]IGovernance in the Asia-Pacific is a student-friendly textbook which examines the governance of nation states in this diverse and rapidly-changing region. It sets out the range of political beliefs and styles that flourish and the similarities and differences between individual states and the ways in which they choose to govern. Wide-ranging in scope and clearly written to help students get to the bottom of important issues, the book addresses many key areas including: * the Anglo-American powers * Japan * independence movements * the politics of economic development * social movements * the politics of the environment * the pressures for political change in the region. And these issues are all analysed within the broad context of governance in the Asia-Pacific more generally. The authors also identify factors which explain the political underpinning of the dramatic economic development in the region.

]IGovernance in the Asia-Pacific is a student-friendly textbook which examines the governance of nation states in this diverse and rapidly-changing region. It sets out the range of political beliefs and styles that flourish and the similarities and differences between individual states and the ways in which they choose to govern. Wide-ranging in scope and clearly written to help students get to the bottom of important issues, the book addresses many key areas including:
* the Anglo-American powers
* Japan
* independence movements
* the politics of economic development
* social movements
* the politics of the environment
* the pressures for political change in the region.
And these issues are all analysed within the broad context of governance in the Asia-Pacific more generally. The authors also identify factors which explain the political underpinning of the dramatic economic development in the region.

In his intriguing new book, David Goldblatt examines what he calls "the complex logic of ventriloquism" and its relationship with art, philosophy and the artistic process. In the conversational exchange between ventriloquist and dummy, Goldblatt recognizes a speaking in other voices, illusion without deception, talking to oneself, effacing oneself as speaker, being beside oneself - the ancient Greek notion of Ecstasisi - and the animation of inanimate objects as an unabashed anthropomorphism.
Like ventriloqual dummies, artworks take on personalities, characters of their own, often saying what the artist herself would or could not say in voices distinct from her (our) daily modes of expression. Goldblatt uses ventriloquism as an apt metaphor to help understand a variety of artworld phenomena - how the vocal vacillation between ventriloquist and dummy work is mimicked in the relationship of artist, artwork and audience, including the ways in which artworks are interpreted. Moreover, Goldblatt uses the concept of ventriloquism to generate insights into many of our important philosophers' writings on the arts, discussing the work of Nietzsche, Foucault, Derrida, Cavell, Wittgenstein, among others.
Featuring a critical commentary by Garry L. Hagberg and preface by series editor, Saul Ostrow.

In his intriguing new book, David Goldblatt examines what he calls "the complex logic of ventriloquism" and its relationship with art, philosophy and the artistic process. In the conversational exchange between ventriloquist and dummy, Goldblatt recognizes a speaking in other voices, illusion without deception, talking to oneself, effacing oneself as speaker, being beside oneself - the ancient Greek notion of Ecstasisi - and the animation of inanimate objects as an unabashed anthropomorphism.
Like ventriloqual dummies, artworks take on personalities, characters of their own, often saying what the artist herself would or could not say in voices distinct from her (our) daily modes of expression. Goldblatt uses ventriloquism as an apt metaphor to help understand a variety of artworld phenomena - how the vocal vacillation between ventriloquist and dummy work is mimicked in the relationship of artist, artwork and audience, including the ways in which artworks are interpreted. Moreover, Goldblatt uses the concept of ventriloquism to generate insights into many of our important philosophers' writings on the arts, discussing the work of Nietzsche, Foucault, Derrida, Cavell, Wittgenstein, among others.
Featuring a critical commentary by Garry L. Hagberg and preface by series editor, Saul Ostrow.

Knowledge and the Social Sciences takes as its point of departure the claims that all forms of knowledge, the social sciences included, must be seen and understood in their social context. It argues that the social sciences both describe and transform their object of study, though rarely in ways that social scientists intend, and introduces students to the key epistemological and philosophical terms and issues essential for further study in the social sciences.
In a radical and yet lucid and practical introduction to ways of thinking and knowing in the social sciences this text investigates:
* the origins and consequences of different types of knowledge in substantive areas of social change: medical practice, religious beliefs, and the environment
* whether there is a decline in public trust of expert knowledge systems
* whether we are entering a knowledge society, a fragmented post-modern society, or a risk society.

