COVID-19 is the most significant global crisis of any of our lifetimes. The numbers have been stupefying, whether of infection and mortality, the scale of public health measures, or the economic consequences of shutdown. Coronavirus Politics identifies key threads in the global comparative discussion that continue to shed light on COVID-19 and shape debates about what it means for scholarship in health and comparative politics. Editors Scott L. Greer, Elizabeth J. King, Elize Massard da Fonseca, and André Peralta-Santos bring together over 30 authors versed in politics and the health issues in order to understand the health policy decisions, the public health interventions, the social policy decisions, their interactions, and the reasons. The book’s coverage is global, with a wide range of key and exemplary countries, and contains a mixture of comparative, thematic, and templated country studies. All go beyond reporting and monitoring to develop explanations that draw on the authors' expertise while engaging in structured conversations across the book.

DIVThe first major book to argue in favor of affirmative action in higher education since Bowen and Bok's The Shape of the River /div

In this issue Letter from the Editor Ying Zhu Hong Kong and Social Movements Hong Kong Unraveled: Social Media and the 2019 Protest Movement Anonymous Unleashing the Sounds of Silence: Hong Kong's Story in Troubled Times Andrea Riemenschnitter Tragedy of Errors at Warp Speed Sam Ho Imagining a City-Based Democracy: Review of The Appearing Demos: Hong Kong During and After the Umbrella Movement by Laikwan Pang, University of Michigan Press, 2020 Enoch Tam Building and Documenting National and Transnational Cinema China and the Film Festival Richard Peña Nationalism from Below: State Failures, Nollywood, and Nigerian Pidgin Jonathan Haynes Collective Memory and the Rhetorical Power of the Historical Fiction Film Carl Plantinga From Nations to Worlds: Chris Marker's Si j'avais quatre dromadaires Michael Walsh Sino-US Relations American Factory and the Difficulties of Documenting Neoliberalism Peter Hitchcock R.I.P. Soft Power: China's Story Meets the Reset Button: Review of Soft Power with Chinese Characteristics: China's Campaign for Hearts and Minds edited by Kingsley Edney, Stanley Rosen, and Ying Zhu, Routledge, 2019 Robert A. Kapp The Narrative of Virus Review: On Epidemics, Epidemiology, and Global Storytelling Carlos Rojas

A concise introduction to the basics of open access, describing what it is (and isn't) and showing that it is easy, fast, inexpensive, legal, and beneficial. The Internet lets us share perfect copies of our work with a worldwide audience at virtually no cost. We take advantage of this revolutionary opportunity when we make our work “open access”: digital, online, free of charge, and free of most copyright and licensing restrictions. Open access is made possible by the Internet and copyright-holder consent, and many authors, musicians, filmmakers, and other creators who depend on royalties are understandably unwilling to give their consent. But for 350 years, scholars have written peer-reviewed journal articles for impact, not for money, and are free to consent to open access without losing revenue. In this concise introduction, Peter Suber tells us what open access is and isn't, how it benefits authors and readers of research, how we pay for it, how it avoids copyright problems, how it has moved from the periphery to the mainstream, and what its future may hold. Distilling a decade of Suber's influential writing and thinking about open access, this is the indispensable book on the subject for researchers, librarians, administrators, funders, publishers, and policy makers.

A dynamic multimedia introduction to the global connections among peoples and their music

WITH A FOREWORD BY LISA M. FINE, MICHIGAN STATE UNIVERSITY—Michigan’s Upper Peninsula is known for its natural beauty and severe winters, as well as the mines and forests where men labored to feed industrial factories elsewhere in the nineteenth and twentieth centuries. But there were factories in the Upper Peninsula, too, and women who worked in them. Phyllis Michael Wong tells the stories of the Gossard Girls, women who sewed corsets and bras at factories in Ishpeming and Gwinn from the early twentieth century to the 1970s. As the Upper Peninsula’s mines became increasingly exhausted and its stands of timber further depleted, the Gossard Girls’ income sustained both their families and the local economy. During this time the workers showed their political and economic strength, including a successful four-month strike in the 1940s that capped an eight-year struggle to unionize. Drawing on dozens of interviews with the surviving workers and their families, this book highlights the daily challenges and joys of these mostly first- and second-generation immigrant women. It also illuminates the way the Gossard Girls navigated shifting ideas of what single and married women could and should do as workers and citizens. From cutting cloth and distributing materials to getting paid and having fun, Wong gives us a rare ground-level view of piecework in a clothing factory from the women on the sewing room floor.

