Nuclear power has been a contentious issue in Japan since the 1950s, and in the aftermath of the Fukushima nuclear power plant disaster, the conflict has only grown. Government agencies and the nuclear industry continue to push a nuclear agenda, while the mainstream media adheres to the official line that nuclear power is Japan's future. Public debate about nuclear energy is strongly discouraged. Nevertheless, antinuclear activism has swelled into one of the most popular and passionate movements in Japan, leading to a powerful wave of protest music. The Revolution Will Not Be Televised: Protest Music After Fukushima shows that music played a central role in expressing antinuclear sentiments and mobilizing political resistance in Japan. Combining musical analysis with ethnographic participation, author Noriko Manabe offers an innovative typology of the spaces central to the performance of protest music-cyberspace, demonstrations, festivals, and recordings. She argues that these four spaces encourage different modes of participation and methods of political messaging. The openness, mobile accessibility, and potential anonymity of cyberspace have allowed musicians to directly challenge the ethos of silence that permeated Japanese culture post-Fukushima. Moving from cyberspace to real space, Manabe shows how the performance and reception of music played at public demonstrations are shaped by the urban geographies of Japanese cities. While short on open public space, urban centers in Japan offer protesters a wide range of governmental and commercial spaces in which to demonstrate, with activist musicians tailoring their performances to the particular landscapes and soundscapes of each. Music festivals are a space apart from everyday life, encouraging musicians and audience members to freely engage in political expression through informative and immersive performances. Conversely, Japanese record companies and producers discourage major-label musicians from expressing political views in recordings, forcing antinuclear musicians to express dissent indirectly: through allegories, metaphors, and metonyms. The first book on Japan's antinuclear music, The Revolution Will Not Be Televised provides a compelling new perspective on the role of music in political movements.

Since the advent of the cinema, Jesus has frequently appeared in our movie houses and on our television screens. Indeed, it may well be that more people worldwide know about Jesus and his life story from the movies than from any other medium. Indeed, Jesus' story has been adapted dozens of times throughout the history of commercial cinema, from the 1912 silent From the Manger to the Cross to Mel Gibson's 2004 The Passion of the Christ. No doubt there are more to come.
Drawing on a broad range of movies, biblical scholar Adele Reinhartz traces the way in which Jesus of Nazareth has become Jesus of Hollywood. She argues that Jesus films both reflect and influence cultural perceptions of Jesus and the other figures in his story. She focuses on the cinematic interpretation of Jesus' relationships with the key people in his life: his family, his friends, and his foes. She examines how these films address theological issues, such as Jesus' identity as both human and divine, political issues, such as the role of the individual in society and the possibility of freedom under political oppression, social issues, such as gender roles and hierarchies, and personal issues, such as the nature of friendship and human sexuality.
Reinhartz's study of Jesus' celluloid incarnations shows how Jesus movies reshape the past in the image of the present. Despite society's profound interest in Jesus as a religious and historical figure, Jesus movies are fascinating not as history but as mirrors of the concerns, anxieties, and values of our own era. As the story of Jesus continues to capture the imagination of filmmakers and moviegoers, he remains as significant a cultural figure today as he was 2000years ago.

After centuries of neglect, the ethics of food are back with a vengeance. Justice for food workers and small farmers has joined the rising tide of concern over the impact of industrial agriculture on food animals and the broader environment, all while a global epidemic of obesity-related diseases threatens to overwhelm modern health systems. An emerging worldwide social movement has turned to local and organic foods, and struggles to exploit widespread concern over the next wave of genetic engineering or nanotechnologies applied to food. Paul B. Thompson's book applies the rigor of philosophy to key topics in the first comprehensive study explore interconnections hidden deep within this welter of issues. Bringing more than thirty years of experience working closely with farmers, agricultural researchers and food system activists to the topic, he explores the eclipse of food ethics during the rise of nutritional science, and examines the reasons for its sudden re-emergence in the era of diet-based disease. Thompson discusses social injustice in the food systems of developed economies and shows how we have missed the key insights for understanding food ethics in the developing world. His discussions of animal production and the environmental impact of agriculture breaks new ground where most philosophers would least expect it. By emphasizing the integration of these issues, Thompson not only brings a comprehensive philosophical approach to moral issues in the production, processing, distribution, and consumption of food - he introduces a fresh way to think about practical ethics that will have implications in other areas of applied philosophy.

