Universities once believed themselves to be sacred enclaves, where students and professors could debate the issues of the day and arrive at a better understanding of the human condition. Today, sadly, this ideal of the university is being quietly betrayed from within. Universities still set themselves apart from American society, but now they do so by enforcing their own politically correct worldview through censorship, double standards, and a judicial system without due process. Faculty and students who threaten the prevailing norms may be forced to undergo "thought reform." In a surreptitious aboutface, universities have become the enemy of a free society, and the time has come to hold these institutions to account. The Shadow University is a stinging indictment of the covert system of justice on college campuses, exposing the widespread reliance on kangaroo courts and arbitrary punishment to coerce students and faculty into conformity. Alan Charles Kors and Harvey A. Silverglate, staunch civil libertarians and active defenders of free inquiry on campus, lay bare the totalitarian mindset that undergirds speech codes, conduct codes, and "campus life" bureaucracies, through which a cadre of deans and counselors indoctrinate students and faculty in an ideology that favors group rights over individual rights, sacrificing free speech and academic freedom to spare the sensitivities of currently favored groups. From Maine to California, at public and private universities alike, liberty and fairness are the first casualties as teachers and students find themselves in the dock, presumed guilty until proven innocent and often forbidden to cross-examine their accusers. Kors and Silverglate introduce us to many of those who have firsthand experience of the shadow university, including: The student at the center of the 1993 "Water Buffalo" case at the University of Pennsylvania, who was brought up on charges of racial harassment after calling a group of rowdy students "water buffalo" -- even though the term has no racial connotations. The Catholic residence adviser who was fired for refusing, on grounds of religious conscience, to wear a symbol of gay and lesbian causes. The professor who was investigated for sexual harassment when he disagreed with campus feminists about curriculum issues. The student who was punished for laughing at a statement deemed offensive to others and who was ordered to undergo "sensitivity training" as a result. The Shadow University unmasks a chilling reality for parents who entrust their sons and daughters to the authority of such institutions, for thinking people who recognize that vigorous debate is the only sure path to truth, and for all Americans who realize that when even one citizen is deprived of liberty, we are all diminished.

Across America, universities have become big businesses—and our cities their company towns. But there is a cost to those who live in their shadow. Urban universities play an outsized role in America’s cities. They bring diverse ideas and people together and they generate new innovations. But they also gentrify neighborhoods and exacerbate housing inequality in an effort to enrich their campuses and attract students. They maintain private police forces that target the Black and Latinx neighborhoods nearby. They become the primary employers, dictating labor practices and suppressing wages. In the Shadow of the Ivory Tower takes readers from Hartford to Chicago and from Phoenix to Manhattan, revealing the increasingly parasitic relationship between universities and our cities. Through eye-opening conversations with city leaders, low-wage workers tending to students’ needs, and local activists fighting encroachment, scholar Davarian L. Baldwin makes clear who benefits from unchecked university power—and who is made vulnerable. In the Shadow of the Ivory Tower is a wake-up call to the reality that higher education is no longer the ubiquitous public good it was once thought to be. But as Baldwin shows, there is an alternative vision for urban life, one that necessitates a more equitable relationship between our cities and our universities.

“[A] stunning tale of academic fraud . . . shocking and compelling.”-The Washington Post Dave Tomar wrote term papers for a living. Technically, the papers were “study guides,” and the companies he wrote for-there are quite a few-are completely aboveboard and easily found with a quick web search. For as little as ten dollars a page, these paper mills provide a custom essay, written to the specifics of any course assignment. During Tomar's career as an academic surrogate, he wrote made-to-order papers for everything from introductory college courses to Ph.D. dissertations. There was never a shortage of demand for his services. The Shadow Scholar is the story of this dubious but all-too-common career. In turns shocking, absurd, and ultimately sobering, Tomar explores not merely his own misdeeds but the bureaucratic and cash-hungry colleges, lazy students, and even misguided parents who help make it all possible.

Thanks to hundreds of interviews with Mexican deportees, this book puts a real face on discussions of immigration and border policies--Provided by publisher.

Michael Rosen shows how the redemptive hope of religion became the redemptive hope of historical progress. This was the heart of German Idealism: purpose lay not in God’s judgment but in worldly projects; freedom required not being subject to arbitrary authority, human or divine. Yet purpose and freedom never shed their theistic structure.

Bounded by desert and mountains, El Centro, California, is isolated and difficult to reach. However, its location close to the border between San Diego and Yuma, Arizona, has made it an important place for Mexican migrants attracted to the valley's agricultural economy. In 1945, it also became home to the El Centro Immigration Detention Camp. The Shadow of El Centro tells the story of how that camp evolved into the Immigration and Customs Enforcement Service Processing Center of the 2000s and became a national model for detaining migrants—a place where the policing of migration, the racialization of labor, and detainee resistance coalesced. Using government correspondence, photographs, oral histories, and private documents, Jessica Ordaz reveals the rise and transformation of migrant detention through this groundbreaking history of one detention camp. The story shows how the U.S. detention system was built to extract labor, to discipline, and to control migration, and it helps us understand the long and shadowy history of how immigration officials went from detaining a few thousand unauthorized migrants during the 1940s to confining hundreds of thousands of people by the end of the twentieth century. Ordaz also uncovers how these detained migrants have worked together to create transnational solidarities and innovative forms of resistance.

The films of Orson Welles inhabit the spaces of cities—from America's industrializing midland to its noirish borderlands, from Europe's medieval fortresses to its Kafkaesque labyrinths and postwar rubblescapes. His movies take us through dark streets to confront nightmarish struggles for power, the carnivalesque and bizarre, and the shadows and light of human character. This ambitious new study explores Welles's vision of cities by following recurring themes across his work, including urban transformation, race relations and fascism, the utopian promise of cosmopolitanism, and romantic nostalgia for archaic forms of urban culture. It focuses on the personal and political foundation of Welles's cinematic cities—the way he invents urban spaces on film to serve his dramatic, thematic, and ideological purposes. The book's critical scope draws on extensive research in international archives and builds on the work of previous scholars. Viewing Welles as a radical filmmaker whose innovative methods were only occasionally compatible with the commercial film industry, this volume examines the filmmaker's original vision for butchered films, such as The Magnificent Ambersons (1942) and Mr. Arkadin (1955), and considers many projects the filmmaker never completed—an immense "shadow oeuvre" ranging from unfinished and unreleased films to unrealized treatments and screenplays.