This book is a new scholarly edition of Lincoln Steffensâ (TM) classic, â oemuck-rakingâ account of Gilded Age corruption in America. It provides the broader political background, theoretical and historical context needed to better understand the social and political roots of corruption in general terms: the social and moral nature of corruption and reform. Steffens enjoyed the support of a multitude of journalists with first-hand knowledge of their localities. He interviewed and came to know political bosses, crusading district attorneys and indicted corruptionists spanning a cast of hundreds. He also benefited from the support of a large-scale, nationally prominent network of anti-corruption specialists and luminaries, including President Theodore Roosevelt. Steffens explored in detail the high Gilded Age corruption of New York City, Chicago, â oecorrupt and contentedâ Philadelphia, Pittsburgh, St. Louis and Minneapolis. His work culminated in a well-documented record of Gilded Age corruption in the cities; and, with the addition of the editorial annotations, Chronology and Introduction of this edition, the reader is placed in a position to gain an overview and considerable insight into the general, moral and social-political phenomenon of corruption. This book will be of interest for students and professionals in political philosophy, political science, American history and American studies.

Taking a hard look at the unprincipled lives of political bosses, police corruption, graft payments, and other political abuses of the time, the book set the style for future investigative reporting.

In 1903, Muckraker Lincoln Steffens brought the city of Philadelphia lasting notoriety as "the most corrupt and the most contented" urban center in the nation. Famous for its colorful "feudal barons," from "King James" McManes and his "Gas Ring" to "Iz" Durham and "Sunny Jim" McNichol, Philadelphia offers the historian a classic case of the duel between bosses and reformers for control of the American city. But, strangely enough, Philadelphia's Republican machine has not been subject to critical examination until now. When Bosses Ruled Philadelphia challenges conventional wisdom on the political machine, which has it that party bosses controlled Philadelphia as early as the 1850s and maintained that control, with little change, until the Great Depression. According to Peter McCaffery, however, all bosses were not alike, and political power came only gradually over time. McManes's "Gas Ring" in the 1870s was not as powerful as the well-oiled machine ushered in by Matt Quay in the late 1880s. Through a careful analysis of city records, McCaffery identifies the beneficiaries of the emerging Republican Organization, which sections of the local electorate supported it, and why. He concludes that genuine boss rule did not emerge as the dominant institution in Philadelphia politics until just before the turn of the century. McCaffery considers the function that the machine filled in the life of the city. Did it ultimately serve its supporters and the community as a whole, as Steffens and recent commentators have suggested? No, says McCaffery. The romantic image of the boss as "good guy" of the urban drama is wholly undeserved.

The world has witnessed extraordinary economic growth, poverty reduction and increased life expectancy and population since the end of WWII, but it has occurred at the expense of undermining life support systems on Earth and subjecting future generations to the real risk of destabilising the planet. This timely book exposes and explores this colossal environmental cost and the dangerous position the world is now in. Standing up for a Sustainable World is written by and about key individuals who have not only understood the threats to our planet, but also become witness to them and confronted them.

Bentham and the Arts considers the sceptical challenge presented by Bentham’s hedonistic utilitarianism to the existence of the aesthetic, as represented in the oft-quoted statement that, ‘Prejudice apart, the game of push-pin is of equal value with the arts and sciences of music and poetry. If the game of push-pin furnish more pleasure, it is more valuable than either.’ This statement is one part of a complex set of arguments on culture, taste, and utility that Bentham pursued over his lifetime, in which sensations of pleasure and pain were opposed to aesthetic sensibility. Leading scholars from a variety of disciplines reflect on the implications of Bentham’s radical utilitarian approach for our understanding of the history and contemporary nature of art, literature, and aesthetics more generally.

In many senses, viewers have cut their teeth on the violence in American cinema: from Anthony Perkins slashing Janet Leigh in the most infamous of shower scenes; to the 1970s masterpieces of Martin Scorsese, Sam Peckinpah and Francis Ford Coppola; to our present-day undertakings in imagining global annihilations through terrorism, war, and alien grudges. Transfigurations brings our cultural obsession with film violence into a renewed dialogue with contemporary theory. Grønstad argues that the use of violence in Hollywood films should be understood semiotically rather than viewed realistically; Tranfigurations thus alters both our methodology of reading violence in films and the meanings we assign to them, depicting violence not as a self-contained incident, but as a convoluted network of our own cultural ideologies and beliefs.