In response to the tragedy of the Ludlow Massacre, John D. Rockefeller Jr. introduced one of the nation’s first employee representation plans (ERPs) to the Colorado Fuel and Iron Company in 1915. With the advice of William Mackenzie King, who would go on to become prime minister of Canada, the plan—which came to be known as the Rockefeller Plan—was in use until 1942 and became the model for ERPs all over the world.In Representation and Rebellion Jonathan Rees uses a variety of primary sources—including records recently discovered at the company’s former headquarters in Pueblo, Colorado—to tell the story of the Rockefeller Plan and those who lived under it, as well as to detail its various successes and failures. Taken as a whole, the history of the Rockefeller Plan is not the story of ceaseless oppression and stifled militancy that its critics might imagine, but it is also not the story of the creation of a paternalist panacea for labor unrest that Rockefeller hoped it would be.Addressing key issues of how this early twentieth-century experiment fared from 1915 to 1942, Rees argues that the Rockefeller Plan was a limited but temporarily effective alternative to independent unionism in the wake of the Ludlow Massacre. The book will appeal to business and labor historians, political scientists, and sociologists, as well as those studying labor and industrial relations.

Some rebel groups abuse noncombatant populations, while others exhibit restraint. Insurgent leaders in some countries transform local structures of government, while others simply extract resources for their own benefit. In some contexts, groups kill their victims selectively, while in other environments violence appears indiscriminate, even random. This book presents a theory that accounts for the different strategies pursued by rebel groups in civil war, explaining why patterns of insurgent violence vary so much across conflicts. It does so by examining the membership, structure, and behavior of four insurgent movements in Uganda, Mozambique, and Peru. Drawing on interviews with nearly two hundred combatants and civilians who experienced violence firsthand, it shows that rebels' strategies depend in important ways on how difficult it is to launch a rebellion. The book thus demonstrates how characteristics of the environment in which rebellions emerge constrain rebel organization and shape the patterns of violence that civilians experience.

An engaging and enlightening account of taxation told through lively, dramatic, and sometimes ludicrous stories drawn from around the world and across the ages Governments have always struggled to tax in ways that are effective and tolerably fair. Sometimes they fail grotesquely, as when, in 1898, the British ignited a rebellion in Sierra Leone by imposing a tax on huts—and, in repressing it, ended up burning the very huts they intended to tax. Sometimes they succeed astonishingly, as when, in eighteenth-century Britain, a cut in the tax on tea massively increased revenue. In this entertaining book, two leading authorities on taxation, Michael Keen and Joel Slemrod, provide a fascinating and informative tour through these and many other episodes in tax history, both preposterous and dramatic—from the plundering described by Herodotus and an Incan tax payable in lice to the (misremembered) Boston Tea Party and the scandals of the Panama Papers. Along the way, readers meet a colorful cast of tax rascals, and even a few tax heroes. While it is hard to fathom the inspiration behind such taxes as one on ships that tended to make them sink, Keen and Slemrod show that yesterday’s tax systems have more in common with ours than we may think. Georgian England’s window tax now seems quaint, but was an ingenious way of judging wealth unobtrusively. And Tsar Peter the Great’s tax on beards aimed to induce the nobility to shave, much like today’s carbon taxes aim to slow global warming. Rebellion, Rascals, and Revenue is a surprising and one-of-a-kind account of how history illuminates the perennial challenges and timeless principles of taxation—and how the past holds clues to solving the tax problems of today.

"Representation of political power seems to have been necessary at all times in all complex urban societies. To secure order - to construct a certain social, ideological, religious, economic, and cultural stability - seems to be one of the main intentions of representation. When order breaks down or is threatened, political power comes under threat, and the cohesion of the community is also in jeopardy." "In times of impending change, crisis, or disorder, special effort is required to reassure the community of the rulers' ability to maintain stability. What those in power did to convince the affected communities of their qualities as rulers, that is, their representational strategies - especially in times of change - is the subject of this book, explored through examination of case studies drawn from the ancient Near East. The volume is divided into three thematic parts: "Reestablishment of Order after Major Disruption," "Changing Order from Within," and "Perceptions of New Order.""--BOOK JACKET.

