Major changes which have occurred since this book was first published have been included in this edition. In particular, the chapter on Germany has been substantially revised and now includes a separate section on easter Germany. The other five countries covered in the book have also witnessed changes in their business culture and these have been taken into consideration. This book examines the background to business practice in Europe of six major countries: Germany, France, Italy, the UK, Spain and the Netherlands. Each chapter tracks the commercial development of that country in the late 1970s, 1980s and early 1990s, focusing on the business environment, special features affecting business, and the response to the EC's single market. The business culture section in each is divided further into business and government, business and the economy, business and the law, business and finance, business and the labour market, business and trade unions and business training, education and development. The test is organized in such a manner to enable cross-referencing between countries, and maps have been included in the new edition.

This book is the first major reinterpretation of the New Deal in thirty years. Employing archival research and insights from history, political sociology, and economics, the author reassesses the origins and premises of the industrial, labour, and welfare policies of the 1920s and 1930s. Gordon argues that the labour and welfare law of the latter New Deal - indeed the origins of the modern welfare state - grew from a piecemeal private response to the competitive instability of the 1920s. This study is both an economic history of the interwar era, and an examination of the relationship between political and economic power in the United States.

Major changes which have occurred since this book was first published have been included in this edition. In particular, the chapter on Germany has been substantially revised and now includes a separate section on easter Germany. The other five countries covered in the book have also witnessed changes in their business culture and these have been taken into consideration. This book examines the background to business practice in Europe of six major countries: Germany, France, Italy, the UK, Spain and the Netherlands. Each chapter tracks the commercial development of that country in the late 1970s, 1980s and early 1990s, focusing on the business environment, special features affecting business, and the response to the EC's single market. The business culture section in each is divided further into business and government, business and the economy, business and the law, business and finance, business and the labour market, business and trade unions and business training, education and development. The test is organized in such a manner to enable cross-referencing between countries, and maps have been included in the new edition.

This book is the first major reinterpretation of the New Deal in thirty years. The author reassesses the origins and premises of the industrial, labor, and welfare policies of the 1920s and 1930s, and argues that the labor and welfare law of the latter New Deal--indeed the origins of the modern welfare state--grew from a piecemeal private response to the competitive instability of the 1920s. This study is both an economic history of the interwar era, and an examination of the relationship between political and economic power in the United States.

The Philosophical Imaginary teaches us how to read philosophy afresh. Focusing on central, but often undiscussed, images, Le Doeuff's patient, perspicacious, and always brilliant readings show us how to uncover the political unconscious at work in great philosophy. Le Doeuff's contribution to philosophy and feminism is unequalled. This book is a classic.

All 57 episodes of the classic BBC comedy series starring Wilfrid Brambell and Harry H. Corbett as the father and son running a a junkyard and scrap metal business. Includes every episode from Series 1-8, plus the two Christmas specials from 1973 and 1974.

A box set of 12 Norman Wisdom classics. In 'On the Beat' Wisdom stars as a bumbling Scotland Yard car park attendant who gets his chance to be a real policeman after he accidentally catches some crooks. His advantage lies in the fact that he physically resembles one of the ringleaders. In 'Man of the Moment' the bumbling Norman (Wisdom) accidentally becomes the British delegate to an important international conference in Geneva. Hilarious chaos and amusing misunderstandings ensue. In 'Trouble in Store' Wisdom is taken on as a shop assistant in a department store. His ambition is to become a window dresser, and he falls in love at first sight with his dream-girl, Sally. After a disastrous start (chasing a bus on roller skates, entering a shop girl's hostel, the usual sort of thing), events conspire to make Norman an unlikely hero. In 'Up in the World' Wisdom stars as the bumbling window cleaner to Lady Banderville. He has to cope with the pranks of her son, Sir Reggie, but cleans up when he confounds a gang of kidnappers. In 'The Square Peg' Norman Pitkin (Wisdom) is keen to help the war effort, and turns out to be a dead ringer for an enemy general. Joining up with his colleague, Mr Grimsdale, he is posted to France as part of a team repairing the damaged roads. Captured by the enemy, he turns his uncanny resemblance to his own advantage and comes home a hero. In 'Follow a Star' Wisdom plays a shop worker (imaginatively also named Norman, as indeed is every character he has ever portrayed) who dreams of becoming a famous singer. His attempts are, of course, disastrous, until he is encouraged by music teacher Miss Dobson, and a crippled girl named Judy. In 'The Bulldog Breed' Norman Puckle (Wisdom) is a grocer who joins the Navy and finds himself chosen to man a rocket flight into outer space. After Norman brings his own brand of madcap mayhem to the training process, his superiors begin to suspect that they might have picked the wrong person for the mission. Also starring Ian Hunter and Edward Chapman. Whilst in 'One Good Turn' Norman (Wisdom) works at the orphanage, and promises that he will buy one of its charges a model car. But how can he get the money? Proving himself equally incompetent at all jobs, he manages to raise a few laughs along the way in his attempts to earn the cash and not disappoint the little sprite. In 'A Stitch in Time' Star Wisdom plays an apprentice butcher trying to help a sick child. His bumbling efforts end up with him being banned from visiting little orphan Lindy, but Norman will go to any lengths to keep in touch with his young charge. Whilst in 'Just My Tuck', determined to win the heart of his beautiful neighbour, Norman (Wisdom) decides he wants to buy her a diamond necklace - but how can he possibly afford it? A solution offers itself when he goes to a bookmaker's, learns the intricacies of the accumulator bet, and sets out on a major winning streak. However, whenever Norman is involved things are never quite that simple, and soon enough our hapless hero finds himself in deep trouble, creating havoc at the local racetrack. In 'The Early Bird' Wisdom plays a milkman caught up in a feud between the small, traditional company that employs him and a large, modern dairy planning a hostile takeover. Will Norman, in his typically inept fashion, manage to save his company from the onset of modernity? Finally in 'Press For Time' Norman Shields (Wisdom) is an accident-prone young reporter, who only got the job because his grandfather (also played by Wisdom) happens to be the Prime Minister. Hilarious chaos ensues when Norman is sent to cover a beauty contest. Wisdom also appears in drag as a Suffragette called Emily.