In the twenty-first century, soccer commands the allegiance, interest, and engagement of more people in more places than any other phenomenon in the world. David Goldblatt-author of the acclaimed, best-selling The Ball Is Round-charts the sport's global cultural ascent, economic transformation, and deep politicization. Based on a decade of research and reporting, The Age of Football sheds light on the greatest issues of our time-including globalization, immigration, nationalism-and the role that soccer plays. From soccer's connections to social discord in the Middle East as a site for protest and a tool for dictatorships to the reasons behind its surprising surge in popularity in China, India, and the United States, Goldblatt reveals that this massively popular sport is vital to understanding our social, political, and economic lives. Tracking the rise of interest in women's teams throughout the world and the controversy imbedded in the domestic football associations emerging across nations in Africa, he explores the use (and misuse) of soccer in the global advancement of equality and human rights. With breathtaking scope and unparalleled knowledge of the game, The Age of Football proves that whether you call it football or soccer, you can't make sense of the modern world without understanding its most popular sport

'Magnificent . . . Goldblatt is the doyen of sports historians and brings to this account his forensic and telling eye for detail' - Mail on Sunday A Sunday Times Best Sports Book of the Year The epic exploration of society, politics, and economics in the twenty-first century through the prism of football, by the critically acclaimed author of The Ball is Round. In the twenty-first century football is first. First among sports themselves, but it now commands the allegiance, interest and engagement of more people in more places than any other phenomenon. In the three most populous nations on the earth - China, India and the United States where just twenty years ago football existed on the periphery of society - it has now arrived for good. Nations, peoples and neighbourhoods across the globe imagine and invent themselves through playing and following the game. In The Age of Football, David Goldblatt charts football's global cultural ascent, its economic transformation and deep politicization, taking in prison football in Uganda and amputee football in Angola, the role of football fans in the Arab Spring, the footballing presidencies of Bolivia's Evo Morales and Turkey's Recep Erdogan, China's declared intention to both host and win the World Cup by 2050, and the FIFA corruption scandal. Following the intersection of the game with money, power and identity, like no previous sports historian, Goldblatt's sweeping story is remarkable in its scope, breathtaking in its depth of knowledge, and is a brilliantly original perspective of the twenty-first century. It is the account of how football has come to define every facet of our social, economic and cultural lives and at what cost, shaping who we think we are and who we want to be. 'David Goldblatt is not merely the best football historian writing today, he is possibly the best there has ever been.' - Dominic Sandbrook, Sunday Times

Co-authored by three prominent philosophers of art, Jazz and the Philosophy of Art is the first book in English to be exclusively devoted to philosophical issues in jazz. It covers such diverse topics as minstrelsy, bebop, Voodoo, social and tap dancing, parades, phonography, musical forgeries, and jazz singing, as well as Goodman's allographic/autographic distinction, Adorno's critique of popular music, and what improvisation is and is not. The book is organized into three parts. Drawing on innovative strategies adopted to address challenges that arise for the project of defining art, Part I shows how historical definitions of art provide a blueprint for a historical definition of jazz. Part II extends the book's commitment to social-historical contextualism by exploring distinctive ways that jazz has shaped, and been shaped by, American culture. It uses the lens of jazz vocals to provide perspective on racial issues previously unaddressed in the work. It then examines the broader premise that jazz was a socially progressive force in American popular culture. Part III concentrates on a topic that has entered into the arguments of each of the previous chapters: what is jazz improvisation? It outlines a pluralistic framework in which distinctive performance intentions distinguish distinctive kinds of jazz improvisation. This book is a comprehensive and valuable resource for any reader interested in the intersections between jazz and philosophy.

In this book, the authors set forth a new model of globalization that lays claims to supersede existing models, and then use this model to assess the way the processes of globalization have operated in different historic periods in respect to political organization, military globalization, trade, finance, corporate productivity, migration, culture, and the environment. Each of these topics is covered in a chapter which contrasts the contemporary nature of globalization with that of earlier epochs.
In mapping the shape and political consequences of globalization, the authors concentrate on six states in advanced capitalist societies (SIACS): the United States, the United Kingdom, Sweden, France, Germany, and Japan. For comparative purposes, other states--particularly those with developing economics--are referred to and discussed where relevant. The book concludes by systematically describing and assessing contemporary globalization, and appraising the implications of globalization for the sovereignty and autonomy of SIACS. It also confronts directly the political fatalism that surrounds much discussion of globalization with a normative agenda that elaborates the possibilities for democratizing and civilizing the unfolding global transformation.