A bold new interpretation of Nat Turner and the slave rebellion that stunned the American South In 1831 Virginia, Nat Turner led a band of Southampton County slaves in a rebellion that killed fifty-five whites, mostly women and children. After more than two months in hiding, Turner was captured, and quickly convicted and executed. In the Matter of Nat Turner penetrates the historical caricature of Turner as befuddled mystic and self-styled Baptist preacher to recover the haunting persona of this legendary American slave rebel, telling of his self-discovery and the dawning of his Christian faith, of an impossible task given to him by God, and of redemptive violence and profane retribution. Much about Turner remains unknown. His extraordinary account of his life and rebellion, given in chains as he awaited trial in jail, was written down by an opportunistic white attorney and sold as a pamphlet to cash in on Turner’s notoriety. But the enigmatic rebel leader had an immediate and broad impact on the American South, and his rebellion remains one of the most momentous episodes in American history. Christopher Tomlins provides a luminous account of Turner's intellectual development, religious cosmology, and motivations, and offers an original and incisive analysis of the Turner Rebellion itself and its impact on Virginia politics. Tomlins also undertakes a deeply critical examination of William Styron’s 1967 novel, The Confessions of Nat Turner, which restored Turner to the American consciousness in the era of civil rights, black power, and urban riots. A speculative history that recovers Turner from the few shards of evidence we have about his life, In the Matter of Nat Turner is also a unique speculation about the meaning and uses of history itself.

A challenge to received ideas about 'revolution in English seventeenth- and eighteenth-century history.

L.A. Rebellion: Creating a New Black Cinema is the first book dedicated to the films and filmmakers of the L.A. Rebellion, a group of African, Caribbean, and African American independent film and video artists that formed at the University of California, Los Angeles, in the 1970s and 1980s. The group—including Charles Burnett, Julie Dash, Haile Gerima, Billy Woodberry, Jamaa Fanaka, and Zeinabu irene Davis—shared a desire to create alternatives to the dominant modes of narrative, style, and practice in American cinema, works that reflected the full complexity of Black experiences. This landmark collection of essays and oral histories examines the creative output of the L.A. Rebellion, contextualizing the group's film practices and offering sustained analyses of the wide range of works, with particular attention to newly discovered films and lesser-known filmmakers. Based on extensive archival work and preservation, this collection includes a complete filmography of the movement, over 100 illustrations (most of which are previously unpublished), and a bibliography of primary and secondary materials. This is an indispensible sourcebook for scholars and enthusiasts, establishing the key role played by the L.A. Rebellion within the histories of cinema, Black visual culture, and postwar art in Los Angeles.

Accounts of Jack Cade's 1450 Rebellion-an uprising of some 30,000 middle-class citizens, protesting Henry VI's policies, and resulting in hundreds of deaths as well as the leaders' execution-form the dominant entry in a group of quasi-historical documents referred to as the London chronicles of the Fifteenth Century. However, each chronicle is inherently different and highly subjective. In the first study of the primary documents related to the Cade Rebellion, Alexander L. Kaufman shows that the chroniclers produced multiple representations of the event rather than a single, unified narrative. Aided by contemporary theories of historiography and historical representation, Kaufman scrutinizes the differing representations and distinguishes the writers' objectiveness, their underrated literary skills, and their ideological positions on the rebellion and fifteenth-century politics. He demonstrates how the use of figurative language is related to writing about trauma, and how descriptions of Cade's procession through London are a violent parody of midsummer festivals. In an exploration of authenticity in the descriptions of Cade, Kaufman also examines the characterization and plot devices that push Cade towards the realm of myth, showing that representations of Cade are influenced by popular fifteenth-century stories of Robin Hood.

Revolution and Rebellion in Mexican Film examines Mexican films of political conflict from the early studio Revolutionary films of the 1930-50s up to the campaigning Zapatista films of the 2000s. Mapping this evolution out for the first time, the author takes three key events under consideration: the Mexican Revolution (1910-1920); the student movement and massacre in 1968; and, finally, the more recent Zapatista Rebellion (1994-present). Analyzing films such as Vamanos con Pancho Villa (1936), El Grito (1968), and Corazon del Tiempo (2008), the author uses the term 'political conflict' to refer to those violent disturbances, dramatic periods of confrontation, injury and death, which characterize particular historical events involving state and non-state actors that may have a finite duration, but have a long-lasting legacy on the nation. These conflicts have been an important component of Mexican film since its inception and include studio productions, documentaries, and independent films.