From the US Capitol to the Lincoln Memorial and the 9/11 Memorial Museum, classical forms and ideas have been central to an American nationalist aesthetic. Beginning with an understanding of this centrality of the classical tradition to the construction of American national identity and the projection of American power, Empire of Ruin describes a mode of black classicism that has been integral to the larger critique of American politics, aesthetics, and historiography that African American cultural production has more generally advanced. While the classical tradition has provided a repository of ideas and images that have allowed white American elites to conceive of the nation as an ideal Republic and the vanguard of the idea of civilization, African American writers, artists, and activists have characterized this dominant mode of classical appropriation as emblematic of a national commitment to an economy of enslavement and a geopolitical project of empire. If the dominant forms of American classicism and monumental culture have asserted the ascendancy of what Thomas Jefferson called an "empire for liberty," for African American writers and artists it has suggested that the nation is nothing exceptional, but rather another iteration of what the radical abolitionist Henry Highland Garnet identified as an "empire of slavery," inexorably devolving into an "empire of ruin."

Defining Deutschtum: Political Ideology, German Identity, and Music-Critical Discourse in Liberal Vienna offers a nuanced look at the intersection of music, cultural identity, and political ideology in late-nineteenth-century Vienna. Drawing on an extensive selection of writings in the city's political press, correspondence, archival documents, and a large body of recent scholarship in late Habsburg cultural and political history, author David Brodbeck argues that Vienna's music critics were important agents in the public sphere whose writings gave voice to distinct, sometimes competing ideological positions. These conflicting positions are exemplified especially well in their critical writings about the music of three notable composers of the day who were Austrian citizens but not ethnic Germans: Carl Goldmark, a Jew from German West Hungary, and the Czechs Bed?ich Smetana and Antonin Dvo?ak.
Often at stake in the critical discourse was the question of who and what could be deemed "German" in the multinational Austrian state. For critics such as Eduard Hanslick and Ludwig Speidel, traditional German liberals who came of age in the years around 1848, "Germanness" was an attribute that could be earned by any ambitious bourgeois-including Jews and those of non-German nationality-by embracing German cultural values. The more nationally inflected liberalism evident in the writings of Theodor Helm, with its particularist rhetoric of German national property in a time of Czech gains at German expense, was typical of those in the next generation, educated during the 1860s. The radical student politics of the 1880s, with its embrace of racialist antisemitism and irredentist German nationalism, just as surely shaped the discourse of certain young Wagnerian critics who emerged at the end of the century. This body of music-critical writing reveals a continuum of exclusivity, from a conception of Germanness rooted in social class and cultural elitism to one based in blood.
Brodbeck neatly counters decades of musicological scholarship and offers a unique insight into the diverse ways in which educated German Austrians conceived of Germanness in music and understood their relationship to their non-German fellow citizens. Defining Deutschtum is sure to be an essential text for scholars of music history, cultural studies, and late 19th century Central European culture and society."

