Storable votes allow the minority to win occasionally while treating every voter equally and increasing the efficiency of decision-making, without the need for external knowledge of voters' preferences. This book complements the theoretical discussion with several experiments, showing that the promise of the idea is borne out by the data: the outcomes of the experiments and the payoffs realized match very closely the predictions of the theory.

The first full-length study of essayist and controversialist Hubert Butler offers a comprehensive account of a literary and social figure whose importance in twentieth-century Irish culture is increasingly recognised.

Using real cases, narratives, and biographical material, this text examines issues related to the mental health intersect with race and ethnicity. It draws on the experiences of ethnic minority therapists.

If you're the only person from your ethnic background in your organization or team, you probably know what it's like to be misunderstood or marginalized. Organizational consultant Adrian Pei describes key challenges ethnic minorities face in majority-culture organizations, unpacking the historical forces at play and what both minority and majority cultures need to know in order to work together fruitfully.

In The Dancer’s Voice Rumya Sree Putcha theorizes how the Indian classical dancer performs the complex dynamics of transnational Indian womanhood. Putcha argues that the public persona of the Indian dancer has come to represent India in the global imagination—a representation that supports caste hierarchies and Hindu ethnonationalism, as well as white supremacist model minority narratives. Generations of Indian women have been encouraged to embody the archetype of the dancer, popularized through film cultures from the 1930s to the present. Through analyses of films, immigration and marriage laws, histories of caste and race, advertising campaigns, and her own family’s heirlooms, photographs, and memories, Putcha reveals how women’s citizenship is based on separating their voices from their bodies. In listening closely to and for the dancer’s voice, she offers a new way to understand the intersections of body, voice, performance, caste, race, gender, and nation.

La Gringa is about a young woman’s search for her identity. Mari­a Elena Garcia goes to visit her family in Puerto Rico during the Christmas holidays and arrives with plans to connect with her homeland. Although this is her first trip to Puerto Rico, she has had an intense love for the island, and even majored in Puerto Rican Studies in college. Once Maria is in Puerto Rico, she realizes that Puerto Rico does not welcome her with open arms. The majority of the Puerto Ricans on the island consider her an American – a gringa – and Mari­a considers this a betrayal. If she’s a Puerto Rican in the United States and an American in Puerto Rico, Maria concludes that she is nobody everywhere. Her uncle, Manolo, spiritually teaches her that identity isn’t based on superficial and external definitions, but rather is an essence that she has had all along in her heart. This play is published in a bilingual edition; if you are applying for licensing rights, please state which version you wish to produce.

"A Twentieth Century Fund study."Includes indexes. Bibliography: p. [257]-302.