World In Motion

Italia ’90 was the best and worst of World Cups. It made a global star of England’s inspirational Paul Gascoigne and gave fresh confidence to English football but it was also the lowest- scoring of all World Cups, leading directly to the back-pass ban that transformed the sport. World In Motion travels from Africa to South America, via Europe and the Middle East, to hear from the protagonists of Italia ’90 and find out why it is still seen as a special and transformative moment, not just in English eyes but in other countries far and wide. It was a World Cup of firsts – from Cameroon’s quarter-final trail-blazers via the feats of newcomers like the Republic of Ireland and Costa Rica – but a tournament too which marked the last hurrah of the old footballing powers of the Eastern Bloc amid the collapse of the Iron Curtain. It began with the biggest shock of any opening game, as nine-man Cameroon beat Argentina, and it ended with the worst final of all, as West Germany beat nine-man Argentina with a much-disputed penalty. In between it gave us a big spectacle, a winning soundtrack and some unforgettable storylines. World In Motion speaks to players and coaches, referees and administrators, reporters and fans to gauge the full impact of football’s dramatic Italian summer – including meeting Roger Milla at his home in Cameroon and Totò Schillaci at his football school in Sicily. In the process it rediscovers a time when the game stood on the brink of change, with the Premier League and Champions League on the horizon, yet the World Cup remained a thrilling voyage of discovery – a land of novelties, from Fair Play flags to fan embassies to that first-ever penalty shoot-out heartbreak for England ...

Jo Whiley is someone millions of us recognise but very few of us know. Jo's a mother, sister, DJ, wife and music-industry insider who throughout her career - and in an age of fleeting celebrity - has earned the respect of her peers and fans by simply being herself and for her constant enthusiasm, be it for established rock 'n roll royalty or emerging talent. For Jo Whiley, it's all about the music. My World in Motion offers a unique opportunity to get to know the real Jo Whiley. From her musical epiphany (being carried over the crowd at a Clash concert) to when she became friends with John Peel at Glastonbury (over some very short shorts - his not hers) and interviewed Bono (surviving a power-cut on vodka). My World in Motion is an honest, funny, self-deprecating account of Jo's professional coming of age, and what it means to be a private person in a very public world.

Today, 215 million people live outside their home countries and another 700 million say they would migrate to another country if they could. This volume examines the ways both sending and receiving nations are modifying their migration policies to control entry, to encourage assimilation, and to build links between diasporas and their home countries.

At the end of the 20th century nearly all developed nations have become countries of immigration, absorbing growing numbers of immigrants not only from developed regions, byt increasingly from developing nations of the Third World. Although international migration has come to play a central role in the social, economic, and demographic dynamics of both immigrant-sending and immigrant-receiving countries, social scientist have been slow to construct a comprehensive theory to explain it. Efforts at theoretical explanation have been fragmented by disciplinary, geographic, and methodological boudaries. Worlds in Motion seeks to overcome these schisms to create a comprehensive theory of international migration for the next century. After explicating the various propositions and hypotheses of current theories, and identifying area of complementarity and conflict, the authors review empirical research emanting from each of the world's principal international migration systems: North America, Western Europe, the Gulf, Asia and the Pacific, and the Southern Cone of South America. Using data from the 1980s, levels and patterns of migration within each system are described to define their structure and organization. Specific studies are then comprehensively surveyed to evaluate the fundamental propositions of neoclassical economics, the new economics of labour migration, segmented labour market theory, world systems theory, social capital theory, and the theory of cumulative causation. The various theories are also tested by applying them to the relationship between international migration and economic development. Although certain theories seem to function more effectively in certain systems, all contain elements of truth supported by empirical research. The task of the theorist is thus to identify which theories are most effective in accounting for international migration in the world today, and what regional and national circumstances lead to a predominance of one theoretical mechanism over another. The book concludes by offering an empirically-grounded theoretical synthesis to serve as a guide for researchers and policy-makers in the 21st century.

Theatre Worlds in Motion aims to clarify the different theatre traditions and practices in Western Europe from a historical and sociological perspective. The book grew out of a perceived need among theatre scholars who had recognised that, while they understood the theatre system of their own country, they often found it difficult to discover how it compared with other countries. The chapters analyse the basic components and dynamics of theatre systems in seventeen Western European nations in order to elucidate how the systems function in general and how they vary in different cultures. The book provides a sense of what has been happening recently in particular countries, and indicates how the theatre systems have developed over time and have led to the current practices and structures. Each national chapter considers the historical tradition and place of theatre within the country and analyses the role of the state in fostering theatre during the last fifty years. Material from the national chapters has been used in two general chapters at the beginning and end of the book to provide an overview to developments in all Western Europe. The introductory chapter on decentralisation discusses the tendency amongst governments to encourage cultural development outside the national capital by providing subsidy for regional theatre venues and theatre companies and, in many cases, by developing the decision-making and budgetary powers for the theatre to regional and local authorities. The epilogue on the functioning of theatre examines the common structures of theatre in society as described in the seventeen national chapters, and it proposes areas for future research.

In exhilarating, transformative prose, the poet Patrick Mackie reveals a musician in dialogue with culture at its most sweepingly progressive. Mozart is one of the most familiar and beloved icons of our culture, but how much do we really understand about his music, and what can it reveal to us about the great composer? Following Mozart from his youth in Salzburg to his early death, from his close and rivalrous relationship with his father to his romantic attachments, from his hugely successful operas to intimate compositions on the keyboard, Patrick Mackie leads the reader through the major and lesser-known moments of the composer’s life and brings alive the teeming, swiveling modernity of eighteenth-century Europe. In this era of rococo painting, surrealist aesthetics, and political turbulence, Mozart reckoned with a searing talent that threatened to overwhelm him, all the while pushing himself to extraordinary feats of musicianship. In Mozart in Motion, we are returned to the volatility of the eighteenth century and hear Mozart’s music in all its audacious vividness, gaining fresh perspectives on why his works still move us so intensely today as we continue to search for a modernity he imagined into being.

By bringing in different degrees of circulation in different regions and languages, this collection shows that while literary centers do exist in what Pascale Casanova calls "the international literary space," their power does not operate unilaterally and modes of intercultural circulation do exist beyond their control. The title World Literature in Motion highlights the fact that world literature is always already the product of certain modes of conceptual and material mobility and mediation.

"The authors challenge currently dominant approaches to migration, and offer important ways to move between the individual experience and the structure of the world system."---Alan Smart, University of Calgary --