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.

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.

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.

In this issue of Veterinary Clinics: Small Animal Practice, guest editors Drs. Felix Duerr and Lindsay Elam bring their considerable expertise to the topic of Small Animal Orthopedic Medicine. Mobility and orthopedic challenges are common issues that can negatively impact the quality of life and overall health of small animal companion pets. This issue covers a wide range of topics to help practicing veterinarians identify, assess, treat, and manage orthopedic and mobility issues in pets. Contains 15 relevant, practice-oriented topics including canine mobility maintenance and promotion of a healthy lifestyle; joint injection techniques and indications; platelet-rich plasma as an orthobiologic: physical rehabilitation; and more. Provides in-depth clinical reviews on small animal orthopedic medicine, offering actionable insights for clinical practice. Presents the latest information on this timely, focused topic under the leadership of experienced editors in the field. Authors synthesize and distill the latest research and practice guidelines to create clinically significant, topic-based reviews.

Shakespeare's Pictures is the first full-length study of visual objects in Shakespearean drama. In several plays (Hamlet, The Merchant of Venice and Twelfth Night, among others) pictures are brought on stage - in the form of portraits or other images - as part of the dramatic action. Shakespeare's characters show, exchange and describe them. The pictures arouse in their beholders strong feelings, of desire, nostalgia or contempt, and sometimes even taking the place of the people they depict. The pictures presented in Shakespeare's work are part of the language of the drama, and they have a significant impact on theatrical performance, from Shakespeare's time to our own. Keir Elam pays close attention to the iconographic and literary contexts of Shakespeare's pictures while also exploring their role in performance history. Highly illustrated with 46 images, this volume examines the conflicted cooperation between the visual and the verbal.

The performances of Luis Valdez's El Teatro Campesino, the farmworkers' theater, and Amiri Baraka's (LeRoi Jones's) Black Revolutionary Theater (BRT) during the 1960s and 1970s, offer preeminent examples of social protest theater during a momentous and tumultuous historical juncture. The performances of these groups linked the political, the cultural, and the spiritual, while agitating against the dominant power structure and for the transformation of social and theatrical practices in the U.S. Founded during the Delano Grape Pickers' Strike and Black Power rebellions of the mid-1960s, both El Teatro and the BRT professed cultural pride and group unity as critical corollaries to self-determination and revolutionary social action.
"Taking It to the Streets" compares the performance methodologies, theories, and practices of the two groups, highlighting their cross-cultural commonalties, and providing insights into the complex genre of social protest performance and its interchange with its audience. It examines the ways in which ritual can be seen to operate within the productions of El Teatro and the BRT, uniting audience and performers in subversive, celebratory protest by transforming spectators into active participants within the theater walls --and into revolutionary activists outside. During this critical historical period, these performances not only encouraged community empowerment, but they inculcated a spirit of collective faith and revolutionary optimism. Elam's critical reexamination and recontextualization of the ideologies and practices of El Teatro and the BRT aid in our understanding of contemporary manipulations of identity politics, as well as current strategies forracial representation and cultural resistance.
"A major contribution to our understanding of how social protest came to be so strong and how Black and Chicano theatre contributed to the synergy of those times." --Janelle Reinelt, University of California, Davis
Harry J. Elam, Jr., is Associate Professor of Drama and Director of the Committee on Black Performing Arts, Stanford University.

"The Souls of Mixed Folk" examines representations of mixed race in literature and the arts that redefine new millennial aesthetics and politics. Focusing on black-white mixes, Elam analyzes expressive works--novels, drama, graphic narrative, late-night television, art installations--as artistic rejoinders to the perception that post-Civil Rights politics are bereft and post-Black art is apolitical. Reorienting attention to the cultural invention of mixed race from the social sciences to the humanities, Elam considers the creative work of Lezley Saar, Aaron McGruder, Nate Creekmore, Danzy Senna, Colson Whitehead, Emily Raboteau, Carl Hancock Rux, and Dave Chappelle. All these writers and artists address mixed race as both an aesthetic challenge and a social concern, and together, they gesture toward a poetics of social justice for the "mulatto millennium."
"The Souls of Mixed Folk" seeks a middle way between competing hagiographic and apocalyptic impulses in mixed race scholarship, between those who proselytize mixed race as the great hallelujah to the "race problem" and those who can only hear the alarmist bells of civil rights destruction. Both approaches can obscure some of the more critically astute engagements with new millennial iterations of mixed race by the multi-generic cohort of contemporary writers, artists, and performers discussed in this book. "The Souls of Mixed Folk" offers case studies of their creative work in an effort to expand the contemporary idiom about mixed race in the so-called post-race moment, asking how might new millennial expressive forms suggest an aesthetics of mixed race? And how might such an aesthetics productively reimagine the relations between race, art, and social equity in the twenty-first century?

