makes the entanglements even worse. The piece can be acted in two ways. The traditional approach has been to display it as a fast-moving, action-packed, farcical romp, a carnival of silliness; a light-hearted celebration of human foolishness, full of mistakes and misperceptions, nonsense and laughter, but turning out all right in the end, and not to be taken seriously as it is only a playful entertainment. It may also be seen as a play where oppressiveness, manipulation, misplaced love, hatred and menace dominate and the inconstancy of the human heart is disturbingly exposed. Hermia escapes from Egeus’ dictatorial threats only to find herself (and her complacent assumption of happiness to come in exile) at the mercy of forces she cannot control and does not understand. What happens in the woods is unsettling and represents the more frightening fears that lurk in the psyche and emerge in dreams. It is the woods that provoke the dream/nightmare element.

Angela Carter is best known for her novels, short fiction and journalism, but she also produced a substantial body of writing for media other than the printed page, including five radio plays, two film adaptations, an original television documentary and a number of unrealised scripts for stage and screen. Despite increasing academic interest in Carter's work, these dramatic writings have largely been ignored. In this book, Charlotte Crofts redresses this lack of critical attention by examining Carter's dramatic writings together for the first time (including two unpublished works), giving them a more central position in the Carter canon.

Divided into three sections on radio, film and television, the book's interdisciplinary approach is underpinned by reference to exclusive interviews with the directors and producers with whom Carter collaborated, giving a unique insight into processes of adaptation and the technologies of media production. The author demonstrates how, far from being an aberration from her real vocation as a writer of fiction, Carter's writing for radio, film and television is an extension of her self-professed demythologising practice.

How would a Jacobean audience have assessed the story of these two classical celebrities? Are Antony and Cleopatra simply tragic lovers, or is the play a condemnation of poor male government derailed by passion for an unreliable, self-interested woman? This book provides detailed discussion of the various influences that a Jacobean audience would have brought to interpreting the play. How did people think about the world, God, sin, kings, civilized conduct? Historical, literary, political and sociological backgrounds are explained within the biblical-moral matrices by which the play would have been judged. This book links real life in the 1600s to the Roman world on the stage. Learn about the social hierarchy, gender relationships, court corruption, class tensions, the literary profile of the time, the concept of tragedy – and all the subversions, transgressions, and oppositions that made the play an unsettling picture of a disintegrating world lost through passion and machination.

Much has been written about Nazi anti-Jewish policies, about atrocities of the Wehrmacht, and about the life of the Jews during the Third Reich. However, relatively little is known about the behavior of non-Jewish Germans. This book, published to wide acclaim in its original edition, shows how many "ordinary Germans" became involved in what they saw as a legally sanctioned process of ridding Germany and Europe of their Jews. Bajohr's study offers a major contribution to our understanding of this process in that it focusses on one of its most important aspects, namely the gradual exclusion of Jews from economic life in Hamburg, one of the largest centers of Jewish life in Europe and one in which many of them had been part of the Hanseatic patriciate before 1933. The sad conclusion of this study is that it was not necessarily antisemitism that motivated "ordinary burghers" but unrestrained greed that led them to betray their former co-citizens.

The Victorian private solider was a despised figure. A working man had to be desperate indeed to take the Queen’s shilling. Yet in the first sixteen months of the Great War two and a half million men from the UK and many more from the empire, flocked to the colours – without any form of legal compulsion. There had never been a volunteer army like it.

What was in the air of England in the generation or so before 1914 to bring about such collective exultation? How did it come about that, in a society which – in oft-proclaimed contrast to Germany – rejected conscription and prided itself on having no taint of militarism, men could be induced to volunteer in such numbers? The nation’s general state of mind, system of values and set of attitudes derived largely from the upper middle class, which had emerged and become dominant during the nineteenth century. The book examines the phenomenon of 1914 and the views held by people of that class, since it was under their leadership that the country went to war.

Muslim Arab Sudanese in Cairo have played a fundamental role in Egyptian history and society during many centuries of close relations between Egypt and Sudan. Although the government and official press describes them as "brothers" in a united Nile Valley, recent political developments in Egypt have underscored the precarious legal status of Sudanese in Cairo. Neither citizens nor foreigners, they are in an uncertain position, created in part through an unusual ethnic discourse which does not draw principally on obvious characteristics of difference. This rich ethnographic study shows instead that Sudanese ethnic identity is created from deeply held social values, especially those concerning gender and propriety, shared by Sudanese and Egyptian communities. The resulting ethnic identity is ambiguous and flexible, allowing Sudanese to voice their frustrations and make claims for their own uniqueness while acknowledging the identity that they share with the dominant Egyptian community.

Astana, the capital city of the post-Soviet Kazakhstan, has often been admired for the design and planning of its futuristic cityscape. This anthropological study of the development of the city focuses on every-day practices, official ideologies and representations alongside the memories and dreams of the city’s longstanding residents and recent migrants. Critically examining a range of approaches to place and space in anthropology, geography and other disciplines, the book argues for an understanding of space as inextricably material-and-imaginary, and unceasingly dynamic – allowing for a plurality of incompatible pasts and futures materialized in spatial form.

This edition brings together some lesser known grammaticalization paths travelled by ‘come’ and ‘go’ in familiar and less familiar languages. No single book volume has been dedicated to the topic of grammatical targets different from tense and aspect so far. This study will increase our insight in grammaticalization processes in general as they force us to rethink certain aspects of grammaticalization.

