Somewhere in the course of the late twentieth century, Dubai became more than itself. The city was, suddenly, a postmodern urban spectacle rising from the desert—precisely the glittering global consumer utopia imagined by Dubai’s rulers and merchant elite. In Dubai, the City as Corporation, Ahmed Kanna looks behind this seductive vision to reveal the role of cultural and political forces in shaping both the image and the reality of Dubai.

Exposing local struggles over power and meaning in the making and representation of Dubai, Kanna examines the core questions of what gets built and for whom. His work, unique in its view of the interconnectedness of cultural identity, the built environment, and politics, offers an instructive picture of how different factions—from local and non-Arab residents and expatriate South Asians to the cultural and economic elites of the city—have all participated in the creation and marketing of Dubai. The result is an unparalleled account of the ways in which the built environment shapes and is shaped by the experience of globalization and neoliberalism in a diverse, multinational city.

Dubious Alliance was first published in 1984. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

The formation of the Democratic-Farmer-Labor party of Minnesota took place in a context of intense factional struggle that lasted from the death of Governor Floyd B. Olson in 1936 to the election of Hubert Humphrey to the U.S. Senate in 1948. Dubious Alliance, the first full account of this critical chapter in the state's political history, has wider significance not only because many of the leading figures in the story have played a role in national politics, but also because it deals with issues—chief among them, the origins of Cold War liberalism— that matter far beyond the boundaries of a single state.

John Haynes follows the struggle from its inception to the postwar battle within the new DFL between Popular Front adherents and anti-Communist liberals led by Minneapolis Mayor Hubert Humphrey. He makes clear that the struggle with the Popular Front was the formative political experience of Humphrey's generation; those who fought with him, and who became active in national politics—Orville Freeman, Eugene McCarthy, Walter Mondale, Donald Fraser—did not seriously question Cold War foreign policy till well into the Vietnam era.

Thorough and dispassionate, this book will help today's readers better understand the DFL's birth and the struggle that surrounded it—complex events long obscured by Cold War fears and political myth-making.

John Earl Haynes is a historian by training—he earned his Ph.D. at the University of Minnesota—and also a specialist in tax policy. He was an adviser to Governor Wendell Anderson and later served as a congressional aide to Anderson and to Representative Martin Sabo. Haynes is now Director of Tax and Credit Analysis for the state of Minnesota.

Spanning a quarter of a century, the essays in this book rehearse, in the movement of memory and cross-reflection, an extensive career in theater. The work of Herbert Blau-his directing, writing, and criticism-has been a determining force during this period as theater encounters theory.

Blau’s struggle to bring a critical intelligence to the American stage goes back half a century, to the quiescent postwar years (which he has eloquently described in The Impossible Theater: A Manifesto). His innovations in performance began with early productions of now-canonical plays that were hardly known at that time (works by Brecht, Beckett, Genet, Pinter, Duerrenmatt, and others). His experience is as distinctive as his versatile habits of mind and conceptual urgency of style.

If the impossible takes a little time (as the title of one essay states), Blau’s struggle now continues in a theoretical vein. Performance-and his own compelling writing- has moved across other genres and disciplines into fashion, politics, sexuality, and theory. His diversity of thought is demonstrated here in commentaries about the newer modes of performance (including conceptual and body art), various American playwrights, Renaissance drama, new music and theater, voice, the senses and the baroque, and the photographic image. As the essays reflect upon each other, a kind of cultural history, with inflections of autobiography, develops-which is what readers of Blau’s previous books have come to expect.