This fun-to-read, easy-to-use reference has been completely updated, expanded, and revised with reviews of over 12,000 great albums by over 2,000 artists and groups in all rock genres. 50 charts.

In a deeply ethnographic appraisal, based on years of in situ research, The Battle for Fortune looks at the rising stakes of Tibetans’ encounters with Chinese state-led development projects in the early 2000s. The book builds upon anthropology’s qualitative approach to personhood, power and space to rethink the premises and consequences of economic development campaigns in China's multiethnic northwestern province of Qinghai. Charlene Makley considers Tibetans’ encounters with development projects as first and foremost a historically situated interpretive politics, in which people negotiate the presence or absence of moral and authoritative persons and their associated jurisdictions and powers. Because most Tibetans believe the active presence of deities and other invisible beings has been the ground of power, causation, and fertile or fortunate landscapes, Makley also takes divine beings seriously, refusing to relegate them to a separate, less consequential, "religious" or "premodern" world. The Battle for Fortune, therefore challenges readers to grasp the unique reality of Tibetans’ values and fears in the face of their marginalization in China. Makley uses this approach to encourage a more multidimensional and dynamic understanding of state-local relations than mainstream accounts of development and unrest that portray Tibet and China as a kind of yin-and-yang pair for models of statehood and development in a new global order.

This volume contains a selection of papers which go back to a conference on new employment actors, held at the University of Sydney in November 2006. The book contends that employment relations must be broadened to examine the new actors and processes and the role these play in the regulation and experience of work. It demonstrates this in the context of recent developments in Australia. In addition, the contributions evaluate the extent to which new employment actors either reinforce or replace the activities of the more established trade union, management, and state-based actors. It is argued that an inclusion of these new actors and processes is a more comprehensive way of understanding and explaining industrial society in the 21st century.

Collects reviews for one thousand enduring classic rock albums ranging from the extremely popular to more obscure works.

With insight and clarity, Norman Pratt makes available to the general reader an understanding of the major elements that shaped Seneca's plays. These he defines as Neo-Stoicism, declamatory rhetoric, and the chaotic, violent conditions of Senecan society. Seneca's drama shows the nature of this society and uses freely the declamatory rhetorical techniques familiar to any well-educated Roman. But the most important element, Pratt argues, is Neo-Stoicism, including technical aspects of this philosophy that previously have escaped notice. With these ingredients Seneca transformed the themes and characters inherited from Greek drama, casting them in a form that so radically departs from the earlier drama that Seneca's plays require a different mode of criticism. "The greatest need in the criticism of this drama is to understand its legitimacy as drama of a new kind in the anicent tradition," Pratt writes. "It cannot be explained as an inferior imitation of Greek tragedy because, though inferior, it is not imitative in the strict sense of the word and has its own nature and motivation." Pratt shows the functional interrelationship among philosophy, rhetoric, and "society" in Seneca's nine plays and assesses the plays' dramatic qualities. He finds that however melodramatic the plays may seem to the modern reader, Seneca's own career as Nero's mentor, statesman, and spokesman was scarcely less tumultuous than the lives of his characters. When the Neo-Stoicism and rhetoric of the plays are charged with Seneca's own tortured, passionate life, Pratt concludes, "The result is inevitably melodrama, melodrama of such energy and force that it changed the course of Western drama." Originally published in 1983. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

Examining one of the most popular and enduring genres of American music, this encyclopedia of classic rock from 1965 to 1975 provides an indispensable resource for cultural historians and music fans. More than movies, literature, television, or theater, rock music set the stage for the cultural shifts that occurred from 1965 to 1975. Led by The Beatles and Bob Dylan, rock became a self-conscious art form during these years, daring to go places unimaginable to earlier rock and roll musicians. The music and outspokenness of classic rock artists inspired and moved the era's social, cultural, and political developments with a power once possessed by authors and playwrights-and influenced many artists in younger generations of rock musicians. This single-volume work tracks the careers of well-known as well as many lesser-known but influential rock artists from the period, providing readers with a handy reference to the music from a critical, groundbreaking period in popular culture and its enduring importance. The book covers rock artists who emerged or came to prominence in the period ranging 1965–1975 and follows their careers through the present. It also specifically defines the term "classic rock" and identifies the criteria that a song must meet in order to be considered as within the genre. While the coverage naturally includes the cultural importance and legacy of most well-known American and British bands of the era, it also addresses the influence of artists from Western and Eastern Europe, Africa, Asia, and Latin America. Readers will grasp how the music of the classic rock era was notably more sophisticated than what preceded it-an artistic peak from which most of contemporary rock has descended.

At the heart of our ongoing interest in Walker, says Harrison, is the need to understand the ever-shifting ambitions and arguments that have driven American economic, military, and paramilitary ventures around the globe for the past 150 years.".

Shadow warfare, or lowaEUR"intensity warfare, is constantly being waged around the world. When talks or negotiations break down, the underbelly of government intelligence agencies go to work. The world of international politics and geopolitics is real, and sometimes warfare is the only solution. Meet the Nemesis, a mercenary who is highly skilled and crafty. He gets the job done. This story was first conceived and written in the early 1970s. Any similar historical event thereafter is mere coincidence.

In 1653 Cromwell sent Luke Tremayne and his deputy Harry Lloyd to Paris to negotiate secretly with the exiled King Charles II. After a serious mishap to Luke, Harry is forced to complete the mission alone. Luke is nevertheless gainfully employed by a wealthy French aristocrat the Marquis des Anges to investigate the murder of his first wife and the attempted murder of his second. Harry assists the English courtiers to solve the murder of two young ladies-in-waiting to the Queen Mother Henriette Marie, and together with a Royalist peer is falsely imprisoned and tortured. He escapes and after many life threatening adventures is rescued on the orders of Frances chief minister, Cardinal Mazarin. Meanwhile Lukes investigations are complicated by a feisty abbess, hysterical nuns, a Canadian adventurer, a rampaging bear and a mysterious treasure of English Catholic gold and silverinvestigations that provoke a series of fatal bombings. Harrys determination to find and exact revenge on a renegade French aristocrat responsible for his torture leads him eventually to the French chateau where Luke is pursuing his villains.