"Examines the wide-ranging influence of games and play on the development of modern art in the twentieth century"--Provided by publisher.

The Drug Wars in America, 1940–1973 argues that the US government has clung to its militant drug war, despite its obvious failures, because effective control of illicit traffic and consumption were never the critical factors motivating its adoption in the first place. Instead, Kathleen J. Frydl shows that the shift from regulating illicit drugs through taxes and tariffs to criminalizing the drug trade developed from, and was marked by, other dilemmas of governance in an age of vastly expanding state power. Most believe the 'drug war' was inaugurated by President Richard Nixon's declaration of a war on drugs in 1971, but in fact his announcement heralded changes that had taken place in the two decades prior. Frydl examines this critical interval of time between regulation and prohibition, demonstrating that the war on drugs advanced certain state agendas, such as policing inner cities or exercising power abroad.

The artists in Rock, Paper, Scissors--Nujoom Alghanem, Sara Al Haddad, Vikram Divecha, Ramin & Ronki Haerizadeh and Hesam Rahmanian, Hind Mezaina, Deepak Unnikrishnan, WTD magazine, Lantian Xie and Mohamed Yousif--enact the habitation of home through playful gestures and acts.

Agents of Subversion reconstructs the remarkable story of a botched mission into Manchuria, showing how it fit into a wider CIA campaign against Communist China and highlighting the intensity—and futility—of clandestine operations to overthrow Mao. In the winter of 1952, at the height of the Korean War, the CIA flew a covert mission into China to pick up an agent. Trained on a remote Pacific island, the agent belonged to an obscure anti-communist group known as the Third Force based out of Hong Kong. The exfiltration would fail disastrously, and one of the Americans on the mission, a recent Yale graduate named John T. Downey, ended up a prisoner of Mao Zedong's government for the next twenty years. Unraveling the truth behind decades of Cold War intrigue, John Delury documents the damage that this hidden foreign policy did to American political life. The US government kept the public in the dark about decades of covert activity directed against China, while Downey languished in a Beijing prison and his mother lobbied desperately for his release. Mining little-known Chinese sources, Delury sheds new light on Mao's campaigns to eliminate counterrevolutionaries and how the chairman of the Chinese Communist Party used captive spies in diplomacy with the West. Agents of Subversion is an innovative work of transnational history, and it demonstrates both how the Chinese Communist regime used the fear of special agents to tighten its grip on society and why intellectuals in Cold War America presciently worried that subversion abroad could lead to repression at home.

The authors of the Fifth Edition of Human Relations and Corrections contend that effective relationships are the key component to correctional successes. The inmate, judge, probation officer, correctional officer, counselor, cleric, warden/superintendent, and others interact to form critical relationships that can either enhance or detract from the rehabilitative and correctional potential of incarcerated offenders, as well as those on probation and parole. This thought-provoking collection of case studies enables the reader to assume each of these roles, engages them in ethical analysis of real-life situations, and immerses them in the complex decision-making processes necessary to solve the problems encountered in today's correctional process.

During the Cold War, Radio Free Europe and Radio Liberty broadcast uncensored news and commentary to people living in communist nations. As critical elements of the CIA's early covert activities against communist regimes in Eastern Europe, the Munich-based stations drew a large audience despite efforts to jam the broadcasts and ban citizens from listening to them. This history of the stations in the Cold War era reveals the perils their staff faced from the Soviet Union, Bulgaria, Romania and other communist states. It recounts in detail the murder of writer Georgi Markov, the 1981 bombing of the stations by "Carlos the Jackal," infiltration by KGB agent Oleg Tumanov and other events. Appendices include security reports, letters between Carlos the Jackal and German terrorist Johannes Weinrich and other documents, many of which have never been published.

The postwar histories of Paris and Amsterdam have been significantly defined by the notion of the “underground” as both a material and metaphorical space. Examining the underground traffic between the two cities, this book interrogates the countercultural histories of Paris and Amsterdam in the mid to late-twentieth century. Shuttling between Paris and Amsterdam, as well as between postwar avant-gardism and twenty-first century global urbanism, this interdisciplinary book seeks to create a mirroring effect over the notion of the underground as a driving force in the making of the contemporary European city.

In Surrealism at Play Susan Laxton writes a new history of surrealism in which she traces the centrality of play to the movement and its ongoing legacy. For surrealist artists, play took a consistent role in their aesthetic as they worked in, with, and against a post-World War I world increasingly dominated by technology and functionalism. Whether through exquisite-corpse drawings, Man Ray’s rayographs, or Joan Miró’s visual puns, surrealists became adept at developing techniques and processes designed to guarantee aleatory outcomes. In embracing chance as the means to produce unforeseeable ends, they shifted emphasis from final product to process, challenging the disciplinary structures of industrial modernism. As Laxton demonstrates, play became a primary method through which surrealism refashioned artistic practice, everyday experience, and the nature of subjectivity.

The overriding aim of this groundbreaking volume—whether the subject is vocal ornamentation in 19th-century opera or the collective improvisation of the Grateful Dead—is to give new recognition to performance as the core of musical culture. The collection brings together renowned scholars from performance studies and musicology (including Philip Auslander, David Borgo, Daphne Brooks, Nicholas Cook, Maria Delgado, Susan Fast, Dana Gooley, Philip Gossett, Jason King, Elisabeth Le Guin, Aida Mbowa, Ingrid Monson, Roger Moseley, Richard Pettengill, Joseph Roach, and Margaret Savilonis), with the intent of sparking a productive new dialogue on music as performance. Taking It to the Bridge is on the one hand a series of in-depth studies of a broad range of performance artists and genres, and on the other a contribution to ongoing methodological developments within the study of music, with the goal of bridging the approaches of musicology and performance studies, to enable a close, interpretive listening that combines the best of each. At the same time, by juxtaposing musical genres that range from pop and soul to the classics, and from world music to games and web-mediated performances, Taking It to the Bridge provides an inventory of contrasted approaches to the study of performance and contributes to its developing centrality within music studies.