While one of the most important attempts to explain the rise of authoritarian regimes and their relationship to problems of economic development has been the "bureaucratic-authoritarian model," there has been growing dissatisfaction with various elements of this model. In light of this dissatisfaction, a group of leading economists, political scientists, and sociologists was brought together to assess the adequacy; of the model and suggest directions for its reformulation. This volume is the product of their discussions over a period of three years and represents an important advance in the critique and refinement of ideas about political development. Part One provides an overview of the issues of social science analysis raised by the recent emergence of authoritarianism in Latin America and contains chapters by David Collier and Fernando Henrique Cardoso. The chapters in Part Two address the problem of explaining the rise of bureaucratic authoritarianism and are written by Albert Hirschman, Jose Serra, Robert Kaufman, and Julio Coder. In Part Three Guillermo O'Donnell, James Kurth, and David Collier discuss the likely future patterns of change in bureaucratic authoritarianism, opportunities for extending the analysis to Europe, and priorities for future research. The book includes a glossary and an extensive bibliography.

Edmund Burke’s iconic stance against the French Revolution and its supposed Enlightenment inspiration, has ensured his central role in debates about the nature of modernity and freedom. It has now been rendered even more complex by post-modern radicalism’s repudiation of the Enlightenment as repressive and its reason as illusionary. Not only did Burke’s own work cover a huge range - from aesthetics through history to constitutional politics and political theory - it has generated an enormous literature drawing on many disciplines, as well as continuing to be recruited in a range of contemporary polemics. In Edmund Burke, Iain Hampsher Monk presents a representative selection of articles and essays from the last 50 years of this scholarship. His introduction provides a brief biography and seeks to guide the reader through the chosen pieces as well as indicating its relationship to other and more substantial studies that form the critical heritage of this major figure.

From 1815 to 1914, European governments and their political oppositions were engaged in a constant war for the minds of the general population, especially the working classes. The German socialist newspaper, Hamburger Echo, declared on September 27, 1910, In waging our war, we do not throw bombs. Instead we throw our newspapers amongst the masses of the working people. Printing ink is our explosive. The most comprehensive study ever published about European censorship practices during the 1815-1914 period, this book discusses the censorship of books, newspapers, caricatures, theater, and film through an analytical introductory survey and six chapters by leading specialists who summarize 19th-century censorship practices in the six major countries of continental Europe: Germany, Italy, France, Austria, Russia, and Spain. As a result of the massive transformation of European life in the post-Napoleonic period and the simultaneously rapid growth in industrialization, urbanization, literacy, transportation, and communication, the average European emerged quite suddenly as a potential player who could no longer be ignored by the ruling elite.

Political Censorship of the Arts and the Press in Nineteenth-Century Europe presents a comprehensive account of the attempts by authorities throughout Europe to stifle the growth of political opposition during the nineteenth-century by censoring newspapers, books, caricatures, plays, operas and film. Appeals for democracy and social reform were especially suspect to the authorities, so in Russia cookbooks which refered to 'free air' in ovens were censored as subversive, while in England in 1829 the censor struck from a play the remark that 'honest men at court don't take up much room'. While nineteenth-century European political censorship blocked the open circulation of much opposition writing and art, it never succeeded entirely in its aim since writers, artists and 'consumers' often evaded the censors by clandestine circulation of forbidden material and by the widely practised skill of 'reading between the lines'.