Why, alone among industrial democracies, does the United States not have national health insurance? While many books have addressed this question, "Dead on Arrival" is the first to do so based on original archival research for the full sweep of the twentieth century. Drawing on a wide range of political, reform, business, and labor records, Colin Gordon traces a complex and interwoven story of political failure and private response. He examines, in turn, the emergence of private, work-based benefits; the uniquely American pursuit of "social insurance"; the influence of race and gender on the health care debate; and the ongoing confrontation between reformers and powerful economic and health interests.

"Dead on Arrival" stands alone in accounting for the failure of national or universal health policy from the early twentieth century to the present. As importantly, it also suggests how various interests (doctors, hospitals, patients, workers, employers, labor unions, medical reformers, and political parties) confronted the question of health care--as a private responsibility, as a job-based benefit, as a political obligation, and as a fundamental right.

Using health care as a window onto the logic of American politics and American social provision, Gordon both deepens and informs the contemporary debate. Fluidly written and deftly argued, "Dead on Arrival" is thus not only a compelling history of the health care quandary but a fascinating exploration of the country's political economy and political culture through "the American century," of the role of private interests and private benefits in the shaping of social policy, and, ultimately, of the ways the American welfare state empowers but also imprisons its citizens.

British comedy from the late 1940s starring David Tomlinson and Carol Marsh. The film follows wealthy socialite Susan Graham (Marsh) as she enlists the help of various zany characters in her eternal quest to cure herself of a never-ending bout of the hiccups.

Leslie Phillips and James Booth star as rival vets in this British comedy drama. After ten long years of training, Jimmy Fox-Upton (Phillips) finally qualifies as a vet and opens his own practice. Settled in London, Jimmy opposes the money-grabbing ways of his fellow graduate Bob Skeffington (Booth) and sets about exposing his lucrative equine export scam.

Michel Foucault has become famous for a series of books that have permanently altered our understanding of many institutions of Western society. He analyzed mental institutions in the remarkable Madness and Civilization; hospitals in The Birth of the Clinic; prisons in Discipline and Punish; and schools and families in The History of Sexuality. But the general reader as well as the specialist is apt to miss the consistent purposes that lay behind these difficult individual studies, thus losing sight of the broad social vision and political aims that unified them.

Now, in this superb set of essays and interviews, Foucault has provided a much-needed guide to Foucault. These pieces, ranging over the entire spectrum of his concerns, enabled Foucault, in his most intimate and accessible voice, to interpret the conclusions of his research in each area and to demonstrate the contribution of each to the magnificent -- and terrifying -- portrait of society that he was patiently compiling.

For, as Foucault shows, what he was always describing was the nature of power in society; not the conventional treatment of power that concentrates on powerful individuals and repressive institutions, but the much more pervasive and insidious mechanisms by which power "reaches into the very grain of individuals, touches their bodies and inserts itself into their actions and attitudes, their discourses, learning processes and everyday lives"

Foucault's investigations of prisons, schools, barracks, hospitals, factories, cities, lodgings, families, and other organized forms of social life are each a segment of one of the most astonishing intellectual enterprises of all time -- and, as this book proves, one which possesses profound implications for understanding the social control of our bodies and our minds.

