Amidst the growing forums of kinky Jews, orthodox drag queens, and Jewish geisha girls, we find today's sexy Jewess in a host of reflexive plays with sexed-up self-display. A social phantasm with real legs, she moves boldly between neo-burlesque striptease, comedy television, ballet movies, and progressive porn to construct the 21st Century Jewish American woman through charisma and comic craft, in-your-face antics, and offensive charm. Her image redresses longstanding stereotypes of the hag, the Jewish mother, and Jewish American princess that have demeaned the Jewish woman as overly demanding, inappropriate, and unattractive across the 20th century, even as Jews assimilated into the American mainstream. But why does "sexy" work to update tropes of the Jewish woman? And how does sex link to humor in order for this update to work? Entangling questions of sexiness to race, gender, and class, The Case of the Sexy Jewess frames an embodied joke-work genre that is most often, but not always meant to be funny. In a contemporary period after the thrusts of assimilation and women's liberation movements, performances usher in new versions of old scripts with ranging consequences. At the core is the recuperative performance of identity through impersonation, and the question of its radical or conservative potential. Appropriating, re-appropriating, and mis-appropriating identity material within and beyond their midst, Sexy Jewess artists play up the failed logic of representation by mocking identity categories altogether. They act as comic chameleons, morphing between margin and center in countless number of charged caricatures. Embodying ethnic and gender positions as always already on the edge while ever more in the middle, contemporary Jewish female performers extend a comic tradition in new contexts, mobilizing progressive discourses from positions of newfound race and gender privilege.

The Conservative Party has been the dominant force in twentieth-century British politics. On its own or as the predominant partner in a coalition it has held power for more than sixty years since 1900. Despite this it has been the most neglected and misunderstood of all the main parties. This book is the first systematic attempt to survey the history and politics of the Conservative Party across the whole of the twentieth century from the `Khaki' election of 1900 to John Major's victory of 1992 and beyond. Traditional boundaries between history and political science have been ignored, with each of the authoritative team of contributors pursuing an important theme within three main areas; the composition and structure of the Party; its ideas, policies and actions in government; and its public image and sources of support in the country. The essays are based upon new research, in particular in the Conservative Party archives. Conservative Century will be essential reading for both students and specialists, and it offers a mine of fascinating information for anyone interested in British politics.

Crisis Cities blends critical theoretical insight with a historically grounded comparative study to examine the form, trajectory, and contradictions of redevelopment efforts following the 9/11 and Hurricane Katrina disasters. Based on years of research in the two cities, Gotham and Greenberg contend that New York and New Orleans have emerged as paradigmatic crisis cities, representing a free-market approach to post-disaster redevelopment that is increasingly dominant for crisis-stricken cities around the world. This approach, which Gotham and Greenberg term crisis driven urbanization, emphasizes the privatization of disaster aid and resources, the devolution of disaster recovery responsibilities to the local state, and the use of generous tax incentives to bolster revitalization. Crisis driven urbanization also involves global branding campaigns and public media events to repair a city's image for business and tourism, as well as internally-focused political campaigns and events that associate post-crisis political leaders and public-private partnerships with this revitalized urban image. By focusing on past and present conditions in New York and New Orleans, Gotham and Greenberg show how crises expose long-neglected injustices, underlying power structures, and social inequalities. In doing so, they reveal the impact of specific policy reforms, public-private actions, and socio-legal regulatory strategies on the creation and reproduction of risk and vulnerability to disasters. Crisis Cities questions the widespread narrative of resilience and reveals the uneven and contradictory effects of redevelopment activities in the two cities.

The ability to communicate effectively is one of the most important life skills a person can possess. It can pave the way to success, not only in terms of career but also in every other aspect of life where communication plays a role. Advanced communication skills focuses on essential communication skills and competencies for all aspects of the world of work. Advanced communication skills takes an integrated theory and practical approach to learning. It is designed to foster workplace communication in order to benefit interpersonal relationships, which in turn leads to personal enrichment, greater job satisfaction and increased productivity. The final chapter contains a selection of case studies with questions to assist in the evaluation of communication skills. Advanced communication skills is aimed at managers, personal assistants, professional secretaries and all those studying towards certificates, diplomas or degrees in colleges and universities. It fully covers the syllabus for Communication N5/N6 at technical and vocational education and training colleges, and will prepare students for the national examinations in these subjects.

