Globalization has accelerated the process of social, political, cultural, and especially economic transformations since the 1990s. Examining the choices of modern society, Dahms and contributors ask: what are the social costs of “progress”?

While post- and decolonial theorists have thoroughly debunked the idea of historical progress as a Eurocentric, imperialist, and neocolonialist fallacy, many of the most prominent contemporary thinkers associated with the Frankfurt School—Jürgen Habermas, Axel Honneth, and Rainer Forst—have defended ideas of progress, development, and modernity and have even made such ideas central to their normative claims. Can the Frankfurt School's goal of radical social change survive this critique? And what would a decolonized critical theory look like? Amy Allen fractures critical theory from within by dispensing with its progressive reading of history while retaining its notion of progress as a political imperative, so eloquently defended by Adorno. Critical theory, according to Allen, is the best resource we have for achieving emancipatory social goals. In reimagining a decolonized critical theory after the end of progress, she rescues it from oblivion and gives it a future.

The recent lawsuit against Kinko's Copies for copyright infringement has exposed the confusion and heightened the fear of liability surrounding copyright issues in colleges and universities. This volume offers an enlightening explanation of copyright and the ambiguous concept of fair use as they affect and are affected by higher education. In the first large-scale study of its kind, Kenneth D. Crews surveys the copyright policies of ninety-eight American research universities. His analysis reveals a variety of ways in which universities have responded to—and how they could better manage—the conflicting goals of copyright policies: avoiding infringements while promoting lawful uses that serve teaching and research. He explains in detail the background of copyright law and congressional guidelines affecting familiar uses of photocopies, videotapes, software, and reserve rooms. Crews concludes that most universities are overly conservative in their interpretation of copyright and often neglect their own interests, adding unnecessary costs and obstacles to the lawful dissemination of information. Copyright, Fair Use, and the Challenge for Universities provides administrators, instructors, lawyers, librarians, and educational leaders a much-needed exegesis of copyright and how it can better serve higher education.

This text presents Alfred Marshall's final, unfinished, and unpublished book. His main volume, Principles of Economics, was first published in 1890, and was, for a long period of time, the textbook par excellence on which generations of economists were trained. Despite its success and its importance, the book, in its eight editions, testifies to some extent to the failure of Marshall's original editorial project which should have consisted of multiple volumes and culminated with the publication of a final work on economic progress. Marshall's death in 1924 made it impossible to realize his project, but many notes written for it have survived. These notes, collected here, constitute a fundamental element in fully understanding the thought and perspectives of this great economist and in appreciating his great modernity and wisdom.

Do you lack confidence, grit, endurance, fortitude, self-esteem and all the other things that don't just make someone great, but successful in everything they do?What if you could completely transform yourself into someone who could do anything? I'm not talking about the change that happens for a week or a month or a year...but for your whole life? What would that legitimately and realistically be worth to you?Everybody tries to tell themselves that they are "special" or "great"...but it's just talk. It's not reality.This book tells you how to do that. It doesn't cost anything to execute this program...but it ain't free.I guarantee if you do exactly as I tell you to do it with no compromises and zero substitutions...you and your life will never be the same.-Andy Frisella

"57 steel engravings by various artists, many from photographs. 1 heliographic engraving from a photographic portrait of James W. Gerard. Half-tone by Frederick W. Von Egloffstein's Heliographic Engrav. & Print Co. 135 West 25th St., N.Y. It is interesting that out of 58 portraits only one would be done in a photomechanical process. Breaking new ground was probably not easy: entrenched notions of the proper way to do portrait engravings and possibly the cost prohibition of the new process kept people from trying it." -- Hanson Collection Catalogue, p. 37-38.