Contents:
General Editor's Preface. Acknowledgements. 1. Preliminaries: Semiotics and Poetics: The Semiotics Enterprise; How Many Semiotics?; The material. 2. Foundations: Signs in the Theatre: Prague structuralism and the theatrical sign; Typologies of the sign. 3. Theatrical Communication: Codes, Systems and the Performance Text: Elements of theatrical communication; Theatrical Systems and Codes; Theatrical competence: frame, convention and the role of the audience. 4. Dramatic Logic: The construction of the dramatic world; Dramatic action and time; Actant, dramatis persona and the dramatic model. 5. Dramatic Discourse: Dramatic Communication; Context and deixis; Universe of discourse and co-text; Speech acts; The said and the unsaid: implicatures and figures; Textuality; Towards a dramatological analysis. 6. Concluding Comments: Theatre, Drama, Semiotics: Dramatic Text/performance text; A united enterprise? Suggestions for further reading. Bibliography. Index.

This book sustains a critical glance at the ways in which we attend to the corpse, tracing a trajectory from encounter toward considering options for disposal: veneered mortuary internment, green burial and its attendant rot, cremation and alkaline hydrolysis, donation and display, and ecological burial. Through tracing the possible futures of the dead that haunt the living, through both the stories that we tell and physical manifestations following the end of life, we expose the workings of aesthetics that shape corpses, as well as the ways in which corpses spill over, resisting aestheticization. This book creates a space for ritualized practices surrounding death: corpse disposal; corpse aesthetics that shape both practices attendant upon and representations of the corpse; and literary, figural, and cultural representations that deploy these practices to tell a story about dead bodies-about their separation from the living, about their disposability, and ultimately about the living who survive the dead, if only for a while. There is an aesthetics of erasure persistently at work on the dead body. It must be quickly hidden from sight to shield us from the certain trauma of our own demise, or so the unspoken argument goes. Experts-scientists, forensic specialists, death-care professionals, and law enforcement-are the only ones qualified to view the dead for any extended period of time. The rest of us, with only brief doses, inoculate ourselves from the materiality of death in complex and highly ritualized ceremonies. Beyond participating in the project of restoring our sense of finitude, we try to make sense of the untouchable, unviewable, haunting, and taboo presence of the corpse itself.

Most African cities are human settlements that lack the systems needed for effective land use planning. In fact, the disorganization that prevails has become so complex that the concept of urbanism itself has been called into question. This book highlights the need to restore urban planning in African cities through sustainable development and interculturality. Furthermore, it addresses the balance of power between urban planning and sustainable development and explores the historical and postcolonial aspects of urban planning in African cities. A case study focusing on the development of sustainable cities and neighborhoods in the M'Zab Valley is also included, as well as topics such as urban greening, climatic threats and the problem of state agro-industrial land transactions, which compete with sustainable urban planning. Sustainable Intercultural Urbanism at the Service of the African City of Tomorrow is a valuable reference for researchers and practitioners interested in urban issues in African cities. These cities, in particular sub Saharan cities, have long been excluded from any discourse on sustainable cities and urban planning; this book places the focus on these cities and acknowledges their varied urban realities. The intention is to spark a new debate on sustainable urban planning in African cities based on intercultural sustainable urbanism, which is key to thinking about and building ecological, intercultural, compact, intelligent and postcolonial cities.

The term 'revolutionary' is used liberally in histories of Indian anticolonialism, but scarcely defined. Implicitly understood, it functions as a signpost or a badge, generously conferred in hagiographies, loosely invoked in historiography, and strategically deployed in contemporary political contests. It is timely, then, to ask the question: Who counts as a 'revolutionary' in South Asia? How can we read 'the revolutionary' in Indian political formations? And what does it really mean to be 'revolutionary' in turbulent late colonial times? This volume takes a biographical approach to the question, by examining the life stories of a series of activists, some well known, who all defined themselves in explicitly revolutionary terms in the early twentieth century: V. D. Savarkar, M. N. Roy, Bhagat Singh, J.P. Narayan and Hansraj Vohra. The authors interrogate the subversive lives of these figures, tracing their polyglot influences and transnational impacts, to map out the discursive travels of 'the revolutionary' in Indian historical and literary worlds from the early 1900s, and to indicate its reverberations in the politics of the present. This book was previously published as a special issue of Postcolonial Studies.