Tavistock Press was established as a co-operative venture between the Tavistock Institute and Routledge & Kegan Paul (RKP) in the 1950s to produce a series of major contributions across the social sciences. This volume is part of a 2001 reissue of a selection of those important works which have since gone out of print, or are difficult to locate. Published by Routledge, 112 volumes in total are being brought together under the name The International Behavioural and Social Sciences Library: Classics from the Tavistock Press. Reproduced here in facsimile, this volume was originally published in 1964 and is available individually. The collection is also available in a number of themed mini-sets of between 5 and 13 volumes, or as a complete collection.

Tavistock Press was established as a co-operative venture between the Tavistock Institute and Routledge & Kegan Paul (RKP) in the 1950s to produce a series of major contributions across the social sciences. This volume is part of a 2001 reissue of a selection of those important works which have since gone out of print, or are difficult to locate. Published by Routledge, 112 volumes in total are being brought together under the name The International Behavioural and Social Sciences Library: Classics from the Tavistock Press. Reproduced here in facsimile, this volume was originally published in 1964 and is available individually. The collection is also available in a number of themed mini-sets of between 5 and 13 volumes, or as a complete collection.

Media pressure is often implicated in changes to foreign policy. It is at once hailed as a check on the abuse of power and then reviled for undermining the roles and responsibilities of democratic institutions. But we are still left to wonder what media pressure "is." This question is explicitly answered here, and in doing so it shows how the never-ending conversation between the media and executive creates social imperatives to which the executives "must" respond or else threaten their needed moral positions required to lead or act in international affairs.

This study offers an explicit theory of media pressure - what it is, how it works, how it can be measured - based in part on the 'positioning theory' in discursive psychology. This offers the first independent and comparative history and analysis of media pressure vs. coverage, through the lens of the insurrection against Saddam Hussein in 1991.

Detroit's mean streets. Two orphaned boys. The beginning of a life of crime. An elderly Japanese grandmother fights for her grandson's life with her only weapons - good food, tough love, and a forbidden diary. Eleven year old Mu-Chan learns the meaning of true courage when he and his friend, Johnathan, discover the stirring words of his "kamikaze" grandfather, a man who chose to live.

Dust storms. Crowded tents. Travel to exotic locations. Taliban. Danger. Patriotism. A civilian can make over $100,000 tax-free working in a war zone. Worth it? Your decision. But this no-holds-barred handbook, written by an experienced HR professional will teach you how to get and keep a job overseas as a military contractor.

Escaped slaves. Secret tunnels. Risky hiding places. Fifteen-year-old Hannah uncovers her family's secret past when she stumbles across a long-lost diary in her grandmother's attic. Discovering the story of her family's courage during a dark period of our country's history, stirs her heart and changes her life.

In the nineteenth century, copyright law expanded to include performances of theatrical and musical works. These laws transformed how people made and consumed performances. Exploring precedent-setting litigation on both sides of the Atlantic, this book traces how courts developed definitions of theater and music to suit new performance rights laws. From Gilbert and Sullivan battling to protect The Mikado to Augustin Daly petitioning to control his spectacular 'railroad scene', artists worked with courts to refine vague legal language into clear, functional theories of drama, music, and performance. Through cases that ensnared figures including Lord Byron, Laura Keene, and Dion Boucicault, this book discovers how the law theorized central aspects of performance including embodiment, affect, audience response, and the relationship between scripts and performances. This history reveals how the advent of performance rights reshaped how we value performance both as an artistic medium and as property.

In the nineteenth century, copyright law expanded to include performances of theatrical and musical works. These laws transformed how people made and consumed performances. Exploring precedent-setting litigation on both sides of the Atlantic, this book traces how courts developed definitions of theater and music to suit new performance rights laws. From Gilbert and Sullivan battling to protect The Mikado to Augustin Daly petitioning to control his spectacular 'railroad scene', artists worked with courts to refine vague legal language into clear, functional theories of drama, music, and performance. Through cases that ensnared figures including Lord Byron, Laura Keene, and Dion Boucicault, this book discovers how the law theorized central aspects of performance including embodiment, affect, audience response, and the relationship between scripts and performances. This history reveals how the advent of performance rights reshaped how we value performance both as an artistic medium and as property.

Argues that adolescents who wage war on their own lives can be successfully treated. Topics covered include: adolescent sexual disorders; adolescent suicide; adolescent violence and predatory behaviour; mood and behavioural disturbances; and the planning of treatment.