Imagine yourself in Weimar Germany: you are visually inundated with depictions of dance. Perusing a women’s magazine, you find photograph after photograph of leggy revue starlets, clad in sequins and feathers, coquettishly smiling at you. When you attend an art exhibition, you encounter Otto Dix’s six-foot-tall triptych Metropolis, featuring Charleston dancers in the latest luxurious fashions, or Emil Nolde’s watercolors of Mary Wigman, with their luminous blues and purples evoking her choreographies’ mystery and expressivity. Invited to the Bauhaus, you participate in the Metallic Festival, and witness the school’s transformation into a humorous, shiny, technological total work of art; you costume yourself by strapping a metal plate to your head, admire your reflection in the tin balls hanging from the ceiling, and dance the Bauhaus’ signature step in which you vigorously hop and stomp late into the night. Yet behind the razzle dazzle of these depictions and experiences was one far more complex involving issues of gender and the body during a tumultuous period in history, Germany’s first democracy (1918-1933). Rather than mere titillation, the images copiously illustrated and analyzed in Marking Modern Movement illuminate how visual artists and dancers befriended one another and collaborated together. In many ways because of these bonds, artists and dancers forged a new path in which images revealed artists’ deep understanding of dance, their dynamic engagement with popular culture, and out of that, a possibility of representing women dancers as cultural authorities to be respected. Through six case studies, Marking Modern Movement explores how and why these complex dynamics occurred in ways specific to their historical moment. Extensively illustrated and with color plates, Marking Modern Movement is a clearly written book accessible to general readers and undergraduates. Coming at a time of a growing number of major art museums showcasing large-scale exhibitions on images of dance, the audience exists for a substantial general-public interest in this topic. Conversing across German studies, art history, dance studies, gender studies, and popular culture studies, Marking Modern Movement is intended to engage readers coming from a wide range of perspectives and interests.

Imagine yourself in Weimar Germany: you are visually inundated with depictions of dance. Perusing a women’s magazine, you find photograph after photograph of leggy revue starlets, clad in sequins and feathers, coquettishly smiling at you. When you attend an art exhibition, you encounter Otto Dix’s six-foot-tall triptych Metropolis, featuring Charleston dancers in the latest luxurious fashions, or Emil Nolde’s watercolors of Mary Wigman, with their luminous blues and purples evoking her choreographies’ mystery and expressivity. Invited to the Bauhaus, you participate in the Metallic Festival, and witness the school’s transformation into a humorous, shiny, technological total work of art; you costume yourself by strapping a metal plate to your head, admire your reflection in the tin balls hanging from the ceiling, and dance the Bauhaus’ signature step in which you vigorously hop and stomp late into the night. Yet behind the razzle dazzle of these depictions and experiences was one far more complex involving issues of gender and the body during a tumultuous period in history, Germany’s first democracy (1918-1933). Rather than mere titillation, the images copiously illustrated and analyzed in Marking Modern Movement illuminate how visual artists and dancers befriended one another and collaborated together. In many ways because of these bonds, artists and dancers forged a new path in which images revealed artists’ deep understanding of dance, their dynamic engagement with popular culture, and out of that, a possibility of representing women dancers as cultural authorities to be respected. Through six case studies, Marking Modern Movement explores how and why these complex dynamics occurred in ways specific to their historical moment. Extensively illustrated and with color plates, Marking Modern Movement is a clearly written book accessible to general readers and undergraduates. Coming at a time of a growing number of major art museums showcasing large-scale exhibitions on images of dance, the audience exists for a substantial general-public interest in this topic. Conversing across German studies, art history, dance studies, gender studies, and popular culture studies, Marking Modern Movement is intended to engage readers coming from a wide range of perspectives and interests.

The period between 1880 and 1918, at the end of which Jim Crow was firmly established and the Great Migration of African Americans was well under way, was not the nadir for black culture, James Smethurst reveals, but instead a time of profound response fr

Given their tendency to splinter over tactics and goals, social movements are rarely unified. Following the modern Western animal rights movement over thirty years, Corey Lee Wrennapplies the sociological theory of Bourdieu, Goffman, Weber, and contemporary social movement researchers to examine structural conditions in the animal rights movement, facilitating factionalism in today’s era of professionalized advocacy. Modern social movements are dominated by bureaucratically oriented nonprofits, a special arrangement that creates tension between activists and movement elites who compete for success in a corporate political arena. Piecemeal Protest examines the impact of nonprofitization on factionalism and a movement’s ability to mobilize, resonate, and succeed. Wrenn’sexhaustive analysis of archival movement literature and exclusive interviews with movement leaders illustrate how entities with greater symbolic capital are positioned to monopolize claims-making, disempower competitors, and replicate hegemonic power, eroding democratic access to dialogue and decision-making essential for movement health. Piecemeal Protest examines social movement behavior shaped by capitalist ideologies and state interests. As power concentrates to the disadvantage of marginalized factions in the modern social movement arena, Piecemeal Protest shines light on processes of factionalism and considers how, in the age of nonprofits, intra-movement inequality could stifle social progress.

A major theoretical work by Brazilian dance scholar Christine Greiner explores the political relevance of bodily arts in the age of neoliberal globalization

A book on artists and architects from Britain, USA and Europe and how the best remains today where laid by a small group of people who thought and taught as well as designed.

Using in-depth interviews with architects active between 1928-1953, Gold provides a sympathetic understanding of the Modern Movement's architectural role in reshaping British metropolitan cities in the post-war period.

The issues that increasingly dominate the 21st century cannot be solved by any single country acting alone, no matter how powerful. To manage the global economy, prevent runaway environmental destruction, reign in nuclear proliferation, or confront other global challenges, we must cooperate. But at the same time, our tools for global policymaking - chiefly state-to-state negotiations over treaties and international institutions - have broken down. The result is gridlock, which manifests across areas via a number of common mechanisms. The rise of new powers representing a more diverse array of interests makes agreement more difficult. The problems themselves have also grown harder as global policy issues penetrate ever more deeply into core domestic concerns. Existing institutions, created for a different world, also lock-in pathological decision-making procedures and render the field ever more complex. All of these processes - in part a function of previous, successful efforts at cooperation - have led global cooperation to fail us even as we need it most. Ranging over the main areas of global concern, from security to the global economy and the environment, this book examines these mechanisms of gridlock and pathways beyond them. It is written in a highly accessible way, making it relevant not only to students of politics and international relations but also to a wider general readership.

Marks of a Movement calls us back to the disciple-making mandate of the church through the timeless wisdom of John Wesley and the Methodist movement. With a love for history and a passion for today’s church, Winfield helps us reimagine church multiplication in a way that focuses on making and multiplying disciples for the twenty-first century. Winfield Bevins reminds us of the vital multiplication lessons from the Wesleyan movement, one of the greatest missional movements the world has ever known. He highlights the necessity of discipleship as the starting point and the abiding strategic practice that is key to all lasting missional impact in and through movements. The Methodist movement is an example of the power of multiplying movements that utilize the strategy of discipleship. Within a generation, one in thirty people who were living in Britain had become Methodists, and the movement soon became a worldwide phenomenon. We in the Western Church need a movement of historic proportions once again. What would such a multiplication movement look like for us today? We must look to the past to gain wisdom for the future. And as we look at the pages of church history, there is no better example of a multiplication movement in the West than the Methodist movement of the eighteenth and nineteenth centuries. Marks of a Movement highlights the lessons and key insights that enable us to learn from the past and reapply this timeless, biblical wisdom for today.