Co-authored by three prominent philosophers of art, Jazz and the Philosophy of Art is the first book in English to be exclusively devoted to philosophical issues in jazz. It covers such diverse topics as minstrelsy, bebop, Voodoo, social and tap dancing, parades, phonography, musical forgeries, and jazz singing, as well as Goodman's allographic/autographic distinction, Adorno's critique of popular music, and what improvisation is and is not. The book is organized into three parts. Drawing on innovative strategies adopted to address challenges that arise for the project of defining art, Part I shows how historical definitions of art provide a blueprint for a historical definition of jazz. Part II extends the book's commitment to social-historical contextualism by exploring distinctive ways that jazz has shaped, and been shaped by, American culture. It uses the lens of jazz vocals to provide perspective on racial issues previously unaddressed in the work. It then examines the broader premise that jazz was a socially progressive force in American popular culture. Part III concentrates on a topic that has entered into the arguments of each of the previous chapters: what is jazz improvisation? It outlines a pluralistic framework in which distinctive performance intentions distinguish distinctive kinds of jazz improvisation. This book is a comprehensive and valuable resource for any reader interested in the intersections between jazz and philosophy.

THE DEFINITIVE, CRITICALLY ACCLAIMED BOOK ABOUT FOOTBALL 'Football conquered the world with its capacity to astonish, and this is its definitive history' The Independent There may be no cultural practice more global than soccer. Rites of birth and marriage are infinitely diverse, but the rules of soccer are universal. No world religion can match its geographical scope. The single greatest simultaneous human collective experience is the World Cup final. In this extraordinary tour de force, David Goldblatt tells the full story of football's rise from chaotic folk ritual to the world's most popular sport. The Ball Is Round illuminates football's role in the political and social histories of modern societies, but never loses sight of the beauty, joy, and excitement of the game. ___________________________________ 'Goldblatt writes with authority, humour, and passion, not least in the accounts of famous or significant matches scattered throughout the book' Times Literary Supplement 'Since it became a worldwide phenomenon, nobody has attempted to write an overall history of the game. Now David Goldblatt's stunning book will be the measure against which all other such volumes are judged' The Guardian 'Goldblatt's magnum opus . . . Anyone with a brain and an interest in football will enjoy this book' The Daily Telegraph (London)

Aesthetics: A Reader in Philosophy of the Arts, fourth edition, contains a selection of ninety-six readings organized by individual art forms as well as a final section of readings in philosophical aesthetics that cover multiple art forms. Sections include topics that are familiar to students such as painting, photography and movies, architecture, music, literature, and performance, as well as contemporary subjects such as mass art, popular arts, the aesthetics of the everyday, and the natural environment. Essays are drawn from both the analytic and continental traditions, and multiple others that bridge this divide between these traditions. Throughout, readings are brief, accessible for undergraduates, and conceptually focused, allowing instructors many different syllabi possibilities using only this single volume. Key Additions to the Fourth Edition The fourth edition is expanded to include a total of ninety-six essays with nineteen new essays (nine of them written exclusively for this volume), updated organization into new sections, revised introductions to each section, an increased emphasis on contemporary topics, such as stand-up comedy, the architecture of museums, interactivity and video games, the ethics of sexiness, trans/gendered beauty, the aesthetics of junkyards and street art, pornography, and the inclusion of more diverse philosophical voices. Nevertheless, this edition does not neglect classic writers in the traditional aesthetics: Plato, Aristotle, Hume, Kant, Hegel, Heidegger, Collingwood, Bell, and writers of similar status in aesthetics. The philosophers writing new chapters exclusively for this fourth edition are: * Sondra Bacharach on street art * Aili Bresnahan on appreciating dance * Hina Jamelle on digital architecture * Jason Leddington on magic * Sheila Lintott on stand-up comedy * Yuriko Saito on everyday aesthetics * Larry Shiner on art spectacle museums in the twenty-first century * Peg Brand Weiser on how beauty matters * Edward Winters on the feeling of being at home in vernacular architecture, as in such urban places as bars.

