How do we create a culture of zero tolerance for sexual violence on college campuses? In a world where one in five women on campus experience some form of sexual assault, what would it take to create a campus culture that was free of violence against women? From a public health perspective, sexual assault is an epidemic on campuses, but why? What is it about a campus community culture that permits or encourages this, at a time when a majority of students are now female? In this practical guide for colleges and universities, Joanne H. Gavin, James Campbell Quick, and David J. Gavin lay out a community-based model that is designed to eliminate sexual misconduct, spot it before it happens, punish its perpetrators, support its victims/survivors, and end this epidemic. Ending Sexual Violence in College is a prescriptive guide for creating a campus culture that is intolerant of sexual misconduct regardless of who is involved or the context in which it happens. A culture of intolerance, the authors argue, does not consider the role or status of either the perpetrator or victim/survivor. Rather, this culture protects all members. Using a public health model with an emphasis on prevention to create this cultural change, the book utilizes psychological and organizational research to understand the challenges of making these changes while enhancing the odds of permanent cultural change for the better. Designed to spur community-wide conversations on how we can make our campuses safe from sexual violence, this book's preventive approach allows communities to self-monitor. The authors include case studies of institutions that have not been proactive in putting programs in place to protect students, as well as examples of institutions that are effectively addressing these problems. Aimed at college administrators and Title IX coordinators who are responsible for leading campuses that are safe for everyone, Ending Sexual Violence in College also enables those who work or live on a college campus to take an active role in making the campus safer.

Claude Cahun is the most important artist you've never heard of - until now. Writer, photographer, lesbian; revolutionary activist, surrealist, resistance fighter - Cahun witnessed the birth of the Paris avant-garde, lived through two World Wars and, as 'Der Soldat ohne Namen', risked death by inciting mutiny on Nazi-occupied Jersey. And yet, she's until recently been merely a peripheral figure in these world-shaping events, relegated by academics to the footnotes in the history of art, sexual politics and revolutionary movements of the last century. Now more so than ever, Cahun demands a significant presence in the history of surrealism and the avant-garde - even, in the literary canon of early twentieth-century literature. Indeed her one major book, Disavowals, is a masterpiece of anti-memoir writing. Much has been made of her as a photographer, but Claude Cahun 'the writer' was one of the most radical and prescient leftists of the century. At a time when her star is rising like never before Claude Cahun: The Soldier With No Name represents the first explicit attempt in English to posit Cahun as an important figure in her own right, and to popularise one of the most prescient and influential artists of her generation.

Startled by rapid social changes at the turn of the twentieth century, citizens of Atlanta wrestled with fears about the future of race relations, the shape of gender roles, the impact of social class, and the meaning of regional identity in a New South. Gavin James Campbell demonstrates how these anxieties were played out in Atlanta's popular musical entertainment. Examining the period from 1890 to 1925, Campbell focuses on three popular musical institutions: the New York Metropolitan Opera (which visited Atlanta each year), the Colored Music Festival, and the Georgia Old-Time Fiddlers' Convention. White and black audiences charged these events with deep significance, Campbell argues, turning an evening's entertainment into a struggle between rival claimants for the New South's soul. Opera, spirituals, and fiddling became popular not just because they were entertaining, but also because audiences found them flexible enough to accommodate a variety of competing responses to the challenges of making a New South. Campbell shows how attempts to inscribe music with a single, public, fixed meaning were connected to much larger struggles over the distribution of social, political, cultural, and economic power. Attitudes about music extended beyond the concert hall to simultaneously enrich and impoverish both the region and the nation that these New Southerners struggled to create. |Campbell focuses on three popular musical institutions in Atlanta at the height of the Jim Crow era: the annual visit of the Metropolitan Opera, the Colored Music Festival, and the Georgia Old Time Fiddlers' Convention, demonstrating how music addressed Atlantans' class anxieties and affirmed the segregationist impulse.