Exploring faith-based organizations (FBOs) in current developmental discourses and practice, this book presents a selection of empirical in-depth case-studies of Christian FBOs and assesses the vital role credited to FBOs in current discourses on development. Examining the engagement of FBOs with contemporary politics of development, the contributions stress the agency of FBOs in diverse contexts of development policy, both local and global. It is emphasised that FBOs constitute boundary agents and developmental entrepreneurs: they move between different discursive fields such as national and international development discourses, theological discourses, and their specific religious constituencies. By combining influxes from these different contexts, FBOs generate unique perspectives on development: they express alternative views on development and stress particular approaches anchored in their theological social ethics. This book should be of interest to those researching FBOs and their interaction with international organizations, and to scholars working in the broader areas of religion and politics and politics and development.

"Global anthology of twentieth-century poetry"--Back cover.

Unsurpassed as a text for upper-division and beginning graduate students, Raman Selden's classic text is the liveliest, most readable and most reliable guide to contemporary literary theory. Includes applications of theory, cross-referenced to Selden's companion volume, Practicing Theory and Reading Literature.

Provides a concise explanation of an ethno-symbolic approach to the study of nations and nationalism and simultaneously embodies a general statement of Anthony D Smith’s contribution to this approach and its application to the central issues of nations and nationalism.

The Sounds of Early Cinema is devoted exclusively to a little-known, yet absolutely crucial phenomenon: the ubiquitous presence of sound in early cinema. "Silent cinema" may rarely have been silent, but the sheer diversity of sound(s) and sound/image relations characterizing the first 20 years of moving picture exhibition can still astonish us. Whether instrumental, vocal, or mechanical, sound ranged from the improvised to the pre-arranged (as in scripts, scores, and cue sheets). The practice of mixing sounds with images differed widely, depending on the venue (the nickelodeon in Chicago versus the summer Chautauqua in rural Iowa, the music hall in London or Paris versus the newest palace cinema in New York City) as well as on the historical moment (a single venue might change radically, and many times, from 1906 to 1910). Contributors include Richard Abel, Rick Altman, Edouard Arnoldy, Mats Björkin, Stephen Bottomore, Marta Braun, Jean Châteauvert, Ian Christie, Richard Crangle, Helen Day-Mayer, John Fullerton, Jane Gaines, André Gaudreault, Tom Gunning, François Jost, Charlie Keil, Jeff Klenotic, Germain Lacasse, Neil Lerner, Patrick Loughney, David Mayer, Domi-nique Nasta, Bernard Perron, Jacques Polet, Lauren Rabinovitz, Isabelle Raynauld, Herbert Reynolds, Gregory A. Waller, and Rashit M. Yangirov.