For millions of people around the world, the Summer and Winter Games are a joy and a treasure, but how did they develop into a global colossus? How have they been buffeted by-and, in turn, affected by-world events? Why do we care about them so much? From the reinvention of the Games in Athens in 1896 to Rio in 2016, best-selling sportswriter David Goldblatt brilliantly traces their history through national triumphs and tragedies, individual victories and failures. Here is the story of grand Olympic traditions such as winners' medals, the torch relay, and the eternal flame. Here is the story of popular Olympic events such as gymnastics, the marathon, and alpine skiing (as well as discontinued ones like tug-of-war). And here in all their glory are Olympic icons from Jesse Owens to Nadia Comaneci, Abebe Bikila to Bob Beamon, the Dream Team to Usain Bolt. Hailed in the Wall Street Journal for writing about sports "with the expansive eye of a social and cultural critic," Goldblatt goes beyond the medal counts to tell how women fought to be included in the Olympics on equal terms, how the wounded of World War II led to the Paralympics, and how the Olympics reflect changing attitudes to race and ethnicity. He explores the tensions between the Games' amateur ideals and professionalization and commercialism in sports, the pitched battles between cities for the right to host the Games, and their often disappointing economic legacy. And in covering such seminal moments as Jesse Owens and Hitler at Berlin in 1936, the Black Power salute at Mexico City in 1968, the massacre of Israeli athletes at Munich in 1972, and the Miracle on Ice at Lake Placid in 1980, Goldblatt shows how prominently the modern Olympics have highlighted profound domestic and international conflicts. Illuminated with dazzling vignettes from over a century of the Olympics, this stunningly researched and engagingly written history captures the excitement, drama, and kaleidoscopic experience of the Games.

Aesthetics: A Reader in Philosophy of the Arts, fourth edition, contains a selection of ninety-six readings organized by individual art forms as well as a final section of readings in philosophical aesthetics that cover multiple art forms. Sections include topics that are familiar to students such as painting, photography and movies, architecture, music, literature, and performance, as well as contemporary subjects such as mass art, popular arts, the aesthetics of the everyday, and the natural environment. Essays are drawn from both the analytic and continental traditions, and multiple others that bridge this divide between these traditions. Throughout, readings are brief, accessible for undergraduates, and conceptually focused, allowing instructors many different syllabi possibilities using only this single volume. Key Additions to the Fourth Edition The fourth edition is expanded to include a total of ninety-six essays with nineteen new essays (nine of them written exclusively for this volume), updated organization into new sections, revised introductions to each section, an increased emphasis on contemporary topics, such as stand-up comedy, the architecture of museums, interactivity and video games, the ethics of sexiness, trans/gendered beauty, the aesthetics of junkyards and street art, pornography, and the inclusion of more diverse philosophical voices. Nevertheless, this edition does not neglect classic writers in the traditional aesthetics: Plato, Aristotle, Hume, Kant, Hegel, Heidegger, Collingwood, Bell, and writers of similar status in aesthetics. The philosophers writing new chapters exclusively for this fourth edition are: * Sondra Bacharach on street art * Aili Bresnahan on appreciating dance * Hina Jamelle on digital architecture * Jason Leddington on magic * Sheila Lintott on stand-up comedy * Yuriko Saito on everyday aesthetics * Larry Shiner on art spectacle museums in the twenty-first century * Peg Brand Weiser on how beauty matters * Edward Winters on the feeling of being at home in vernacular architecture, as in such urban places as bars.

Goldblatt began working on Some Afrikaners Photographed, first published in 1975, in 1963. He had sold his father s clothing store where he worked, and become a full-time photographer. The ruling Afrikaner National Party many of its leaders and members had supported the Nazis in the Second World War was firming its grip on the country in the face of black resistance. Yet Goldblatt was drawn not to the events of the time but to the quiet and commonplace where nothing happened and yet all was contained and immanent. Through these photos he explored his ambivalence towards the Afrikaners he knew from his father s store. Most, he guessed, were National Party voters, yet he experienced them as austere, upright, unaffected people of rare generosity of spirit and earthy humor. Their potency and contradictions moved and disturbed him; their influence pervaded his life.

The book includes an essay by South African writer Antjie Krog: Three kinds of Afrikaners look out at us from these photographs, she writes, of which the poor Afrikaner is the most haunting the simple one who, by the sweat of his brow, eats his bread in isolation.

Art critic Ivor Powell charts the outraged reaction of the Afrikaner media towards photos that showed rural Afrikaners at a time when the Afrikaner elite was trying to establish itself on the international stage, as well as his own reaction to the original book: It was all but incandescent with tension and revelation, with a sense of souls being held up to scrutiny, of skins being peeled away.

