Cities are the new battleground of our increasingly urban world. From the slums of the global South to the wealthy financial centers of the West, Cities Under Siege traces the spread of political violence through the sites, spaces, infrastructure and symbols of the world’s rapidly expanding metropolitan areas. Drawing on a wealth of original research, Stephen Graham shows how Western militaries and security forces now perceive all urban terrain as a conflict zone inhabited by lurking shadow enemies. Urban inhabitants have become targets that need to be continually tracked, scanned and controlled. Graham examines the transformation of Western armies into high-tech urban counter-insurgency forces. He looks at the militarization and surveillance of international borders, the use of ‘security’ concerns to suppress democratic dissent, and the enacting of legislation to suspend civilian law. In doing so, he reveals how the New Military Urbanism permeates the entire fabric of urban life, from subway and transport networks hardwired with high-tech ‘command and control’ systems to the insidious militarization of a popular culture corrupted by the all-pervasive discourse of ‘terrorism.’

In the political fight over copyright, Internet advocacy has reshaped the playing field. This was shown most dramatically in the 2012 "SOPA blackout," when the largest online protest in history stopped two copyright bills in their tracks. For those not already familiar with the debate, this protest seemingly came out of nowhere yet was the culmination of an intellectual and political evolution more than a decade in the making. This book examines the debate over digital copyright, from the late 1980s through early 2012, and the new tools of political communication involved in the advocacy around the issue. Drawing on methods from legal studies, political science, and communications, it explores the rise of a coalition seeking more limited copyright, as well as how these early-adopting, technology-savvy policy advocates used online communication to shock the world. It compares key bills, congressional debates, and offline and online media coverage using quantitative and qualitative methods to create a rigorous study for researchers that is also accessible to a general audience.

Vol. 2. - 335 p.

The year is 2035, and the crew from the first expedition to Mars is returning to Earth. The crewmembers are anxious to get home, and ennui pervades the ship. The mood is broken by a series of mysterious events that jeopardize their safety. Someone or something is threatening the crew. Is it an alien being? A psychotic crewmember? A malfunctioning computer? The truth raises questions about the crewmembers’ fate and that of the human race. In this novel, the intent is to show real psychological issues that could affect a crew returning from a long-duration mission to Mars. The storyline presents a mystery that keeps the reader guessing, yet the issues at stake are based on the findings from the author’s research and other space-related work over the past 40+ years. The novel touches on actual plans being discussed for such an expedition as well as notions involving the search for Martian life and panspermia.

Th ere are many people that I would like to acknowledge. Th is book was made possible with the generous support of a number of institutions — and more specifi cally the individuals that work in them: Judy Janec, Director of Library and Archives Holocaust Center of Northern California; Tina Minh, at the USC Shoah Foundation Institute; and Edyta Chowaniec, chief audio-visual archivist at the Auschwitz-Birkenau Memorial and Museum. Th ere are a couple of fi lmmakers that have been quite generous with me sharing their work, and providing me with supporting material. Elida Schogt generously (and very promptly) supplied me with reviews of her trilogy of fi lms — Silent Song (2001), The Walnut Tree (2000), and Zyklon Portrait (1999). Abraham Ravett — who made Everything’s For You (1989), and The March (1999) — was also very generous. Nina Koocher kindly provided me with a DVD of her 2007 fi lm How Much to Remember: One Family’s Conversation with History. Likewise, some of my fellow researchers have been quite generous as well. I would like to especially thank Joshua Hirsch. I would also like to thank Griselda Pollock and Max Silverman for inviting me to their seminar series, “Concentrationary Imaginaries: The Politics of Representation,” at the University of Leeds. Th is presentation was instrumental in developing the ideas found in exploitation and horror chapters in this book. Griselda, you continue to be an inspiration to me, and I only hope to be as productive and engaged as you are. I would also like to thank Francesco Ventrella for organizing my trip, and even helping to spring me from detention, aft er being detained by British Customs Agents at Gatwick. A number of my colleagues have also been instrumental in shaping the book — Julian Hoxter, Randy Rutsky, Tarek Elhaik, and Bill Nichols. Julian was especially helpful in bouncing ideas off of. I am deeply indebted to Chi-Hui Yang who read an early version of the book and helped to shape it. To my family: I thank you for your patience. Ariel, Daddy can come out to play now. “And now, let the wild rumpus start!”