The city is a complex object. Some researchers look at its shape, others at its people, animals, ecology, policy, infrastructures, buildings, history, art, or technical networks. Some researchers analyse processes of in- or exclusion, gentrification, or social mobility; others biological evolution, traffic flows, or spatial development. Many combine these topics or add still more topics beyond this list. Some projects cross the boundaries of research and practice and engage in action research, while others pursue knowledge for the sake of curiosity. This volume embraces this variety of perspectives and provides an essential collection of methodologies for studying the city from multiple, interdisciplinary, and transdisciplinary perspectives. We start by recognizing that the complexity of the urban environment cannot be understood from a single vantage point. We therefore offer multiple methodologies in order to gather and analyse data about the city, and provide ways to connect and integrate these approaches. The contributors form a talented network of urban scholars and practitioners at the forefront of their fields. They offer hands-on methodological techniques and skills for data collection and analysis. Furthermore, they reveal honest and insightful reflections from behind the scenes. All methodologies are illustrated with examples drawn from the authors own research applying them in the city of Amsterdam. In this way, the volume also offers a rich collection of Amsterdam-based research and outcomes that may inform local urban practitioners and policy makers. Altogether, the volume offers indispensable tools for and aims to educate a new generation of interdisciplinary and transdisciplinary-minded urban scholars and practitioners.

Americans often look back on Paris between the world wars as a charming escape from the enduring inequalities and reactionary politics of the United States. In this bold and original study, Brooke Blower shows that nothing could be further from the truth. She reveals the breadth of American activities in the capital, the lessons visitors drew from their stay, and the passionate responses they elicited from others. For many sojourners-not just for the most famous expatriate artists and writers- Paris served as an important crossroads, a place where Americans reimagined their position in the world and grappled with what it meant to be American in the new century, even as they came up against conflicting interpretations of American power by others.
Interwar Paris may have been a capital of the arts, notorious for its pleasures, but it was also smoldering with radical and reactionary plots, suffused with noise, filth, and chaos, teeming with immigrants and refugees, communist rioters, fascism admirers, overzealous police, and obnoxious tourists. Sketching Americans' place in this evocative landscape, Blower shows how arrivals were drawn into the capital's battles, both wittingly and unwittingly. Americans in Paris found themselves on the front lines of an emerging culture of political engagements-a transatlantic matrix of causes and connections, which encompassed debates about "Americanization" and "anti-American" protests during the Sacco-Vanzetti affair as well as a host of other international incidents. Blower carefully depicts how these controversies and a backdrop of polarized European politics honed Americans' political stances and sense of national distinctiveness.
A model of urban, transnational history, Becoming Americans in Paris offers a nuanced portrait of how Americans helped to shape the cultural politics of interwar Paris, and, at the same time, how Paris helped to shape modern American political culture.

As Oliver Richmond explains, there is a level to peacemaking that operates in the realm of dialogue, declarations, symbols and rituals. But after all this pomp and circumstance is where the reality of security, development, politics, economics, identity, and culture figure in; conflict, cooperation, and reconciliation are at their most vivid at the local scale. Thus local peace operations are crucial to maintaining order on the ground even in the most violent contexts. However, as Richmond argues, such local capacity to build peace from the inside is generally left unrecognized, and it has been largely ignored in the policy and scholarly literature on peacebuilding. In Peace and Political Order, Richmond looks at peace processes as they scale up from local to transnational efforts to consider how to build a lasting and productive peace. He takes a comparative and expansive look at peace efforts in conflict situations in countries around the world to consider what local voices might suggest about the inadequacy of peace processes engineered at the international level. As well, he explores how local workers act to modify or resist peace processes headed by international NGOs, and to what degree local actors have enjoyed success in the peace process (and how they have affected the international peace process).

