"Jankowski recounts Stavisky's notorious schemes and untimely demise, the deadly riot that rocked Paris in its wake, the fall of successive governments including that of Edouard Daladier, and the spectacular trial of many of the swindler's accomplices. "Much against his will, Sacha Stavisky," the author observes, "ignited an explosion that briefly engulfed the entire system of government.""--BOOK JACKET.

These two volumes have no maps. But all the Greek and Roman place names which are mapped in the atlas volume are here given together with references to the original research which marshals the evidence for how we know where the ancient places were.

Since the first edition of the Encyclopedia of White Collar and Corporate Crime was produced in 2004, the number and severity of these crimes have risen to the level of calamity, so much so that many experts attribute the near-Depression of 2008 to white-collar malfeasance, namely crimes of greed and excess by bankers and financial institutions. Whether the perpetrators were prosecuted or not, white-collar and corporate crime came near to collapsing the U.S. economy. In the 7 years since the first edition was produced we have also seen the largest Ponzi scheme in history (Maddoff), an ecological disaster caused by British Petroleum and its subcontractors (Gulf Oil Spill), and U.S. Defense Department contractors operating like vigilantes in Iraq (Blackwater). White-collar criminals have been busy, and the Second Edition of this encyclopedia captures what has been going on in the news and behind the scenes with new articles and updates to past articles.

In a thorough reappraisal of the white-collar and corporate crime scene, this Second Edition builds on the first edition to complete the criminal narrative in an outstanding reference resource.

In Landscapes of Loss, Naomi Greene makes new sense of the rich variety of postwar French films by exploring the obsession with the national past that has characterized French cinema since the late 1960s. Observing that the sense of grandeur and destiny that once shaped French identity has eroded under the weight of recent history, Greene examines the ways in which French cinema has represented traumatic and defining moments of the nation's past: the political battles of the 1930s, the Vichy era, decolonization, the collapse of ideologies. Drawing upon a broad spectrum of films and directors, she shows how postwar films have reflected contemporary concerns even as they have created images and myths that have helped determine the contours of French memory. This study of the intricate links between French history, memory, and cinema begins by examining the long shadow cast by the Vichy past: the repressed memories and smothered unease that characterize the cinema of Alain Resnais are seen as a kind of prelude to a fierce battle for national memory that marked so-called rétro films of the 1970s and 1980s. The shifting political and historical perspectives toward the nation's more distant past, which also emerged in these years, are explored in the light of the films of one of France's leading directors, Bertrand Tavernier. Finally, the mood of nostalgia and melancholy that appears to haunt contemporary France is analyzed in the context of films about the nation's imperial past as well as those that hark back to a "golden age," a remembered paradis perdu, of French cinema itself.

William I. Brustein offers the first truly systematic comparative and empirical examination of anti-Semitism within Europe before the Holocaust. Brustein proposes that European anti-Semitism flowed from religious, racial, economic, and political roots, which became enflamed by economic distress, rising Jewish immigration, and socialist success. To support his arguments, Brustein draws upon a careful and extensive examination of the annual volumes of the American Jewish Year Books and more than 40 years of newspaper reportage from Europe's major dailies. The findings of this informative book offer a fresh perspective on the roots of society's longest hatred.

The authors highlight the new symbolic forces put in play by technologies of the illustrated press and the sound film - technologies that converged with efforts among writers, artists, and other intellectuals to respond to the crises of the decade.