The Michigan English Test (MET) is a standardized international examination designed by Michigan Language Assessment and aimed at upper-beginner to advanced levels--A2 to C1 of the Common European Framework of Reference for Languages. The test assesses general English language proficiency in educational, social, and workplace contexts. The MET is intended for adults and adolescents at or above a secondary level of education who want to measure their general English language proficiency in a variety of linguistic contexts. The test results can be used for educational purposes, such as when finishing an English language course, or for employment purposes, like when applying for a job or pursuing a promotion that requires an English language qualification. The Official MET Practice Test Book is the first book to provide specific test-preparation materials for the MET. The Classroom Edition, designed for school use (the self-study version can be found at https: //www.press.umich.edu/11390380/official_met_practice_test_book_with_answers), includes: 4 complete practice tests (Listening, Reading and Grammar, Writing) 4 sets of Speaking test prompts tips for preparing for the different sections of the tests a progress tracking log for recording practice test scores selected practice test vocabulary lists actual test form instructions and a sample answer sheet The audio for the Listening section can be accessed online at https: //umichigan.pressbooks.pub/metpracticeclassroom/. For more information about the MET, go to www.michiganassessment.org

Housed on the campus of the University of Michigan in Ann Arbor, the University Musical Society is one of the oldest performing arts presenters in the country. A past recipient of the National Medal of Arts, the nation’s highest public artistic honor, UMS connects audiences with wide-ranging performances in music, dance, and theater each season.Between 1987 and 2017, UMS was led by Ken Fischer, who over three decades pursued an ambitious campaign to expand and diversify the organization’s programming and audiences—initiatives inspired by Fischer’s overarching philosophy toward promoting the arts, “Everybody In, Nobody Out.” The approach not only deepened UMS’s engagement with the university and southeast Michigan communities, it led to exemplary partnerships with distinguished artists across the world. Under Fischer’s leadership, UMS hosted numerous breakthrough performances, including the Vienna Philharmonic’s final tour with Leonard Bernstein, appearances by then relatively unknown opera singer Cecilia Bartoli, a multiyear partnership with the Royal Shakespeare Company, and artists as diverse as Yo-Yo Ma, Jawole Willa Jo Zollar, Elizabeth Streb, and Nusrat Fateh Ali Khan. Though peppered with colorful anecdotes of how these successes came to be, this book is neither a history of UMS nor a memoir of Fischer’s significant accomplishments with the organization. Rather it is a reflection on the power of the performing arts to engage and enrich communities—not by handing down cultural enrichment from on high, but by meeting communities where they live and helping them preserve cultural heritage, incubate talent, and find ways to make community voices heard.

Modern academic criticism bursts with what Eve Kosofsky Sedgwick once termed paranoid readings—interpretative feats that aim to prove a point, persuade an audience, and subtly denigrate anyone who disagrees. Driven by strategies of negation and suspicion, such rhetoric tends to drown out softer-spoken reparative efforts, which forego forceful argument in favor of ruminations on pleasure, love, sentiment, reform, care, and accessibility. Just Vibrations: The Purpose of Sounding Good calls for a time-out in our serious games of critical exchange. Charting the divergent paths of paranoid and reparative affects through illness narratives, academic work, queer life, noise pollution, sonic torture, and other touchy subjects, William Cheng exposes a host of stubborn norms in our daily orientations toward scholarship, self, and sound. How we choose to think about the perpetration and tolerance of critical and acoustic offenses may ultimately lead us down avenues of ethical ruin—or, if we choose, repair. With recourse to experimental rhetoric, interdisciplinary discretion, and the playful wisdoms of childhood, Cheng contends that reparative attitudes toward music and musicology can serve as barometers of better worlds.

New material featured in this edition includes updates and replacements of older data sets, a broader range of disciplines represented in models and examples, a discussion of discourse analysis, and tips for Internet communication.