In September of 2010, the Daily Mail Reporter announced "Anti-immigration party formed from skinhead movement seizes balance of power in Sweden." A politics of skinhead protest, expressed through White Power Music and an explicitly nationalistic subgenre known as Viking Rock, has relied on its music to voice opposition to immigration and multiculturism. Often labeled "neo-Nazis" or "right-wing extremists," these actors shook political establishments throughout Sweden, Denmark, and Norway during the 1980s and 1990s by rallying around white power music and skinhead subculture. More recently, however, these groups methodically revised their presentation in an effort to refashion themselves as upstanding, intelligent champions of love and human diversity, and once again using music to do so. In Lions of the North: Sounds of the New Nordic Radical Nationalism, author Benjamin Teitelbaum explores this transformation of anti-immigrant, anti-liberal activism in the Nordic countries as it manifests in thought and sound. As his fieldwork in Sweden overlapped with Anders Behring Breivik's attacks in 2011, Teitelbaum observed the radical nationalist movement at a particularly sensitive moment. Offering a rare ethnographic glimpse into controversial and secretive political movements, Lions of the North investigates changes in the music nationalists make and patronize, reading their surprising new music styles as attempts to escape stereotypes and fashion a new image for themselves. Teitelbaum's work reveals organized opposition to immigration and multiculturalism in Scandinavia to be a scene in flux, populated by individuals with diverse understandings of themselves, their cause, and the significance of music. Ultimately, he uncovers the ways in which nationalists use music to frame themselves as agents of justice, an image that is helping to propel these actors to unprecedented success in societies often considered the most tolerant in the world. A timely and powerful work of interdisciplinary ethnomusicology, Lions of the North will appeal to a wide audience, from scholars in the humanities to those in political science.

This volume of essays explores the long-unstudied relationship between religion and human security throughout the world. The 1950s marked the beginning of a period of extraordinary religious revival, during which religious political-parties and non-governmental organizations gained power around the globe. Until now, there has been little systematic study of the impact that this phenomenon has had on human welfare, except of a relationship between religious revival to violence. The authors of these essays show that religion can have positive as well as negative effects on human wellbeing. They address a number of crucial questions about the relationship between religion and human security: Under what circumstances do religiously motivated actors tend to advance human welfare, and under what circumstances do they tend to threaten it? Are members of some religious groups more likely to engage in welfare-enhancing behavior than in others? Do certain state policies tend to promote security-enhancing behavior among religious groups while other policies tend to promote security-threatening ones? In cases where religious actors are harming the welfare of a population, what responses could eliminate that threat without replacing it with another? Religion and Human Security shows that many states tend to underestimate the power of religious organizations as purveyors of human security. Governments overlook both the importance of human security to their populations and the religious groups who could act as allies in securing the welfare of their people. This volume offers a rich variety of theoretical perspectives on the nuanced relationship between religion and human security. Through case studies ranging from Turkey, Egypt, and Pakistan, to the United States, Northern Ireland, and Zimbabwe, it provides important suggestions to policy makers of how to begin factoring the influence of religion into their evaluation of a population's human security and into programs designed to improve human security around the globe.

The reality of transnational innovation and dissemination of new technologies, including digital media, has yet to make a dent in the deep-seated culturalism that insists on reinscribing a divide between the West and Japan. The Oxford Handbook of Japanese Cinema aims to counter this trend toward dichotomizing the West and Japan and to challenge the pervasive culturalism of today's film and media studies.
Featuring twenty essays, each authored by a leading researcher in the field, this volume addresses productive debates about where Japanese cinema is and where Japanese cinema is going at the period of crisis of national boundary under globalization. It reevaluates the position of Japanese cinema within the discipline of cinema and media studies and beyond, and situates Japanese cinema within the broader fields of transnational film history. Likewise, it examines the materiality of Japanese cinema, scrutinizes cinema's relationship to other media, and identifies the specific practices of film production and reception. As a whole, the volume fosters a dialogue between Japanese scholars of Japanese cinema, film scholars of Japanese cinema based in Anglo-American and European countries, film scholars of non-Japanese cinema, film archivists, film critics, and filmmakers familiar with film scholarship.
A comprehensive volume that grasps Japanese cinema under the rubric of the global and also fills the gap between Japanese and non-Japanese film studies and between theories and practices, The Oxford Handbook of Japanese Cinema challenges and responds to the major developments underfoot in this rapidly changing field.

Making Institutions Work places institutions, the processes and structures of institutionalisation at the centre of constitutional democracy, state and society. By doing so, it recognises that (a) institutions are the pillows of a constitutional democracy, (b) institutions evolve through the action of persons (agency); (c) institutions as organisations form structures of dynamic shared social patterns of behaviour through the implementation of a system of rule of law. The book offers an interdisciplinary critical commentary by scholars, analysts and experts regarding strategic thinking, form, structural and functional impediments and facilitators to institutions and institutionalisation.

