Turn your classroom into a forum for debate and discussion with the Fourth Edition of Crosscurrents! Experts from around the world debate important issues related to the study of international relations and foreign policy from both a Canadian and an international perspective. Author Mark Charlton frames each issue with a well-written introductory essay and post-script to further enhance the learning experience.With its lively and effective yes/no debate format, Crosscurrents continues to provide students with a stimulating collection of essays that encourages the development of critical thought and analytical skills involving major issues of the day.

First presented at the conference 'Intercontinental Cross-Currents: Women's (Net-)Works across Europe and the Americas (1789-1939)' in Wittenberg, Germany, in December 2013, the papers assembled in this volume trace nineteenth-century women's networks inside and outside historical movements and literary texts, in diverse genres, at various historical moments, and from different vantage points. Considered together, the contributions attest to the potential of a woman-centered approach to transatlantic historiographical, cultural, and literary studies. Very much like the people, texts, and objects they examine, they are transatlantic in scope and perspective. Truly inspired by the idea and concept of the Atlantic Crosscurrents, these essays confirm and emphasize interdisciplinarity and methodological variety in (trans-)Atlantic studies.

During the late 19th and early 20th centuries, many Jews from Central and Eastern Europe arrived in New York City, where they did not only find a new home, but far away from their shtetl origin, the new members of the American society also began to politically radicalize. There has been a discussion in the literature related to the field, where, how, and why the Jewish population radicalized. This study analyses two waves of radicalization: one related to the American environment that is responsible for the described process at the end of the 19th century; one, related to the developments in Eastern Europe during the early decades of the 20th century. For both radicalization processes this book compares the reasons, elements, and aims of those who join radical movements to show that there is a transatlantic perspective that links both processes to each other.

Based on extensive archival research, this open access book examines the poetics and politics of the Dublin Gate Theatre (est. 1928) over the first three decades of its existence, discussing some of its remarkable productions in the comparative contexts of avant-garde theatre, Hollywood cinema, popular culture, and the development of Irish-language theatre, respectively. The overarching objective is to consider the output of the Gate in terms of cultural convergence the dynamics of exchange, interaction, and acculturation that reveal the workings of transnational infrastructures.

The Routledge Companion to Twentieth Century British Theatre and Performance provides a broad range of perspectives on the multiple models and examples of theatre, artists, enthusiasts, enablers, and audiences that emerged over this formative 100-year period. This first volume covers the first half of the century, constructing an equitable and inclusive history that is more representative of the nation's lived experience than the traditional narratives of British theatre. Its approach is intra-national – weaving together the theatres and communities of England, Scotland, Wales, and Northern Ireland. The essays are organised thematically arranged into sections that address nation, power, and identity; fixity and mobility; bodies in performance; the materiality of theatre and communities of theatre. This approach highlights the synergies, convergences, and divergences of the theatre landscape in Britain during this period, giving a sense of the sheer variety of performance that was taking place at any given moment in time. This is a fascinating and indispensable resource for undergraduate and graduate students, postgraduate researchers, and scholars across theatre and performance studies, cultural studies, and twentieth-century history.