An old man sits for me. A black child comes and stands next to him, looking at me with curiosity. The man turns and says to the child, Yes, what are you doing here, you black rubbish? the insult meant and yet said with affection. How is this possible? I don t know. But the contradiction was eloquent of much that I found in the relationship between rural and working-class Afrikaners and their black workers: an often comfortable, affectionate, even physical intimacy seldom seen in the liberal circles in which I moved, and yet, simultaneously, a deep contempt and fear of black people. David Goldblatt

The definitive book about soccer. With a new foreword for the American edition. There may be no cultural practice more global than soccer. Rites of birth and marriage are infinitely diverse, but the rules of soccer are universal. No world religion can match its geographical scope. The single greatest simultaneous human collective experience is the World Cup final. In this extraordinary tour de force, David Goldblatt tells the full story of soccer's rise from chaotic folk ritual to the world's most popular sport-now poised to fully establish itself in the USA. Already celebrated internationally, "The Ball Is Round" illuminates soccer's role in the political and social histories of modern societies, but never loses sight of the beauty, joy, and excitement of the game itself.

WINNER of the William Hill Sports Book of the Year Award 2015 In the last two decades football in Britain has made the transition from a peripheral dying sport to the very centre of our popular culture, from an economic basket-case to a booming entertainment industry. What does it mean when football becomes so central to our private and political lives? Has it enriched us or impoverished us? In this sparkling book David Goldblatt argues that no social phenomenon tracks the momentous economic, social and political changes of the post-Thatcherite era in a more illuminating manner than football, and no cultural practice sheds more light on the aspirations and attitudes of our long boom and now calamitous bust. A must-read for the thinking football fan, The Game of Our Lives will appeal to readers of Fever Pitch by Nick Hornby and Inverting the Pyramid by Jonathan Wilson. It will also be relished by readers of British social history such as Austerity Britain by David Kynaston. 'Brilliantly incisive. Goldblatt is not merely the best football historian writing today, he is possibly the best there has ever been. Goldblatt's book could hardly be more impressive' Sunday Times

Winner of the 2015 William Hill Sports Book of the Year Award The Game of Our Lives is a masterly portrait of soccer and contemporary Britain. Soccer in the United Kingdom has evolved from a jaded, working-class tradition to a sport at the heart of popular culture, from an economic mess to a booming entertainment industry that has conquered the world. The changes in the game, David Goldblatt shows, uncannily mirror the evolution of British society. In the 1980s, soccer was described as a slum game played by slum people in slum stadiums. Such was the transformation over the following twenty-five years that novelists, politicians, poets, and bankers were all declaring their footballing loyalties. At one point, the Palace let it be known that the queen--like her mother, Prince Harry, the chief rabbi, and the archbishop of Canterbury--was an Arsenal fan. Soccer permeated the national life like little else, an atavistic survivor decked out in New Britain flash, a social democratic game in a cutthroat, profit-driven world. From the goals, to the players, to the managers, to the money, Goldblatt describes how the English Premier League (EPL) was forged in Margaret Thatcher's Britain by an alliance of the big clubs--Arsenal, Liverpool, Manchester United, Chelsea, Tottenham Hotspur--the Football Association, and Rupert Murdoch's Sky TV. Goldblatt argues that no social phenomenon traces the momentous economic, social, and political changes of post-Thatcherite Britain in a more illuminating manner than soccer, and The Game of Our Lives provides the definitive social history of the EPL--the most popular soccer league in the world.

Between 1999 and 2011 David Goldblatt did work that he had not previously attempted: personal photography in color. While he had used color extensively in professional work since 1964, he had done almost no personal photography in this medium. But with the new political dispensation as well as technical advances through digital reproduction from film he felt the time was right for him to photograph in color. At first, Goldblatt photographed in his immediate area, Johannesburg. He then decided to look at South Africa by taking photographs within no more than a radius of 500 meters of each of the 122 points of intersection of a whole degree of latitude and a whole degree of longitude within its borders. However, after going to a number of intersections where there was nothing at all that stirred him to photograph, he realized that he was in danger of becoming slave to a formula. After abandoning the initial project he retained the idea of intersections. From time to time, over a period of nine years, he travelled the country in search of intersections--intersections of ideas, values, histories, conflicts, congruencies, fears, joys and aspirations--and the land in which and often because of which these happened. This book brings together a selection of Goldblatt's color photography in South Africa from 2002 to 2011. An earlier version, Intersections, was published by Prestel in 2005, and the catalogue Intersections Intersected, consisting of paired black and white and color photographs, was published by Serralves Museum, Porto, in 2008.

