Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

There is no precise way to explain the energetic life of New Mexico Governor David Cargo-attorney to the downtrodden, as well as the rich and famous; a changer of legislative reapportionment, and at the same time inventing the first Governor's State Film Commission in the United States. He was a dedicated promoter of many films shooting and spending fortunes in our state. Then the true miracle happened: a Republican became beloved by the liberal Democrats of Hollywood. It had never happened before and mostly likely never will again. He became personal friends with those behind the camera as well as the stars facing it, and consequently had acting parts in twelve of those films. And now, while writing his priceless historical memoir, he has raised hundreds of thousands of dollars to build, and/or maintain twelve libraries in such isolated New Mexico villages and towns as Mora, Anton Chico, Villanueva and Corona. This is an unsurpassed heritage to leave for the mental and spiritual growth of the youth of New Mexico. Viva, Lonesome Dave

Richard Brinsley Sheridan is best known as the author of two of the English stage's most popular comedies, The Rivals and The School for Scandal. In his own lifetime, however, Sheridan was as renowned a politician as he was a playwright, and during a parliamentary career that spanned thirty-two years - the large majority of which he spent in opposition - he was an advocate of reform, a supporter of the French Revolution and of Irish independence, and a fierce critic of the government's curtailment of civil liberties. Drawing upon a wide range of sources, from previously unpublished manuscript materials to political pamphlets and satirical cartoons, Theatres of Opposition rehabilitates this too often forgotten figure, and offers the first detailed examination of the complex simultaneity and interconnectedness of Sheridan's theatrical and political practices. Moreover, by tracing the artistic and professional trajectory of Sheridan as a playwright, radical parliamentarian, celebrated orator, and playhouse manager, this book sheds important new light on the overlap between theatrical and political cultures in London during the last thirty years of the eighteenth century. Sheridan, Taylor contends, provides a prism through which we can revise our understanding of the ways in which the sites of power and performance habitually bled into one another at this time. Excavating a theatrical politics as precise as it is problematic, Theatres of Opposition speaks to a spectrum of interests, from theatre and political histories to the studies of oratory and visual culture.

This book provides a critical understanding of the emerging role of African militaries in peacetime democratic Africa. This book departs from the dominant perspective which simply presents the military as an 'enemy' of democracy because of the history and legacy of unending military coup d'etats and interventions in civilian politics. In the context of Africa, the military has been blamed or largely held responsible for instigating wars, armed conflicts, political violence, poverty and underdevelopment due to bad governance and mismanagement of the state. Drawing from diverse case studies across Africa, including Nigeria, Rwanda, Uganda, Ethiopia and Egypt, this volume presents the argument that though the military has played a negative, and sometimes, destructive role in undermining constitutional rule and the overthrow of democratic civilian governments, the same military, now operating in a changed global environment, is making effort to support the development of democracy and democratic consolidation as well as remain subjected to civilian democratic oversight and control. Notwithstanding, the real challenge for this emerging trend of African peace militaries is the extent to which they are able to fulfil, on a predictable and consistent basis, their constitutional mandate to defend the people against 'elected autocrats' in Africa who try to use the military to perpetuate themselves in power. This work fills a critical gap in the literature and will be of much interest to students of African security and politics, peace and conflict studies, security studies and IR in general.

Presenting original research studies by leading scholars in the field, Orders of Ordinary Action considers how ethnomethodology provides for an 'alternate' sociology by respecifying sociological phenomena as locally accomplished members' activities. Following an introduction by the editors and a seminal statement of ethnomethodology's analytic stance by its founder, Harold Garfinkel, the book then comprises two parts. The first introduces studies of practical action and organization, whilst the second provides studies of practical reasoning and situated logic in various settings. By organizing the book in this way, the collection demonstrates the relevance of ethnomethodological investigations to established topics and issues and indicates the contribution that ethnomethodology can make to the understanding of human action in any and all social contexts. Both individually and collectively, these contributions illustrate how taking an ethnomethodological approach opens up for investigation phenomena that are taken for granted in conventional sociological theorizing.

Presenting original research studies by leading scholars in the field, Orders of Ordinary Action considers how ethnomethodology provides for an 'alternate' sociology by respecifying sociological phenomena as locally accomplished members' activities. Following an introduction by the editors and a seminal statement of ethnomethodology's analytic stance by its founder, Harold Garfinkel, the book then comprises two parts. The first introduces studies of practical action and organization, whilst the second provides studies of practical reasoning and situated logic in various settings. By organizing the book in this way, the collection demonstrates the relevance of ethnomethodological investigations to established topics and issues and indicates the contribution that ethnomethodology can make to the understanding of human action in any and all social contexts. Both individually and collectively, these contributions illustrate how taking an ethnomethodological approach opens up for investigation phenomena that are taken for granted in conventional sociological theorizing.