Democracy of Sound is the first book to examine music piracy in the United States from the dawn of sound recording to the rise of Napster and online file-sharing. It asks why Americans stopped thinking of copyright as a monopoly-a kind of necessary evil-and came to see intellectual property as sacrosanct and necessary for the prosperity of an "information economy." Recordings only became eligible for federal copyright in 1972, following years of struggle between pirates, musicians, songwriters, broadcasters, and record companies over the right to own sound. Beginning in the 1890s, the book follows the competing visions of Americans who proposed ways to keep obscure and noncommercial music in circulation, preserve out-of-print recordings from extinction, or simply make records more freely and cheaply available. Genteel jazz collectors swapped and copied rare records in the 1930s; radicals pitched piracy as a mortal threat to capitalism in the 1960s, while hip-hop DJs from the 1970s onwards reused and transformed sounds to create a freer and less regulated market for mixtapes. Each challenged the idea that sound could be owned by anyone. The conflict led to the contemporary stalemate between those who believe that "information wants to be free" and those who insist that economic prosperity depends on protecting intellectual property. The saga of piracy also shows how the dubbers, bootleggers, and tape traders forged new social networks that ultimately gave rise to the social media of the twenty first century. Democracy of Sound is a colorful story of people making law, resisting law, and imagining how law might shape the future of music, from the Victrola and pianola to iTunes and BitTorrent.

Although conflict is a normal aspect of human life, mass media technologies are changing the dynamics of conflict and shaping strategies for deploying rituals. Rituals can provoke or escalate conflict; they can also mediate it. Media representations have long been instrumental in establishing, maintaining, and challenging political and economic power, as well as in determining the nature of religious practice. This collection of essays emerged from a two-year project based on collaboration between the Faculty of Religious Studies at Radboud University Nijmegen in the Netherlands and the Ritual Dynamics Collaborative Research Center at the University of Heidelberg in Germany. Here, an interdisciplinary team of twenty-four scholars locates, describes, and explores cases in which media-driven rituals or ritually saturated media instigate, disseminate, or escalate conflict. Each chapter, built around global and local examples of ritualized, mediatized conflict, is multi-authored. The book's central question is: "When ritual and media interact (either by the mediatizing of ritual or by the ritualizing of media), how do the patterns of conflict change?"

Lost Causes stages a polemical intervention in the discourse that grounds queer civil rights in etiology -- that is, in the cause of homosexuality, whether choice, "recruitment," or biology. Reading etiology as a narrative form, political strategy, and hermeneutic method in American and British literature and popular culture, it argues that today's gay arguments for biological determinism accept their opponents' paranoia about what Rohy calls "homosexual reproduction"-that is, nonsexual forms of queer increase-preventing more complex ways of considering sexuality and causality. This study combines literary texts and psychoanalytic theory--two salient sources of etiological narratives in themselves -- to reconsider phobic tropes of homosexual reproduction: contagion in Borrowed Time, bad influence in The Picture of Dorian Gray, trauma in The Night Watch, choice of identity in James Weldon Johnson's Autobiography of an Ex-Colored Man, and dangerous knowledge in The Well of Loneliness. These readings draw on Lacan's notion of retroactive causality to convert the question of what causes homosexuality into a question of what homosexuality causes as the constitutive outside of a heteronormative symbolic order. Ultimately, this study shows, queer communities and queer theory must embrace formerly shaming terms -- why should the increase of homosexuality be unthinkable? -- while retaining the critical sense of queerness as a non-identity, a permanent negativity.