Accompanied by some of his lesser-known photographs, this distilled dialogue is drawn directly from the recordings of a roving conversation with David Goldblatt three months before his death in June 2018. Goldblatt was born in Randfontein―a mining town on the Witwatersrand gold reef―in 1930, the grandson of Lithuanian-Jewish migrants who settled in South Africa after escaping persecution in Europe. After the death of his father in 1962, Goldblatt sold the family clothing business to become a full-time photographer. Describing himself as “a self-appointed observer and critic of the society into which I was born,” he photographed the people, landscapes and structures of South Africa under apartheid and its persistent aftermath.

In this candid conversation with writer Alexandra Dodd, Goldblatt shares his views about land and landscape, the dangerous lure of repetition in portrait photography, Johannesburg, the solipsism of life as a photographer, staying sharp, his visceral intolerance of censorship, his abiding interest in structures and his observation of instances of dominion under democracy, among other key themes.

In March, I flew up to Johannesburg to interview Goldblatt. When he opened the gate, I could see the effects on his body of his fight with illness. He was smaller, more hewn than ever. As we entered the sanctum of his office, he stopped in the doorway, flinched, and said something along the lines of: ‘Forgive me if I’m not at my best with this catheter up my cock.’ With that, our conversation began... Alexandra Dod

Billy Monk worked as a bouncer in the notorious Catacombs club in the dock area of Cape Town, South Africa during the 1960s. He originally began taking pictures in the club with the intention of selling the photographs to the customers - the people he was photographing. His aim was not to make a social statement, but his money-making scheme quickly turned into something else as he increasingly captured the raw energy of the club, its decadence and tragedy, its humanity and joy. As someone who shared the experiences of those club-goers, he was trusted by them and was able to convey their world and their experience with great energy and honesty. As David Goldblatt has written "These are photographs by an insider of insiders for insiders. If inhibitions were lowered by the seemingly vast quantities of brandy and Coke that were imbibed, trust, nevertheless, is powerfully evident. Not simply in the raucous tweaking of bared breasts, or the more guarded but evident 'togetherness' of two bearded men, as well as the open flouting of peculiarly South African sanctions such as prohibitions on interracial sex. It is also present in the quiet composure of many of the portraits. People seemed to welcome and even bask in Monk's attentions." Monk stopped photographing at the club in 1969. Ten years later his contact sheets and negatives were discovered and in 1982 the work was exhibited at the Market Gallery in Johannesburg. Monk could not make the opening and two weeks later, en route to seeing the show, he became involved in an argument. A fight broke out, Monk was fatally shot in the chest and never saw his exhibition.

Futebol Nation by David Goldblatt - a thriling history of Brazil through its sporting passion From the genius of Pele to corruption and civil unrest, no nation has so closely aligned its national identity with playing and watching football as Brazil. Football is regarded as a thing of joy, its yellow shirts a delightful amalgam of sport and art, entwined with its cultures of music and religion. This is true, but there is another side to the story too. The corruption of Brazil's football authorities is characteristic of its society as a whole; some of its biggest tournaments have recently been played amidst the largest protests Brazil has ever seen. From the acclaimed author of the classic football history The Ball is Round, this book is the whole story: the players, the fans, the corruption, the passion. It will be enjoyed by readers of I am the Secret Footballer, The Numbers Game, Why England Lose and fans of football around the world. David Goldblatt was born in London in 1965 and is a supporter of Tottenham Hotspurs and Bristol Rovers. He teaches sociology at Bristol University, reviews sports books for the TLS, and for some years wrote the Sporting Life column in Prospect magazine. 'A tour de force of brilliant writing, historical colour and sporting vignette' Observer on The Ball is Round

In this book, the authors set forth a new model of globalization that lays claims to supersede existing models, and then use this model to assess the way the processes of globalization have operated in different historic periods in respect to political organization, military globalization, trade, finance, corporate productivity, migration, culture, and the environment. Each of these topics is covered in a chapter which contrasts the contemporary nature of globalization with that of earlier epochs.

In mapping the shape and political consequences of globalization, the authors concentrate on six states in advanced capitalist societies (SIACS): the United States, the United Kingdom, Sweden, France, Germany, and Japan. For comparative purposes, other states -- particularly those with developing economics -- are referred to and discussed where relevant. The book concludes by systematically describing and assessing contemporary globalization, and appraising the implications of globalization for the sovereignty and autonomy of SIACS. It also confronts directly the political fatalism that surrounds much discussion of globalization with a normative agenda that elaborates the possibilities for democratizing and civilizing the unfolding global transformation.