The early twentieth-century advent of aerial bombing made successful evacuations essential to any war effort, but ordinary people resented them deeply. Based on extensive archival research in Germany and France, this is the first broad, comparative study of civilian evacuations in Germany and France during World War II. The evidence uncovered exposes the complexities of an assumed monolithic and all-powerful Nazi state by showing that citizens' objections to evacuations, which were rooted in family concerns, forced changes in policy. Drawing attention to the interaction between the Germans and French throughout World War II, this book shows how policies in each country were shaped by events in the other. A truly cross-national comparison in a field dominated by accounts of one country or the other, this book provides a unique historical context for addressing current concerns about the impact of air raids and military occupations on civilians.

With its catalogue of hit songs, iconic characters, memorable quotes and familiar scenes, ‘Grease’ is truly a behemoth of US and global popular culture. From the stage show’s debut in 1971, to the Hollywood film of 1978, to the numerous rereleases and anniversary celebrations of the twenty-first century, it has enjoyed, and continues to enjoy, success across a range of media. ‘Grease’’s extended run on Broadway through the 1970s ensured it a prominent place within broader debates on the musical, 1950s nostalgia and American youth. Numerous stage revivals have followed, with theatres across the world revisiting Rydell High in front of sell-out audiences. Hollywood has time and again sought to recreate ‘Grease’ the movie’s phenomenal box-office success with a procession of similarly themed rock and roll youth musicals (‘Footloose’, ‘Dirty Dancing’, the ‘High School Musical’ franchise, to name a few). However, even as these productions enjoy their own renown, in terms of sheer longevity, prominence and popularity, ‘Grease’ was, is and will remain ‘the word’ when it comes to musical blockbusters.

Bringing together a group of international scholars from diverse academic backgrounds, ‘Grease Is the Word’ provides a series of fresh and detailed analyses of the cultural phenomenon ‘Grease’. From the stage show’s first appearance in 1971 to twenty-first century responses to the ‘Grease Megamix’, ‘Grease Is the Word’ reflects on the musical’s impact and enduring legacy. With essays covering everything from production history, political representations, industrial impact, music, stars and reception, the book shines a spotlight on one of Broadway’s and Hollywood’s biggest commercial successes. By adopting a range of perspectives, and drawing on various visual, textual and archival sources, the contributors maintain a vibrant dialogue throughout, offering a timely reappraisal of a musical that continues to resonate with fans and commentators the world over. Written in an engaging, accessible manner, the book will appeal to students, academics, and anyone interested in American popular culture.

How did the court audience of 1606 respond to Shakespeare’s most disturbing tragedy? This engaging book provides in-depth discussion of the various influences a contemporary audience would have brought to interpreting ‘King Lear’. How did people think about the world, about God, about sin, about kings, about civilized conduct? Historical, literary, political and sociological backgrounds are explained within the biblical-moral matrices by which the play would have been judged. This book links real life in the 1600s to Lear’s world on the stage. Learn about the social hierarchy, gender relationships, parenting and family dynamics, court corruption, class tensions, the literary profile of the time, the concept of tragedy – and all the subversions, transgressions, and oppositions that made the play an unsettling picture of a disintegrating world in free fall.

'Membering Austin Clarke reflects on the life and writing of Austin Clarke, whose depictions of Black life in Canada enlarged our understanding of what Canadian literature looks like.


Despite being one of Canada's most widely published, and most richly awarded writers, Austin Clarke (1934–2016) is not a household name. This collection addresses Clarke's marginalization in Canadian literature by demonstrating that his writing on Black diasporic life and the immigrant experience is a foundational, if untold, part of the story of CanLit.


Novelist, short-story writer, poet, and essayist, Clarke was born in Barbados, moved to Canada in 1955 and went on to establish Black Studies programs at a number of universities in America. He returned to Canada and became one of Canadian literature’s most prolific authors and a public voice for Black people in Canada. Among his best-known works are the Giller Award–winning The Polished Hoe (2002) and his memoir ‘Membering (2015).


This collection of essays from colleagues, scholars, friends, and fellow writers addresses Clarke's work in all its richness and complexity in order to understand how Clarke's legacy continues to transform Canadian writing. It includes previously unpublished poems and short stories from Clarke's archives as well as personal reflections from friends, histories of the publication of his works, essays, interviews, and short stories and poems inspired by Clarke.

How does one capture the delightful irony of Edith Wharton's prose or the spare lyricism of Kate Chopin's? Kathleen Wheeler challenges the reader to experiment with a more imaginative method of literary criticism in order to comprehend more fully writers of the Modernist and late Realist period. In examining the creative works of seven women writers from the late nineteenth and early twentieth centuries, Wheeler never lets the mystery and magic of literature be overcome by dry critical analysis.
Modernist Women Writers and Narrative Art begins by evaluating how Edith Wharton, Kate Chopin, and Willa Cather all engaged in an ironic critique of realism. They explored the inadequacies of this form in expressing human experience and revealed its hidden, often contradictory, assumptions. Building on the foundation that Wharton, Chopin, and Cather established, Jean Rhys, Katherine Mansfield, Stevie Smith, and Jane Bowles brought literature into the era we now consider modernism. Drawing on insights from feminist theory, deconstructionism and revisions of new historicism, Kathleen Wheeler reveals a literary tradition rich in narrative strategy and stylistic sophistication.