Transnational Cooperation: An Issue-Based Approach presents an analysis of transnational cooperation or collective action that stresses basic concepts and intuition. Throughout the book, authors Clint Peinhardt and Todd Sandler identify factors that facilitate and/or inhibit such cooperation. The first four chapters lay the analytical foundations for the book, while the next nine chapters apply the analysis to a host of exigencies and topics of great import. The authors use elementary game theory as a tool for illustrating the ideas put forth in the text. Game theory reminds us that rational actors (for example, countries, firms, or individuals) must account for the responses by other rational actors. The book assumes no prior knowledge of game theory; all game-theoretic concepts and analyses are explained in detail to the reader. Peinhardt and Sandler also employ paired comparisons in illustrating the book's concepts. The book is rich in applications and covers a wide range of topics, including superbugs, civil wars, money laundering, financial crises, drug trafficking, terrorism, global health concerns, international trade liberalization, acid rain, leadership, sovereignty, and many others. Students, researchers, and policymakers alike have much to gain from Transnational Cooperation. It is a crossover book for economics, political science, and public policy.

In 1962, when the Cold War threatened to ignite in the Cuban Missile Crisis, when more nuclear test bombs were detonated than in any other year in history, Rachel Carson released her own bombshell, Silent Spring, to challenge society's use of pesticides. To counter the use of chemicals-and bombs-the naturalist articulated a holistic vision. She wrote about a "web of life" that connected humans to the world around them and argued that actions taken in one place had consequences elsewhere. Pesticides sprayed over croplands seep into ground water and move throughout the ecosystem, harming the environment. Thousands accepted her message, joined environmental groups, flocked to Earth Day celebrations, and lobbied for legislative regulation. Carson was not the only intellectual to offer holistic answers to society's problems. This book uncovers a holistic sensibility in post-World War II American culture that both tested the logic of the Cold War and fed some of the twentieth century's most powerful social movements, from civil rights to environmentalism to the counterculture. The study examines six important leaders and institutions that embraced and put into practice a holistic vision for a peaceful, healthful, and just world: nature writer Rachel Carson; structural engineer R. Buckminster Fuller; civil rights leader Martin Luther King Jr.; Jesuit priest and paleontologist Pierre Teilhard de Chardin; humanistic psychologist Abraham Maslow; and the Esalen Institute and its founders, Michael Murphy and Dick Price. Each looked to whole systems instead of parts and focused on connections, interdependencies, and integration to create a better world. In the 1960s and 1970s, holistic conceptions and practices infused the March on Washington, Earth Day, the human potential movement, New Age spirituality, and alternative medicine. Though dreams of creating a more perfect world were tempered by economic inequalities, political corruption, and deep social divisions, this sensibility influenced American culture in important ways that continue into the twenty-first century.

Famous for his painstaking attention to detail and for the craftsmanship and artistry he brought to his work, filmmaker Stanley Kubrick is by now long established as both the subject of an entire sub-field of scholarly inquiry, and as the object of all levels of cinema studies pedagogy. His oeuvre, developed over nearly 50 years, traverses an immensely broad variety of film genres and subjects and has long been studied and understood in terms of its narrative, thematic, and striking visual elements. However, unique and often startling encounters between music and the moving image are central trademarks of Kubrick's style; witness the powerful effects of Strauss's "Also Sprach Zarathustra" in 2001: A Space Odyssey and of Beethoven's 9th Symphony in A Clockwork Orange, each excerpt hand-picked by Kubrick himself. We'll Meet Again argues that some of the most compelling and understudied aspects of Stanley Kubrick's films are musically conceived. Author Kate McQuiston illustrates that, for Kubrick, music is neither post-production afterthought nor background nor incidental, but rather core to films' themes and meanings. The book is divided into three sections, the first of which identifies the building blocks in Kubrick's sonic world and illuminates the ways in which Kubrick uses them to substantiate his characters and to define character relationships. The second section delves into the effects of Kubrick's signature musical techniques, including the use of texture, recurrence, and inscription to render and reinforce psychological ideas and particular spectator responses. The third and final section presents case studies in which the history of the music Kubrick chooses plays a vital and dynamic role. Throughout the author's arguments, the book locates Kubrick as a force in music reception history by examining the relationship between his musical choices and popular culture.

