The events of 1968 have been seen as a decisive turning point in the Western world. The author takes a critical look at "May 1968" and questions whether the events were in fact as "revolutionary" as French and foreign commentators have indicated. He concludes the student movement changed little that had not already been challenged and altered in the late fifties and early sixties. The workers' strikes led to fewer working hours and higher wages, but these reforms reflected the secular demands of the French labor movement. "May 1968" was remarkable not because of the actual transformations it wrought but rather by virtue of the revolutionary power that much of the media and most scholars have attributed to it and which turned it into a symbol of a youthful, renewed, and freer society in France and beyond.

The events of 1968 have been seen as a decisive turning point in the Western world. The author takes a critical look at "May 1968" and questions whether the events were in fact as "revolutionary" as French and foreign commentators have indicated. He concludes the student movement changed little that had not already been challenged and altered in the late fifties and early sixties. The workers' strikes led to fewer working hours and higher wages, but these reforms reflected the secular demands of the French labor movement. "May 1968" was remarkable not because of the actual transformations it wrought but rather by virtue of the revolutionary power that much of the media and most scholars have attributed to it and which turned it into a symbol of a youthful, renewed, and freer society in France and beyond.

The people of Sirius 4 tried to overcome tyranny the old-fashioned way: by force. It turned out to be an imaginary revolution, replacing one violent regime with another. Raymond Douglas Kaliber suggested another way: that free people living by a spirit of non-aggression could live in peace and prosperity with one another. Before he could launch that bold experiment, however, he had to defeat the greatest tyrant of them all: his best friend ... Set in the same universe as the interplanetary romp The Imaginary Bomb, this novel sets a different tone, told in the voice of the man who led a planet to true freedom.

In The Revolutionary Imagination in the Americas and the Age of Development, María Josefina Saldaña-Portillo boldly argues that crucial twentieth-century revolutionary challenges to colonialism and capitalism in the Americas have failed to resist—and in fact have been constitutively related to—the very developmentalist narratives that have justified and naturalized postwar capitalism. Saldaña-Portillo brings the critique of development discourse to bear on such exemplars of revolutionary and resistant political thought and practice as Ernesto “Che” Guevara, Malcolm X, the Sandinista government of Nicaragua, and the Guatemalan guerrilla resistance. She suggests that for each of these, developmentalist constructions frame the struggle as a heroic movement from unconsciousness to consciousness, from a childlike backwardness toward a disciplined and self-aware maturity. Reading governmental reports, memos, and policies, Saldaña-Portillo traces the arc of development narratives from its beginnings in the 1944 Bretton Woods conference through its apex during Robert S. McNamara's reign at the World Bank (1968–1981). She compares these narratives with models of subjectivity and agency embedded in the autobiographical texts of three revolutionary icons of the 1960s and 1970s—those of Che Guevara, Guatemalan insurgent Mario Payeras, and Malcolm X—and the agricultural policy of the Sandinista National Liberation Front (FSLN). Saldaña-Portillo highlights a shared paradigm of a masculinist transformation of the individual requiring the "transcendence" of ethnic particularity for the good of the nation. While she argues that this model of progress often alienated the very communities targeted by the revolutionaries, she shows how contemporary insurgents such as Rigoberta Menchú, the Zapatista movement, and queer Aztlán have taken up the radicalism of their predecessors to retheorize revolutionary subjectivity for the twenty-first century.

This book is a work of fiction which is based on a true story. Part two. Go to a world governed not by the pervasions of politics but rather by time. As Head of State George Patterson was still calling the shots and, in the process, tidying up after the previous president, even though remnants remained hidden deep inside the administration. On the other side of town, the beguiling and sometimes decadent Michelle was still hovering around fitting vicariously into the picture, or rather into Stephanie's picture of what her spouse could have been. Rizzo appeared to be on the same old continuous treadmill battling with the forces of the administration not knowing that someone else, a third party, was battling even harder. Still, he had refuge in his group of three, even if he was still puzzling how the communication functioned. The triumvirate, a historical aberration fitted out with the most subtle electronic gadgetry without anybody knowing how it worked. With Lucille on the side-lines Rizzo's challenges miraculously disappeared. Was it to do with Lucille and her notion about the strange nature of time? That firebrand, Lucille, with her ideas had bizarrely painted a picture which materialised. Their fate was all connected with an overwhelming historical resentment which had everything to do with the countrywide vacuous protests which were taking place. At another level, Lucille was enthusing about Imaginary Time and how it developed into TSVF. All the time Rizzo was sharing views with the protesters but dreaming in synch with the president, George Patterson. Following a myriad of imponderables Rizzo is also presented with an addition. Was it a result from the time geek? Finally, it all comes home. A new situation and even though he does not comprehend it his burdensome problem is relieved. (This book is written in UK English.)

With discussions of more than 50 countries, Katsiaficas articulates an understanding of the 1960s' social struggles not bound by national or continental divides nor focused on famous individuals. From the Prague revolt against Soviet communism to the French May uprising, the Vietnam Tet offensive, African anticolonial insurgencies, the civil rights movement, and campus eruptions in Latin America, Yugoslavia, and the United States, this book portrays the movements of the '60s as intuitively tied together. Student movements challenged authorities in almost every country, giving the insurgency a global character. As uprisings occur with increasing frequency in the 21st century, the lessons of 1968 provide useful insights for future struggles.

Following the American Revolution, French observers often viewed the United States as a laboratory for the forging of new practices of liberté and égalité, in affinity with and divergence from France's own Revolutionary ideals and experiences. The volume examines French views through musical/theatrical portrayals of the American Revolution and Republic, soundscapes of the Statue of Liberty, and homages to the glorified figures of Washington, Franklin and Lafayette. Essays investigate paradoxical depictions of slavery in the United States and French Caribbean colonies of 'Amérique'. French critiques of American music and musicians, including the reception of Americanized or Creolized adaptations of European art traditions as well as American popular music and dance, are also presented. The subject of race features prominently in French interpretations of American music and identity. These interpretations see French constructions of the Indigenous American and African American "exotic" that intersect with tropes of noble, pastoral savagery, menacing barbarism, and the "civilizing" potency of French culture. The French reinterpretation of African American music and dance reveals both a revulsion of Black alterity and an attraction to the expressive freedom, and even subversiveness, of these "foreign" forms of music and dance. Contributions include essays by music, dance, theatre and opera scholars, and the volume will be essential reading for students and scholars of these disciplines.