The Oxford Handbook of the Georgian Theatre 1737-1832 provides an essential guide to theatre in Britain between the passing of the Stage Licensing Act in 1737 and the Reform Act of 1832 - a period of drama long neglected but now receiving significant scholarly attention. Written by specialists from a range of disciplines, its forty essays both introduce students and scholars to the key texts and contexts of the Georgian theatre and also push the boundaries of the field, asking questions that will animate the study of drama in the eighteenth and early nineteenth centuries for years to come. The Handbook gives equal attention to the range of dramatic forms - not just tragedy and comedy, but the likes of melodrama and pantomime - as they developed and overlapped across the period, and to the occasions, communities, and materialities of theatre production. It includes sections on historiography, the censorship and regulation of drama, theatre and the Romantic canon, women and the stage, and the performance of race and empire. In doing so, it shows the centrality of theatre to Georgian culture and politics, and paints a picture of a stage defined by generic fluidity and experimentation; by networks of performance that spread far beyond London; by professional women who played pivotal roles in every aspect of production; and by its complex mediation of contemporary attitudes of class, race, and gender.

This book provides a critical understanding of the emerging role of African militaries in peacetime democratic Africa. This book departs from the dominant perspective which simply presents the military as an 'enemy' of democracy because of the history and legacy of unending military coup d'etats and interventions in civilian politics. In the context of Africa, the military has been blamed or largely held responsible for instigating wars, armed conflicts, political violence, poverty and underdevelopment due to bad governance and mismanagement of the state. Drawing from diverse case studies across Africa, including Nigeria, Rwanda, Uganda, Ethiopia and Egypt, this volume presents the argument that though the military has played a negative, and sometimes, destructive role in undermining constitutional rule and the overthrow of democratic civilian governments, the same military, now operating in a changed global environment, is making effort to support the development of democracy and democratic consolidation as well as remain subjected to civilian democratic oversight and control. Notwithstanding, the real challenge for this emerging trend of African peace militaries is the extent to which they are able to fulfil, on a predictable and consistent basis, their constitutional mandate to defend the people against 'elected autocrats' in Africa who try to use the military to perpetuate themselves in power. This work fills a critical gap in the literature and will be of much interest to students of African security and politics, peace and conflict studies, security studies and IR in general.

This book offers an innovative, interdisciplinary approach to thinking about inequality, and to understanding how inequality is produced and reproduced in the global South. Without the safety net of the various Northern welfare states, inequality in the global South is not merely a socio-economic problem, but an existential threat to the social contract that underpins the democratic state and society itself. Only a response that is firmly grounded in the context of the global South can hope to address this problem. This collection brings together scholars from across the globe, with a particular focus on the global South, to address broad thematic areas such as the conceptual and methodological challenges of measuring inequality; the political economy of inequality in the global South; inequality in work, households and the labour market; and inequalities in land, spaces and cities. The book concludes by suggesting alternatives for addressing inequality in the global South and around the world. The pioneering ideas and theories put forward by this volume make it essential reading for students and researchers of global inequality across the fields of sociology, economics, law, politics, global studies and development studies.

What are the major issues and challenges that film archives, cinematheques, and film museums are bound to face in the digital age and at a time when there is an expectation of access on demand? What is curatorship, and what does it imply in the context of film preservation and presentation? Is there a concept of "cinema event" that transcends the idea of film as "content" or "art" in the era of information? Film Curatorship is an experiment: a collective text, a montage of dialogues, conversations, and exchanges among four professionals representing three generations of film archivists and curators. It calls for an open philosophical and ethical debate on fundamental questions the profession must come to terms with in the twenty-first century. The first edition of this book was jointly published with Le Giornate del Cinema muto, Pordenone, Italy. The second edition features a new preface by the authors.

The Oxford Handbook of the Georgian Theatre 1737-1832 provides an essential guide to theatre in Britain between the passing of the Stage Licensing Act in 1737 and the Reform Act of 1832 - a period of drama long neglected but now receiving significant scholarly attention. Written by specialists from a range of disciplines, its forty essays both introduce students and scholars to the key texts and contexts of the Georgian theatre and also push the boundaries of the field, asking questions that will animate the study of drama in the eighteenth and early nineteenth centuries for years to come. The Handbook gives equal attention to the range of dramatic forms - not just tragedy and comedy, but the likes of melodrama and pantomime - as they developed and overlapped across the period, and to the occasions, communities, and materialities of theatre production. It includes sections on historiography, the censorship and regulation of drama, theatre and the Romantic canon, women and the stage, and the performance of race and empire. In doing so, the Handbook shows the centrality of theatre to Georgian culture and politics, and paints a picture of a stage defined by generic fluidity and experimentation; by networks of performance that spread far beyond London; by professional women who played pivotal roles in every aspect of production; and by its complex mediation of contemporary attitudes of class, race, and gender.

Discourse is a battlefield, and texts (in the broadest sense) are weapons in such battles. Contemporary India has become a major battleground in these "text wars": there is no end in sight to the crude tinkering with centuries of intellectual advance currently being indulged in by puritanical revisionists. If they succeed, India will be redefined by having its institutions forced into line with what can best be described as a nationalist agenda. This collection of texts by Indian and non-Indian authors tackles questions of free expression, communication, censorship and social pressure, but also problems of social and media responsibility. It contains essays by writers, journalists and scholars, media specialists and political commentators, and includes accounts by contributors who have themselves been the direct victims of censorship, bullying and intimidation; there are poems, too, and a cartoon comic-strip. Most of the texts are originals that were written for this publication. The book stands out because of the high calibre of the contributors, but also because of the passion of their contributions. This is, after all, a war that must not be lost.