Beacon paperback, BP180 Includes bibliography.

Born into slavery during the Civil War, Mary Church Terrell (1863–1954) would become one of the most prominent activists of her time, with a career bridging the late nineteenth century to the civil rights movement of the 1950s. The first president of the National Association of Colored Women and a founding member of the NAACP, Terrell collaborated closely with the likes of Frederick Douglass, Ida B. Wells, and W. E. B. Du Bois. Unceasing Militant is the first full-length biography of Terrell, bringing her vibrant voice and personality to life. Though most accounts of Terrell focus almost exclusively on her public activism, Alison M. Parker also looks at the often turbulent, unexplored moments in her life to provide a more complete account of a woman dedicated to changing the culture and institutions that perpetuated inequality throughout the United States. Drawing on newly discovered letters and diaries, Parker weaves together the joys and struggles of Terrell's personal, private life with the challenges and achievements of her public, political career, producing a stunning portrait of an often-under recognized political leader.

A member of the first generation of scholars allowed access to formerly closed Soviet archives, Daniel Peris offers a new perspective on the Bolshevik regime's antireligious policy from 1917 until 1941. He focuses on the activities of the League of the Militant Godless, the organization founded by the regime in 1925 to spearhead its efforts to promote atheism and he presents the League's propaganda, activities, and personnel at both the central and the provincial levels. On the basis of his research in archives in rural Pskov and industrial Iaroslavl', as well as in the central party and state archives in Moscow, Peris emphasizes the transformation of the ideological agenda formulated in Moscow as it moved to its intended audience. Storming the Heavens places the League within the broader context of a Bolshevik political culture that often acted at cross purposes to undermine the regime's stated goals. The League's lack of success, argues Peris, reflects the bureaucratic orientation of Bolshevik political culture, particularly in how it pursued the radical social vision of 1917. His book provides a framework for undertanding secularization in revolutionary contexts as well as contributing to the on-going reassessments of the Bolshevik era.

When it was originally published in 1984, Michael Crick's treatise on the Militant tendency was widely acclaimed as a masterly work of investigative journalism, and although the rise of Jeremy Corbyn can be attributed more to the phenomenon of 'Corbynmania' than to hard-left entrism, to some within the party, Crick's ground-breaking book must seem like a lesson from history. Updated and expanded, Crick explores the origins, organisation and aims of Militant, the secret Trotskyite organisation that operated clandestinely within the Labour Party, edging out adversaries at grass-roots level and recruiting people to its own ranks, which, at its peak in the mid-1980s, swelled to around 8,000 members. Whilst eventually most of its leaders were expelled, it caused damaging rifts within the party and closed the door to Downing Street for almost a generation.

Militant Acts presents a broad history of the concept and practice of investigations in radical political struggles from the nineteenth century to the present. Radicals launched investigations into the conditions and struggles of the oppressed and exploited to stimulate their political mobilization and organization. These investigations assumed a variety of methodological forms in a wide range of geographical and institutional contexts, and they also drew support from the participation of intellectuals such as Marx, Lenin, Mao, Dunayevskaya, Foucault, and Badiou. Marcelo Hoffman analyzes newspapers, pamphlets, reports, and other source materials, which reveal the diverse histories, underappreciated difficulties, and theoretical import of investigations in radical political struggles. In so doing, he challenges readers to rethink the supposed failure of these investigations and concludes that the value of investigations in radical political struggles ultimately resides in the possibility of producing a new political "we."

Long before September 11, 2001, Daniel Pipes publicly warned Americans that militant Islam had declared war on America--yet sadly, Americans failed to take heed. The publication of Militant Islam Reaches America finally brought Pipes the attention he deserves. Dividing his work into two parts, Pipes first defines militant Islam, stressing the large and crucial difference between Islam, the faith, and the ideology of militant Islam. He then discusses the relatively new subject of Islam in the United States, and how it has developed rapidly in the last decade. In Militant Islam Reaches America, the product of thirty years of extensive research, Pipes provides one of the most incisive examinations of the growing radical Islamic movement ever written.The paperback edition includes a new essay, "Jihad and the Professors."

This history covers the filmmaking tradition often referred to as cinéma militant, which emerged in France during the events of May 1968 and flourished for a decade. While some films produced were created by established filmmakers, including Chris Marker, Jean-Luc Godard, and William Klein, others were helmed by left-wing filmmakers working in the extreme margins of French cinema. This latter group gave voice to underrepresented populations, such as undocumented immigrants (sans papiers), entry-level factory workers (ouvriers spécialisés), highly intellectual Marxist-Leninist collectives, and militant special interest groups. While this book spans the broad history of this uncharted tradition, it particularly focuses on these lesser-known figures and works and the films of Cinélutte, Les groupes medvedkine, Atelier de recherche cinématographique, Cinéthique, and the influential Marxist filmmaker Jean-Pierre Thorn. Each represent a certain tendency of this movement in French film history, offering an invaluable account of a tradition that also sought to share untold histories.

Latin America in the 1960s and 1970s underwent a profound and often violent process of social change. From the Cuban Revolution to the massive guerrilla movements in Argentina, Uruguay, Peru, Colombia, and most of Central America, to the democratic socialist experiment of Allende in Chile, to the increased popularity of socialist-oriented parties in Uruguay, or para-socialist movements, such as the Juventud Peronista in Argentina, the idea of social change was in the air. Although this topic has been explored from a political and social point of view, there is an aspect that has remained fairly unexplored. The cultural—and especially musical—dimension of this movement, so vital in order to comprehend the extent of its emotional appeal, has not been fully documented. Without an account of how music was pervasively used in the construction of the emotional components that always accompany political action, any explanation of what occurred in Latin America during that period will be always partial. This bookis an initial attempt to overcome this deficit. In this collection of essays, we examine the history of the militant song movement in Chile, Uruguay, and Argentina at the peak of its popularity (from the mid-1960s to the coup d’états in the mid-1970s), considering their different political stances and musical deportments. Throughout the book, the contribution of the most important musicians of the movement (Violeta Parra, Víctor Jara, Patricio Manns, Quilapayún, Inti-Illimani, etc., in Chile; Daniel Viglietti, Alfredo Zitarrosa, Los Olimareños, etc., in Uruguay; Atahualpa Yupanqui, Horacio Guarany, Mercedes Sosa, Marian Farías Gómez, Armando Tejada Gómez, César Isella, Víctor Heredia, Los Trovadores, etc., in Argentina) are highlighted; and some of the most important conceptual extended oeuvres of the period (called “cantatas”) are analyzed (such as “La Cantata Popular Santa María de Iquique” in the Chilean case and “Montoneros” in the Argentine case). The contributors to the collection deal with the complex relationship that the aesthetic of the movement established between the political content of the lyrics and the musical and performative aspects of the most popular songs of the period.

Militant Modernism is a defence against Modernism's many detractors. It looks at design, film and architecture - especially architecture — and pursues the notion of an evolved modernism that simply refuses to stop being necessary. Owen Hatherley gives us new ways to look at what we thought was familiar — Bertolt Brecht, Le Corbusier, even Vladimir Mayakovsky. Through Hatherley's eyes we see all of the quotidian modernists of the 20th century - lesser lights, too — perhaps understanding them for the first time. Whether we are looking at Britain's brutalist aesthetics, Russian Constructivism, or the Sexpol of Wilhelm Reich, the message is clear. There is no alternative to Modernism.

In Militant Citizenship: Rhetorical Strategies of the National Woman's Party, 1913-1920, Belinda A. Stillion Southard explores the ways in which the militant NWP negotiated institutional opposition and secured such a prominent position in national politics.