Library research has changed dramatically since Marilyn Lutzker and Eleanor Ferrall's Criminal Justice Research in Libraries was published in 1986. In addition to covering the enduring elements of traditional research, this new edition provides full coverage of research using the World Wide Web, hypertext documents, computer indexes, and other online resources. It gives an in-depth explanation of such concepts as databases, networks, and full text, and the Internet gets a full chapter. The chapters on bibliographic searching, the library catalog, and comparative research are almost totally new, and chapters on indexes and abstracts, newsletters, newspapers and news broadcasts, documents, reports and conference proceedings, and statistics reflect the shift to computerized sources. The chapter on legal resources discusses the wealth of legal information available on the Internet. A new chapter on library research in forensic science corrects an omission from the first book. With the growth of computerized indexes and the Internet, more and more researchers are admitting that they feel inadequate to the new tools. Librarians themselves are struggling to keep abreast of the new technology. This book will help students, practitioners, scholars, and librarians develop a sense of competency in doing criminal justice research.

The considerable contributions of British women playwrights of the Restoration and eighteenth century, long unavailable, have now inspired numerous anthologies, editions, and modern-day productions. As these works continue to gain recognition and secure a more prominent place in college curriculums, teachers face the challenge of introducing these rediscovered works to students and explaining how they fit into the period's dramatic tradition. This volume aims to help instructors present a clearer sense of this body of work in the undergraduate and graduate classroom.

The volume opens with background essays on the history of women in theater, including the first appearance of actresses on the stage, the earliest professional women playwrights, and their relationships with critics, audiences, and the theater manager David Garrick. Contributors then focus on individual playwrights, from Aphra Behn and Mary Pix to Hannah Cowley and Elizabeth Inchbald, and explore these women's political, protofeminist, critical, and moralist agendas. Discussions of Frances Burney and Eliza Haywood, authors of both novels and plays, raise the question of genre. Comparative approaches offer ways of pairing plays in the classroom, following themes such as masquerade and cross-dressing through the works of female dramatists and those of their male counterparts. Other essays present methods for using these writers and their works in British literature and history courses, surveys of drama and theater history, and introductions to women's literature.

The Federal Theatre Project, a 1930s relief project of the Roosevelt administration, brought more theater to more people in every corner of America that at any time in U.S. history. The Project had units in every region of the country, including groundbreaking African American troupes, and staged productions from daring dramas like "The Voodoo Macbeth," "Waiting for Lefty," and "The Cradle Will Rock "to musicals, vaudeville, and puppet shows. It was canceled in a firestorm of controversy that gave birth to the damning question: "Are you now or have you ever been a member of the Communist party?"
This book documents that vibrant, colorful, politically explosive time, which gave rise to bitter debates about the role of government in American art and culture. It includes interviews with such Federal Theatre actors, playwrights, directors, designers, producers, and dancers as Arthur Miller, Studs Terkel, Jules Dassin, Katherine Dunham, Rosetta Lenoire, John Houseman, and many others.
"Voices from the Federal Theatre" is a tie-in with the public televison special "Who Killed the Federal Theatre?" hosted by Judd Hirsch and coproduced by Schwartz with the Educational Film Center.