Music- and style-centred youth cultures are now a familiar aspect of everyday life in countries as far apart around the globe as Nepal and Jamaica, Hong Kong and Israel, Denmark and Australia. This lucid and original text provides a lively and wide-ranging account of the relationship between popular music and youth culture within the context of debates about the spatial dimensions of identity. It begins with a clear and comprehensive survey, and critical evaluation, of the existing body of literature on youth culture and popular music developed by sociologists and cultural and media theorists. It then develops a fresh perspective on the ways in which popular music is appropriated as a cultural resource by young people, using as a springboard a series of original ethnographic studies of dance music, rap, bhangra and rock. Bennett's original research material is carefully contextualised within a wider international literature on youth styles, local spaces and popular music but it serves to illustrate graphically how styles of music and their attendant stylistic innovations are appropriated and `lived out' by young people in particular social spaces. Music, Bennett argues, is produced and consumed by young people in ways that both inform their sense of self and also serve to construct the social world in which their identities operate. With its comprehensive coverage of youth and music studies and its important new insights, Popular Music and Youth Culture is essential reading for undergraduate and postgraduate students in sociology, cultural studies, media studies and popular music studies. Dr ANDY BENNETT is lecturer in Sociology at the University of Kent at Canterbury. He has published articles on aspects of youth culture, popular music, local identity and music and ethnicity in a number of journals, including Sociological Review, Media Culture and Society and Popular Music. He is currently co-editing a book on guitar cultures.

In response to increased focus on the protection of intangible cultural heritage across the world, Music Endangerment offers a new practical approach to assessing, advocating, and assisting the sustainability of musical genres. Drawing upon relevant ethnomusicological research on globalization and musical diversity, musical change, music revivals, and ecological models for sustainability, author Catherine Grant systematically critiques strategies that are currently employed to support endangered musics. She then constructs a comparative framework between language and music, adapting and applying the measures of language endangerment as developed by UNESCO, in order to identify ways in which language maintenance might (and might not) illuminate new pathways to keeping these musics strong. Grant's work presents the first in-depth, standardized, replicable tool for gauging the level of vitality of music genres, providing an invaluable resource for the creation and maintenance of international cultural policy. It will enable those working in the field to effectively demonstrate the degree to which outside intervention could be of tangible benefit to communities whose musical practices are under threat. Significant for both its insight and its utility, Music Endangerment is an important contribution to the growing field of applied ethnomusicology, and will help secure the continued diversity of our global musical traditions.

In this latest addition to Oxford's Modernist Literature & Culture series, renowned modernist scholar Michael North poses fundamental questions about the relationship between modernity and comic form in film, animation, the visual arts, and literature. Machine-Age Comedy vividly constructs a cultural history that spans the entire twentieth century, showing how changes wrought by industrialization have forever altered the comic mode. With keen analyses, North examines the work of a wide range of artists - including Charlie Chaplin, Walt Disney, Marcel Duchamp, Samuel Beckett, and David Foster Wallace - to show the creative and unconventional ways the routinization of industrial society has been explored in a broad array of cultural forms. Throughout, North argues that modern writers and artists found something inherently comic in new experiences of repetition associated with, enforced by, and made inevitable by the machine age. Ultimately, this rich, tightly focused study offers a new lens for understanding the devlopment of comedic structures during periods of massive social, political, and cultural change to reveal how the original promise of modern life can be extracted from its practical disappointment.

She is Cuba: A Genealogy of the Mulata Body traces the history of the Cuban mulata and her association with hips, sensuality and popular dance. It examines how the mulata choreographs her racialised identity through her hips and enacts an embodied theory called hip(g)nosis. By focusing on her living and dancing body in order to flesh out the process of identity formation, this book makes a claim for how subaltern bodies negotiate a cultural identity that continues to mark their bodies on a daily basis. Combining literary and personal narratives with historical and theoretical accounts of Cuban popular dance history, religiosity and culture, this work investigates the power of embodied exchanges: bodies watching, looking, touching and dancing with one another. It sets up a genealogy of how the representations and venerations of the dancing mulata continue to circulate and participate in the volatile political and social economy of contemporary Cuba.

Support your learners as they explore Theory of Knowledge (TOK) in line with the new Guide for first teaching in September 2020. Extremely experienced authoring team of examiners, curriculum reviewers and workshop leaders - Sue Bastian, Julian Kitching and Ric Sims. Provides full coverage of the 2020 curriculum Guide including the Core, Optional themes, and Areas of knowledge. Structured to match the new knowledge framework. Examples of knowledge questions to help students recognise and decipher them. Support for the essay and the new exhibition assessment. Illustrations by TOK teacher Gary Goodwin, to add interest and humour.

