Analyzing the War on Poverty, theories of the culture of poverty and the underclass, the effects of Reaganomics, and the 1996 welfare reform, Stricker demonstrates that most antipoverty approaches are futile without the presence (or creation) of good jobs. He argues that a serious public debate is needed about the job situation; social programs must be redesigned, a national health care program must be developed, and economic inequality must be addressed.

In a provocative assessment of American poverty and policy from 1950 to the present, Frank Stricker examines an era that has seen serious discussion about the causes of poverty and unemployment. Analyzing the War on Poverty, theories of the culture of poverty and the underclass, the effects of Reaganomics, and the 1996 welfare reform, Stricker demonstrates that most antipoverty approaches are futile without the presence (or creation) of good jobs. Stricker notes that since the 1970s, U.S. poverty levels have remained at or above 11%, despite training programs and periods of economic growth. The creation of jobs has continued to lag behind the need for them. Stricker argues that a serious public debate is needed about the job situation; social programs must be redesigned, a national health care program must be developed, and economic inequality must be addressed. He urges all sides to be honest--if we don't want to eliminate poverty, then we should say so. But if we do want to reduce poverty significantly, he says, we must expand decent jobs and government income programs, redirecting national resources away from the rich and toward those with low incomes. Why America Lost the War on Poverty--And How to Win It is sure to prompt much-needed debate on how to move forward.

This book examines the topical issue of governance of financial institutions, covering banks, investment firms, asset management, pension funds and insurance firms. It comprehensively analyses the impact and practice of the new and more robust requirements for management functions under MiFID II (Markets in Financial Instruments Directive) and other regulation such as MAR (Market Abuse Regulation). Thematically grouped chapters provide extensive coverage of the main areas of change and interest in this field: financial regulation, models, systemic risk, culture and ethics, and conduct and culture. Each chapter employs an interdisciplinary approach, providing high-quality analysis and discussion of the governance of financial institutions of a practical, as well as theoretical, nature. Written by a team of expert contributors, comprised of leading scholars with broad practical experience, and leading practitioners in the field of corporate governance, this book provides much needed analysis of this important topic and the new rules for those advising financial institutions.

The twentieth century will be remembered for great innovation in two particular areas: art and culture, and technological advancement. Much of its prodigious technical inventiveness, however, was pressed into service in the conduct of warfare. Why, asks Margot Norris, did violence and suffering on such an immense scale fail to arouse artistic and cultural expressions powerful enough to prevent the recurrence of these horrors? Why was art not more successful--through its use of dramatic, emotionally charged material, its ability to stir imagination and arouse empathy and outrage--in producing an alternative to the military logic that legitimates war? Military argument in the twentieth century has been fortified by the authority of the rationalism that we attribute to science, Norris argues. Warfare is therefore legitimized by powerful discourses that art's own arsenal of styles and genres has limited power to counter. Art's difficulty in representing the violent death of entire generations or populations has been particularly acute. Choosing works that have become representative of their historically violent moment, Norris explores not only their aesthetic strategies and perspectives but also the nature of the power they wield and the ethical engagements they enable or impede. She begins by mapping the altered ethical terrain of modern technological warfare, with its increasing targeting of civilian populations for destruction. She then proceeds historically with chapters on the trench poetry and modernist poetry of World War I, Hemingway's A Farewell to Arms and Erich Maria Remarque's All Quiet on the Western Front, both the book and the film of Schindler's List, the conflicting historical stories of the Manhattan Project, a comparison of American and Japanese accounts of Hiroshima, Francis Ford Coppola's film Apocalypse Now, and the effects of press censorship in the Persian Gulf War. By looking at the whole span of the century's writing on war, Norris provides a fascinating critique of art's ethical power and limitations, along with its participation in--as well as protest against--the suffering that human beings have brought upon themselves.

The slave narrative has become a crucial genre within African American literary studies and an invaluable record of the experience and history of slavery in the United States. This Companion examines the slave narrative's relation to British and American abolitionism, Anglo-American literary traditions such as autobiography and sentimental literature, and the larger African American literary tradition. Special attention is paid to leading exponents of the genre such as Olaudah Equiano, Frederick Douglass and Harriet Jacobs, as well as many other, less well known examples. Further essays explore the rediscovery of the slave narrative and its subsequent critical reception, as well as the uses to which the genre is put by modern authors such as Toni Morrison. With its chronology and guide to further reading, the Companion provides both an easy entry point for students new to the subject and comprehensive coverage and original insights for scholars in the field.