The 2014 killing of Michael Brown in Ferguson, Missouri, ignited nationwide protests and brought widespread attention police brutality and institutional racism. But Ferguson was no aberration. As Colin Gordon shows in this urgent and timely book, the events in Ferguson exposed not only the deep racism of the local police department but also the ways in which decades of public policy effectively segregated people and curtailed citizenship not just in Ferguson but across the St. Louis suburbs. Citizen Brown uncovers half a century of private practices and public policies that resulted in bitter inequality and sustained segregation in Ferguson and beyond. Gordon shows how municipal and school district boundaries were pointedly drawn to contain or exclude African Americans and how local policies and services-especially policing, education, and urban renewal-were weaponized to maintain civic separation. He also makes it clear that the outcry that arose in Ferguson was no impulsive outburst but rather an explosion of pent-up rage against long-standing systems of segregation and inequality-of which a police force that viewed citizens not as subjects to serve and protect but as sources of revenue was only the most immediate example. Worse, Citizen Brown illustrates the fact that though the greater St. Louis area provides some extraordinarily clear examples of fraught racial dynamics, in this it is hardly alone among American cities and regions. Interactive maps and other companion resources to Citizen Brown are available at the book website.

Eccentric Sidney Stratton (Alec Guiness) is a laboratory cleaner in a textile factory, who invents a material that will neither wear out nor become dirty. Initially hailed as a great discovery, Sidney's astonishing invention is suffocated by the management when they realise that if it never wears out, people will only ever have to purchase one suit of clothing.

Eccentric Sidney Stratton (Alec Guiness) is a laboratory cleaner in a textile factory, who invents a material that will neither wear out nor become dirty. Initially hailed as a great discovery, Sidney's astonishing invention is suffocated by the management when they realise that if it never wears out, people will only ever have to purchase one suit of clothing.

A collection of five classic Ealing comedies. 'Kind Hearts and Coronets' (1949) is a period comedy set in the early 20th century. Young Louis Mazzini (Dennis Price) vows to take revenge on his family, the D'Ascoynes, when he learns how they disinherited his mother. Working his way into their trust, Louis begins to bump off his distant relatives (all played by Alec Guinness) one by one, but complications set in when Edith D'Ascoyne (Valerie Hobson), the widow of his first victim, falls in love with him. In 'The Ladykillers' (1955), eccentric landlady Mrs Wilberforce (Katie Johnson) believes her new lodger Professor Marcus (Guinness) and his associates the Major (Cecil Parker), Louis (Herbert Lom), Harry (Peter Sellers) and One-Round (Danny Green) to be amateur musicians. They are in fact, however, the perpetrators of a bank heist, looking to whisk their ill-gotten gains out of London. All goes well until Mrs Wilberforce is persuaded by Marcus to claim his 'trunk' from the station; it is only then that the criminal genius's carefully laid plans begin to go awry. In 'The Man in The White Suit' (1951), Sidney Stratton (Guiness) is a laboratory cleaner in a textile factory who invents a material that will neither wear out nor become dirty. Initially hailed as a great discovery, Sidney's astonishing invention is suffocated by the management when they realise that if it never wears out, people will only ever have to purchase one suit of clothing. In 'Passport to Pimlico' (1949), an unexploded bomb goes off in Pimlico, uncovering documents which reveal that this part of London in fact belongs to Burgundy in France. An automonous state is set up in a spirit of optimism, but the petty squabbles of everyday life soon shatter the Utopian vision of a non-restrictive nation. Finally, in 'The Lavender Hill Mob' (1951), nobody would ever suspect gold bullion delivery man Henry Holland (Guinness) of anything other than total devotion to his job. However, with the aid of fellow lodger Pendlebury (Stanley Holloway), he gathers together a gang to carry out a heist, intending to smuggle the gold out of the country by melting it down into miniature models of the Eiffel Tower. All goes well until the consignment of models becomes muddled up with another, non-golden batch. Watch out for an early cameo by Audrey Hepburn.

Four films based on the cartoon creations of Ronald Searle. In 'The Belles of St Trinians' (1954), Miss Millicent Fritton (Alastair Sim), headmistress of St Trinian's School for Girls, attempts to stave off her creditors by 'looking after' the pocket money of a wealthy sheikh's daughter currently enrolled at the school, and investing it on the sheikh's horse, Arab Boy, in the local derby. In 'Blue Murder at St Trinians' (1956), the anarchic schoolgirls win a UNESCO prize trip to Rome. Upon arrival they become involved with a jewel thief (Lionel Jeffries) who hides out with the school, disguised as the headmistress. The jolly hockey sticks are being waved with malicious force once again in 'The Pure Hell of St Trinians' (1957). After they burn their school down, the girls are sent to the Middle East, where an Arab sheik tries to lure them into his harem. Flash Harry (George Cole) attempts to come to the rescue, only to find himself stranded on a desert island with a familiar member of the constabulary (Joyce Grenfell). In the 1966 film 'The Great St Trinians Train Robbery', a bunch of crooks take on more than they can handle when they decide to bury the loot from a successful robbery in the grounds of St Trinians. The high-spirited girls (or 'hooligans' as they are sometimes known) take it upon themselves to confront the highly-strung criminals, with devastating and comic effect.