The Oxford Handbook of Material Culture Studies introduces and reviews current thinking in the interdisciplinary field of material culture studies. Drawing together approaches from archaeology, anthropology, geography, and Science and Technology Studies, through twenty-eight specially commissioned essays by leading international researchers, the volume explores contemporary issues and debates in a series of themed sections - Disciplinary Perspectives, Material Practices, Objects and Humans, Landscapes and the Built Environment, and Studying Particular Things. From Coca-Cola, chimpanzees, artworks, and ceramics, to museums, cities, human bodies, and magical objects, the Handbook is an essential resource for anyone with an interest in materiality and the place of material objects in human social life, both past and present. A comprehensive bibliography enhances its usefulness as a research tool.

The most famous name in French literary circles from the late 1950s till his death in 1981, Roland Barthes maintained a contradictory rapport with the cinema. As a cultural critic, he warned of its surreptitious ability to lead the enthralled spectator toward an acceptance of a pre-given world. As a leftist, he understood that spectacle could be turned against itself and provoke deep questioning of that pre-given world. And as an extraordinarily sensitive human being, he relished the beauty of images and the community they could bring together.

Leo Strauss is known primarily for reviving classical political philosophy. Strauss recovered that great tradition of thought largely lost to the West by beginning his study of classical thought with its teaching on politics rather than its metaphysics. What brought Strauss to this way of reading the classics, however, was a discovery he made as a young political scientist studying the obscure texts of Islamic and Jewish medieval political thought. In this volume, Joshua Parens examines Strauss's investigations of medieval political philosophy, offering interpretations of his writings on the great thinkers of that tradition, including interpretations of his most difficult writings on Alfarabi and Maimonides. In addition Parens explicates Strauss's statements on Christian medieval thought and his argument for rejecting the Scholastic paradigm as a method for interpreting Islamic and Jewish thought. Contrasting Scholasticism with Islamic and Jewish medieval political philosophy, Parens clarifies the theme of Strauss's thought, what Strauss calls the "theologico-political problem," and reveals the significance of medieval political philosophy in the Western tradition. Joshua Parens is professor of philosophy and politics and dean of the Braniff Graduate School at the University of Dallas.

In the "twinkling of an eye" Jesus secretly returns to earth and gathers to him all believers. As they are taken to heaven, the world they leave behind is plunged into chaos. Cars and airplanes crash and people search in vain for loved ones. Plagues, famine, and suffering follow. The
antichrist emerges to rule the world and to destroy those who oppose him. Finally, Christ comes again in glory, defeats the antichrist and reigns over the earth. This apocalyptic scenario is anticipated by millions of Americans. These millions have made the Left Behind series--novels that depict the
rapture and apocalypse--perennial bestsellers, with over 40 million copies now in print. In Rapture Culture, Amy Johnson Frykholm explores this remarkable phenomenon, seeking to understand why American evangelicals find the idea of the rapture so compelling. What is the secret behind the remarkable
popularity of the apocalyptic genre? One answer, she argues, is that the books provide a sense of identification and communal belonging that counters the "social atomization" that characterizes modern life. This also helps explain why they appeal to female readers, despite the deeply patriarchal
worldview they promote. Tracing the evolution of the genre of rapture fiction, Frykholm notes that at one time such narratives expressed a sense of alienation from modern life and protest against the loss of tradition and the marginalization of conservative religious views. Now, however,
evangelicalism's renewed popular appeal has rendered such themes obsolete. Left Behind evinces a new embrace of technology and consumer goods as tools for God's work, while retaining a protest against modernity's transformationof traditional family life. Drawing on extensive interviews with readers
of the novels, Rapture Culture sheds light on a mindset that is little understood and far more common than many of us suppose.

