This electronic book was originally created—and still may be purchased—as a print book. For simplicity, the electronic version of this book has been modified as little as possible from its original form. For instance, there may be occasional references to sample files that come with the book. These files are available with the print version, but are not provided in this electronic edition.

How are national and international labour laws responding to the challenge of globalization as it re-shapes the workplaces of the world? This collection of essays by leading legal scholars and lawyers from Europe and the Americas was first published in 2006. It addresses the implications of globalization for the legal regulation of the workplace. It examines the role of international labour standards and the contribution of the International Labour Organization, and assesses the success of the European experiment with continental employment standards. It explores the prospects for hemispheric co-operation on labour standards in the Americas, and deals with the impact of international labour standards on the rights of women and migrant workers. As the nature and organization of work around the world is being decisively transformed, new regional and international institutions are emerging that may provide the platform for new labour standards, and for protecting existing ones.

The Bauhaus school was founded in Weimar in 1919 by the German architect Walter Gropius, moved to Dessau in 1925 and to Berlin in 1932, and was dissolved in 1933 by Ludwig Mies van der Rohe under political duress. Although it existed for a mere fourteen years and boasted fewer than 1,300 students, its influence is felt throughout the world in numerous buildings, artworks, objects, concepts, and curricula.After the Bauhaus's closing in 1933, many of its protagonists moved to the United States, where their acceptance had to be cultivated. The key to understanding the American reception of the Bauhaus is to be found not in the émigré success stories or the famous 1938 Bauhaus exhibition at the Museum of Modern Art, but in the course of America's early contact with the Bauhaus. In this book Margret Kentgens-Craig shows that the fame of the Bauhaus in America was the result not only of the inherent qualities of its concepts and products, but also of a unique congruence of cultural supply and demand, of a consistent flow of information, and of fine-tuned marketing. Thus the history of the American reception of the Bauhaus in the 1920s and 1930s foreshadows the patterns of fame-making that became typical of the post-World War II art world. The transfer of artistic, intellectual, and pedagogical concepts from one cultural context to another is a process of transformation and integration. In presenting a case study of this process, the book also provides fresh insights into the German-American cultural history of the period from 1919 to 1936.