Опубликованы наиболее важные из тысяч документов о голоде, которые охватывают все республики бывшего СССР. Впоследствии они войдут в готовящийся к публикации многотомный документальный сборник "Голод в СССР, 1929-1934". Нет ничего хуже чем сегодняшнее использование трагических страниц истории, когда-то общей у российского и украинского народов, для политических спекуляций. Однако позиция отстраненного наблюдателя, единственно возможная в этой ситуации для России, в перспективе также может привести к стратегическому проигрышу, не будучи подкрепленной сооветствующей взвешенным и научно обоснованным взглядом на события 1933–1934 гг.

If you've replaced a computer lately--or a cell phone, a camera, a television--chances are, the old one still worked. And chances are even greater that the latest model won't last as long as the one it replaced. Welcome to the world of planned obsolescence--a business model, a way of life, and a uniquely American invention that this eye-opening book explores from its beginnings to its perilous implications for the very near future. Made to Break is a history of twentieth-century technology as seen through the prism of obsolescence. America invented everything that is now disposable, Giles Slade tells us, and he explains how disposability was in fact a necessary condition for America's rejection of tradition and our acceptance of change and impermanence. His book shows us the ideas behind obsolescence at work in such American milestones as the inventions of branding, packaging, and advertising; the contest for market dominance between GM and Ford; the struggle for a national communications network, the development of electronic technologies--and with it the avalanche of electronic consumer waste that will overwhelm America's landfills and poison its water within the coming decade. History reserves a privileged place for those societies that built things to last--forever, if possible. What place will it hold for a society addicted to consumption--a whole culture made to break? This book gives us a detailed and harrowing picture of how, by choosing to support ever-shorter product lives we may well be shortening the future of our way of life as well.

Vol. 3 : Documents for the Stady of Literature and of Ideological Trends: correspondence from american archives 1857-1933 = Матеріали до історії літератури і громадської думки: листування з американських архівів 1857- 1933 . - 1992. - 813 p.

This volume is the first in the series to be devoted to epistolary material that sheds light upon the literary activities, ideological conflicts, and private lives of the persons involved and their contemporaries.

Whatever critical scalpel one selects for dissecting the literary works of Bruno Schulz (1892-1942), there will always be a certain degree of textual resistance which cannot be broken. Or in other words, taking off one of Schulz's many masks, one will probably never avoid the impression that a new mask has emerged. This book contributes to the three most typical critical strategies of reading Schulz's works (combinations, fragmentations, reintegrations) - being fully aware, of course, of the relativity of each particular approach. In addition, the book sets out to explore all of Schulz's creative output (i.e. his stories as well as his graphic, epistolary and even literary critical works), as one of Schulz's main goals was exactly to cross artificially set up boundaries between, among other things, different artistic media of expression. The book for the first time brings together leading Schulzologists (Jarzębski, Markowski, Robertson) and their prospective successors (Augsburger, Gorin, Kato, Suchańska-Drażyńska, Underhill, Wojda), established Polish academics (Dąbrowski, Skwara, Weretiuk) and their foreign counterparts (De Bruyn, Gall, Meyer-Fraatz, Schulte, Sproede, Zieliński), scholars primarily working on other authors (Anessi, Śliwa, Żurek) and those focusing on other art forms (Sánchez-Pardo, Watt). The editors' introduction offers an overview of seven decades of Schulzology. The book is of interest for both readers with a general interest in (world) literature and/or a particular interest in Polish and Jewish studies.