Does our abhorrence of racism allow us to ban certain forms of speech? This is the simple yet subversive question that Edward J. Cleary posed to the U.S. Supreme Court when, in 1991, he defended a white student who had burned a cross on a black family's lawn in St. Paul, Minnesota, violating a local ordinance against hate crimes. As a progressive, Cleary detested everything his client stood for. But in this compelling argued book he describes how he overturned the St. Paul ordinance—and convinced the Court to rule that "burning a cross is reprehensible. But St. Paul has sufficient means . . . to prevent such behavior without adding the First Amendment to the fire." As Cleary retraces his path from St. Paul to the courtroom in Washington, he juxtaposes the stories of previous First Amendment cases with a personal account of the unlikely alliances (with both the A.C.L.U. and a group engaged in defending the Ku Klux Klan) and antagonisms that grew out of the case. Ultimately, he shows us why a law that bans expressions of racism is as dangerous as a law that bans protests against those expressions. In Beyond the Burning Cross, Leary has given us an unparalleled insider's report of a watershed event in constitutional history that is as absorbing as any thriller.

Over the last 30 years there has been a substantial increase in the study of the history of translation. Both well-known and lesser-known specialists in translation studies have worked tirelessly to give the history of translation its rightful place. Clearly, progress has been made, and the history of translation has become a viable independent research area. This book aims at claiming such autonomy for the field with a renewed vigour. It seeks to explore issues related to methodology as well as a variety of discourses on history with a view to laying the groundwork for new avenues, new models, new methods. It aspires to challenge existing theoretical and ideological frameworks. It looks toward the future of history. It is an attempt to address shortcomings that have prevented translation history from reaching its full disciplinary potential. From microhistory, archaeology, periodization, to issues of subjectivity and postmodernism, methodological lacunae are being filled. Contributors to this volume go far beyond the text to uncover the role translation has played in many different times and settings such as Europe, Africa, Latin America, the Middle-east and Asia from the 6th century to the 20th. These contributions, which deal variously with the discourses on methodology and history, recast the discipline of translation history in a new light and pave the way to the future of research and teaching in the field.

With over 500 entries on the most important plays and playwrights performed today, The Theatre Guide provdies an anuthoritative A - Z of the contemporary theatre scene. From Aristophanes to Mark Ravenhill, The alchemist ot The Talking Cure, the guide is both biogrpahically detailed and critically curent, while an extensive cross-referencing system allows for wider perspectives and new discoveries. Stimulating, observant and informative, The Theatre Guide is an essential companion and reference tool for anyone with an active interest in drama.

How the brain's architecture is related to the problems, passions, and aspirations of human beings. In contrast to this view, recent theoretical advances in brain imaging have revealed that the brain is an organ continually built and re-built by one's experience. We are now beginning to learn that many forms of psychotherapy, developed in the absence of any scientific understanding of the brain, are supported by neuroscientific findings. In fact, it could be argued that to be an effective psychotherapist these days it is essential to have some basic understanding of neuroscience. Louis Cozolino's The Neuroscience of Psychotherapy, Second Edition is the perfect place to start. In a beautifully written and accessible synthesis, Cozolino illustrates how the brain's architecture is related to the problems, passions, and aspirations of human beings. As the book so elegantly argues, all forms of psychotherapy--from psychoanalysis to behavioral interventions--are successful to the extent to which they enhance change in relevant neural circuits. Beginning with an overview of the intersecting fields of neuroscience and psychotherapy, this book delves into the brain's inner workings, from basic neuronal building blocks to complex systems of memory, language, and the organization of experience. It continues by explaining the development and organization of the healthy brain and the unhealthy brain. Common problems such as anxiety, trauma, and codependency are discussed from a scientific and clinical perspective. Throughout the book, the science behind the brain's working is applied to day-to-day experience and clinical practice. Written for psychotherapists and others interested in the relationship between brain and behavior, this book encourages us to consider the brain when attempting to understand human development, mental illness, and psychological health. Fully and thoroughly updated with the many neuroscientific developments that have happened in the eight years since the publication of the first edition, this revision to the bestselling book belongs on the shelf of all practitioners.

Part 1: Theorizing music and social change: The sound of resistance - Utopian blues - Matriarchal music making - Beyond music - Polynoise - Knoise pearls - Plunderphonics - Creatigality - Fair use - Soul sonic forces: technology, orality, and black cultural practice in rap music - Alternative to what? - World beat and the cultural imperialism debate - Jazz, kreolization and revolutionary music for the 21st century; Part II: In the belly of the beast: The screamers - Music guerrilla: an interview with Fred Wei-han Ho - Boyz from the Rez: an interview with Bobby Bee - Who bombed Judi Bari? - Timber!: an interview with Judi Bari - Shake, shake, whore of Babylon - Maximising rock and roll: an interview with Tim Yohannon - The Black Wedge tours: take something you care about and make it your life - The imaginal rave - Long live the humble audio cassette - Plagiarism: an interview with the Tape-beatles - Recontextualizing the production of 'new music'; Part III: Shattering the silence of the new world order: Us & dem - World music at the crossroads - The rattling of the drums: political expression in world music - Dub diaspora: off the page and into the streets - Nanny - Rapso rebellion: an interview with Brother Resistance - Thomas Mapfumo: the lion of Zimbabwe - Latin music in the new world order: salsa & beyond - The singer as priestess: interviews with Celina Gonzalez and Merceditas Valdes - Craft, raft and lifesaver: Aboriginal women musicians in the contemporary music industry - Palaam Uncle Sam: an interview with Musika and Musicians for Peace, Philippines - Playing other people' music: an interview with Royal Hartigan - Singing other peoples' songs.

For those who are familiar with the first edition, it will be convenient to have some indication of where the main changes lie. Chapter one has been largely rewritten to give an outline of current approaches to a model of comprehension of spoken language. Chapter two has a new initial section but otherwise remains as it was. Chapter three incorporates a new section on "pause" and how this interacts with rhythm, and rather more on the function of stress. Chapter four has an extended initial section but otherwise remains largely as it was. Chapter five on intonation contains several sections which have been rewritten to varying extents. Chapter six of the first edition has disappeared: in 1977, very little work had been published on "fillers" and it seemed worthwhile incorporating a chapter that sat rather oddly with the phonetic/phonological interests of the rest of the book. Not that there is a great industry of descriptions of the forms and functions of these and similar phenomena there seems no reason to retain this early but admittedly primitive account. The chapter on "paralinguistic vocal features", now chapter six, has some rewriting in the early part but considerable rewriting in the last sections. The final chapter on "teaching listening comprehension" has grown greatly in length. It still incorporates some material from the original chapter but most of it is completely rewritten.

In this compact introduction to the life and work of eminent African American composer William Grant Still (1895-1978), Catherine Parsons Smith tracks the composer's interrelated careers in popular and concert music. Still merged both musical traditions in his work, studying composition with George W. Chadwick at the New England Conservatory, collaborating with Langston Hughes on "Troubled Island," and working as a commercial arranger and composer on Broadway and radio during the Harlem Renaissance. Still also played in the pit band for "Shuffle Along," served as recording director for the first black-owned record label, Black Swan, and arranged music for artists such as Sophie Tucker, Paul Whiteman, and Artie Shaw. Best known for his "Afro-American Symphony" and other works that drew heavily on black American musical heritage, Still struggled against financial hardship and declining attention to his work, which he attributed to political and racist conspiracies. This "dean of Afro-American composers" created his own, unique version of musical modernism, influencing commercial music, symphonic music, and opera in the process."