From an unpromising start as 'the basket-case' to present day plaudits for its human development achievements, Bangladesh plays an ideological role in the contemporary world order, offering proof that the neo-liberal development model works under the most testing conditions. How were such rapid gains possible in a context of chronically weak governance? The Aid Lab subjects this so-called 'Bangladesh paradox' to close scrutiny, evaluating public policies and their outcomes for poverty and development since Bangladesh's independence in 1971. Countering received wisdom that its gains owe to an early shift to market-oriented economic reform, it argues that a binding political settlement, a social contract to protect against the crises of subsistence and survival, united the elite, the masses, and their aid donors in the wake of the devastating famine of 1974. This laid resilient foundations for human development, fostering a focus on the poorest and most precarious, and in particular on the concerns of women. In chapters examining the environmental, political and socioeconomic crisis of the 1970s, the book shows how the lessons of the famine led to a robustly pro-poor growth and social policy agenda, empowering the Bangladeshi state and its non-governmental organizations to protect and enable its population to thrive in its engagements in the global economy. Now a middle-income country, Bangladesh's role as the world's laboratory for aided development has generated lessons well beyond its borders, and Bangladesh continues to carve a pioneering pathway through the risks of global economic integration and climate change.

Moving back through Dewey, Heidegger, Nietzsche, and Rousseau, the lineage of Western music education finds its origins in Plato and Pythagoras. Yet theories not rooted in the ancient Greek tradition are all but absent. A Way of Music Education provides a much-needed intervention, integrating ancient Chinese thought into the canon of music education in a structured, systematized, and philosophical way. The book's three central sources - the Yijing (The Book of Changes), Confucianism, and Daoism - inform author C. Victor Fung's argument: that the human being exists as an entity at the center of an organismic world in which all things and events, including music and music education, are connected. Fung ultimately proposes a new educational philosophy based on three key ideas in Chinese thought: change, balance, and liberation. A unique work, A Way of Music Education offers a universal approach engrained in a specific and ancient cultural tradition.

American society has been long plagued by cycles of racial violence, most dramatically in the 1960s when hundreds of ghetto uprisings erupted across American cities. Though the larger, underlying causes of contentious race relations have remained the same, the lethality, intensity, and outcomes of these urban rebellions have varied widely. What accounts for these differences? And what lessons can be learned that might reduce the destructive effects of riots and move race relations forward?
This impressive, meticulously detailed study is the first attempt to compare six major race riots that occurred in the three largest American urban areas during the course of the twentieth century: in Chicago in 1919 and 1968; in New York in 1935/1943 and 1964; and in Los Angeles in 1965 and 1992. Race, Space, and Riots in Chicago, New York, and Los Angeles weaves together detailed narratives of each riot, placing them in their changing historical contexts and showing how urban space, political regimes, and economic conditions--not simply an abstract "race conflict"--have structured the nature and extent of urban rebellions. Building on her previous groundbreaking comparative history of these three cities, Janet Abu-Lughod draws upon archival research, primary sources, case studies, and personal observations to reconstruct events--especially for the 1964 Harlem-Bedford Stuyvesant uprising and Chicago's 1968 riots where no documented studies are available. By focusing on the similarities and differences in each city, identifying the unique and persisting issues, and evaluating the ways political leaders, law enforcement, and the local political culture have either defused or exacerbated urbanviolence, this book points the way toward alleviating long-standing ethnic and racial tensions.
A masterful analysis from a renowned urbanist, Race, Space, and Riots in Chicago, New York, and Los Angeles offers a deeper understanding of past--and future--urban race relations while emphasizing that until persistent racial and economic inequalities are meaningfully resolved, the tensions leading to racial violence will continue to exist in America's cities and betray our professed democratic values.