Paul Mumford is a noted stock-picker with over 50 years’ experience in the markets - first as a stock broker and then as a star fund manager. In The Stock Picker, Mumford takes a deeply personal look back at his time investing: exploring not only the secrets of his successful approach to the markets and how to find great shares but reminiscing about the changes that have taken place in the investing world since the early 1960s. This book is not an investing how-to: instead it is a financial history straight from the horse’s mouth. While there is much for investors to learn from, it is an also evocative window into a vanished City of stock jobbers, messenger boys, luncheon vouchers and ledger-keepers - not to mention financial crises, booms and busts, and the life and death of companies great and small. Mumford also covers how his own personal life has influenced his stock-picking approach: from running his own bookmaking business as a schoolboy to an ill-fated attempt at oil painting at night school (not to mention the vibrant music scene of the late 1950s). The Stock Picker is a charming and readable autobiography that pulls no punches - ideal for any investor interested in what has made a leading fund manager tick, or who simply wants to spend some time nostalgically looking back at how the investing and wider world has changed over the years.

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

Digital transformation increasingly drives economic growth in the rich capitalist democracies, but orienting production around digital technologies is associated with rising inequality and spreading precarity. In Recoding Power, Rothstein outlines three tactics that workers can use to build power in the current episode of economic transition, where they otherwise lack access to traditional power-resources like unions and institutions for social protection. Drawing on four in-depth case studies of workers responding to mass layoffs at tech firms in the United States and Germany, Rothstein shows.

Unger provocatively breaks with what he terms the conservatism of present day philosophy, and returns to central themes from Descartes, Locke, Hume and others. He sets out to answer profoundly difficult human questions about ourselves and the world in this philosophical journey into the nature of reality.

This book tracks the progress of 12 countries on five continents in moving resources from defense to civilian activity in the 1990s. Based on intensive research, it addresses each country with an impressive standard of scholarship.

In Composing for the Revolution: Nie Er and China’s Sonic Nationalism, Joshua Howard explores the role the songwriter Nie Er played in the 1930s proletarian arts movement and the process by which he became a nationalist icon. Composed only months before his untimely death in 1935, Nie Er’s last song, the “March of the Volunteers,” captured the rising anti-Japanese sentiment and was selected as China’s national anthem with the establishment of the People’s Republic. Nie was quickly canonized after his death and later recast into the “People’s Musician” during the 1950s, effectively becoming a national monument. Howard engages two historical paradigms that have dominated the study of twentiethcentury China—revolution and modernity. He argues that active in the leftist artistic community and critical of capitalism, Nie Er availed himself of media technology, especially the emerging sound cinema, to create a modern, revolutionary, and nationalist music. This thesis stands as a powerful corrective to a growing literature on the construction of a Chinese modernity, which has privileged the mass consumer culture of Shanghai and consciously sought to displace the focus on China’s revolutionary experience. Composing for the Revolution also provides insight into understudied aspects of China’s nationalism—its sonic and musical dimensions. Howard’s analyses highlights Nie’s extensive writings on the political function of music, examination of the musical techniques and lyrics of compositions within the context of left-wing cinema, and also the transmission of his songs through film, social movements, and commemoration. Nie Er shared multiple and overlapping identities based on regionalism, nationalism, and left-wing internationalism. His march songs, inspired by Soviet “mass songs,” combined Western musical structure and aesthetic with elements of Chinese folk music. The songs’ ideological message promoted class nationalism, but his “March of the Volunteers” elevated his music to a universal status thereby transcending the nation. Traversing the life and legacy of Nie Er, Howard offers readers a profound insight into the meanings of nationalism and memory in contemporary China. Composing for the Revolution underscores the value of careful reading of sources and the author’s willingness to approach a subject from multiple perspectives.