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Introduction: American identities and the transatlantic stage. -- Staging revolution at the margins of celebration. -- Revolution and unnatural identity in Crèvecoeur's "Landscapes" -- British author, American text: The Poor Soldier in the new republic. -- American author, British source: writing revolution in Murray's Traveler Returned. -- Patriotic interrogations: committees of safety in early American drama. -- Dunlap's queer André: versions of revolution and manhood. -- Coloring identities: race, religion, and the exotic. -- Susanna Rawson and the dramatized Muslim. -- James Nelson Barker and the stage American Native. -- American stage Irish in the early republic. -- Black theater, white theater, and the stage African. -- Theodore, culture, and reflected identity. -- Tales of the Philadelphia Theodore: Osmond, national performance, and supranational identity. -- A British or an American tar? Play, player, and spectator in Norfolk, 1797-1800. -- After The Contrast: Tyler, civic virtue, and the Boston stage.

An academically focused collection of papers highlighting the successes and challenges of a move from disaster to risk management in responding to drought. The book passes on the experiences gained from Australia's trail-blazing new policy, introduced in 1992

The leading part of this volume focuses on the role of the state in capitalist society, beginning by showing the welfare state as an historical product of the class structure of English agrarian capitalism. The second chapter indicates how, in European colonies such as in Africa, taxation was an important means of forcing indigenous populations to work as wage-laborers or produce cash crops, and relating the process to Marx's 'primitive accumulation of capital'. The following two chapters move to the contemporary period, the first suggesting that change in the relationship between the nation-state and capital is rooted in the contradictory needs of labor versus capital, while the next chapter proposes analyzing capitalist institutions by relying, more than hitherto, on an hermeneutic understanding of institutions. The following part addresses price and technical choice in capitalism. The first two chapters address price, the initial one suggesting its formation to be the same as the formation of abstract labor, while the second identifying a new category of exchange value and using it to explain how changes in demand act to redistribute value across industries. The following two chapters consider, empirically, the relation between technical choice and profit rates. The third part addresses economic democracy within socialism, defending both direct democracy and economic calculation in terms of labor time. The concluding part develops an understanding of the class determination of knowledge, including explaining why the science and techniques developed in one class society can be used in others.

Drama, Theatre, and Identity in the American New Republic investigates the way in which theatre both reflects and shapes the question of identity in post-revolutionary American culture. In this 2005 book Richards examines a variety of phenomena connected to the stage, including closet Revolutionary political plays, British drama on American boards, American-authored stage plays, and poetry and fiction by early Republican writers. American theatre is viewed by Richards as a transatlantic hybrid in which British theatrical traditions in writing and acting provide material and templates by which Americans see and express themselves and their relationship to others. Through intensive analyses of plays both inside and outside of the early American 'canon', this book confronts matters of political, ethnic and cultural identity by moving from play text to theatrical context and from historical event to audience demography