Most of our expereince is visual. We obtain most of our information and knowledge through sight, whether from reading books and newspapers, from watching television or from quickly glimpsing road signs. Many of our judgements and decisions, concerning where we live, what we shall drive and sit on and what we wear, are based on what places, cars, furniture and clothes look like. Much of our entertainment and recreation is visual, whether we visit art galleries, cinemas or read comics. This book concerns that visual experience. Why do we have the visual experiences we have? Why do the buildings, cars, products and advertisements we see look the way they do? How are we to explain the existence of different styles of paintings, different types of cars and different genres of film? How are we to explain the existence of different visual cultures? This book begins to answer these questions by explaining visual experience in terms of visual culture. The strengths and weaknesses of traditional means of analysing and explaining visual culture are examined and assessed. Using a wide range of historical and contemporary examples, it is argued that the groups which artists and designers form, the audiences and markets which they sell to, and the different social classes which are produced and reproduced by art and design are all part of the successful explanation and critical evaluation of visual culture.

The African Union's Agenda 2063 is ambitious. It advocates for, among others: equitable and people-centred growth and development; eradication of poverty; creation of infrastructure and provision of public goods and services; empowerment of women and youth; promotion of peace and security, and the strengthening of democratic states, and creating participatory and accountable governance institutions. New African Thinkers: Agenda Africa, 2063 presents the thinking of emerging scholars on these critical issues - those on whose shoulders the responsibility rests for taking this agenda forward. The book will be an essential reference for researchers and educators who are interested in Africa's developmental path as designed in the Agenda 2063.

From Louis Brandeis to Robert Bork to Clarence Thomas, the nomination of federal judges has generated intense political conflict. With the coming retirement of one or more Supreme Court Justices--and threats to filibuster lower court judges--the selection process is likely to be, once again, the center of red-hot partisan debate.
In Advice and Consent, two leading legal scholars, Lee Epstein and Jeffrey A. Segal, offer a brief, illuminating Baedeker to this highly important procedure, discussing everything from constitutional background, to crucial differences in the nomination of judges and justices, to the role of the Judiciary Committee in vetting nominees. Epstein and Segal shed light on the role played by the media, by the American Bar Association, and by special interest groups (whose efforts helped defeat Judge Bork). Though it is often assumed that political clashes over nominees are a new phenomenon, the authors argue that the appointment of justices and judges has always been a highly contentious process--one largely driven by ideological and partisan concerns. The reader discovers how presidents and the senate have tried to remake the bench, ranging from FDR's controversial "court packing" scheme to the Senate's creation in 1978 of 35 new appellate and 117 district court judgeships, allowing the Democrats to shape the judiciary for years. The authors conclude with possible "reforms," from the so-called nuclear option, whereby a majority of the Senate could vote to prohibit filibusters, to the even more dramatic suggestion that Congress eliminate a judge's life tenure either by term limits or compulsory retirement.
With key appointments looming on the horizon, Adviceand Consent provides everything concerned citizens need to know to understand the partisan rows that surround the judicial nominating process.

Real Deceptions develops a new theory of realism through close consideration of myriad contemporary art, media, and cultural practices. Rather than focusing on transgressing deceptions which distort reality, the book argues that reality lies within the deceptions themselves. That is to say, realism's political potential emerges not by revealing deception but precisely by staging deceptions-particularly deceptions that imperil the very categories of true and false. In lieu of perceiving deception as an obstacle to truth, it shows how deception functions as the truth's necessary conduit. Categories invoked in realist works, such as trompe l'oeil, illusion, hypervirtuality, and simulation help to establish how realism can be seen as moving from the creation of mere epistemological uncertainty to radical ontologically-based indeterminacy. The book cultivates this schema by considering productive connections between insights from Jacques Lacan and Jacques Ranciere. Real Deceptions not only applies these theoretical frameworks to art and media examples, but also engages in the reverse move of using the "cases" to further the theories. This dual approach points to the ways in which efforts to produce realist representations often give rise to the destabilizing Real.