This thorough volume offers up-to-date information and practical guidelines for board members and executives of nonprofit organizations large and small. Among the topics addressed are the historical roots of the voluntary sector in America, a complete discussion of the key responsibilities of nonprofit boards, suggestions for board organization, appropriate protocol for meetings, legal issues affecting nonprofit groups, and useful tools for self-assessment. This guide will be indispensable to the almost two million nonprofit organizations existing in the United States today.

"Polka Heartland" captures the beat that pulses in the heart of Midwestern culture--the polka--and offers up the fascinating history of how "oompah-pah" came to be the sound of middle America. From the crowded dance tent at Pulaski Polka Days to an off-the-grid Mexican polka dance in small-town Wisconsin, "Polka Heartland" explores the people, places, and history behind the Midwest's favorite music.

From polka's surprising origin story as a cutting-edge European fad to an exploration of the modern-day polka scene, author Rick March and photographer Dick Blau take readers on a joyful romp through this beloved, unique, and richly storied genre. "Polka Heartland" describes the artists, venues, instruments, and music-makers who have been pivotal to polka's popularity across the Midwest and offers six full-color photo galleries to immerse readers in today's vibrant polka scene.

Utah Series in Middle East Studies

On July 15, 2016, a faction of the Turkish military attempted to overthrow the government of President Recep Tayyip Erdoğan. The Turkish government blamed the unsuccessful coup attempt on Gülenists, adherents of an Islamist movement led by Fethullah Gülen. They had helped elect Erdoğan and his AK Party, with the goal of bringing an ostensibly “soft” version of Islam into the secular Turkish government. In alliance with the AK Party, Gülenists steadfastly increased their representation in various government institutions, including the military, the police, and the judiciary. This volume focuses on the historical and sociopolitical contexts of the Gülen Movement’s origins and political ascendancy along with its possible role in the failed coup.
 

Editors Yavuz and Balcı are among the first international scholars to have studied the movement from its nascent stages in Turkey. The volume's contributors include scholars who have researched the movement in Turkey, Central Asia, and the Balkans. The result is a comprehensive, timely assessment of numerous dimensions of Gülenist activities, including its social and political networks and the institutions that supported the movement as it became a major economic and educational force in Turkey and elsewhere. This volume reflects exchanges among scholars who having studied the Gülenists, assembled to discuss how and why the movement became belligerent opponents of Erdoğan’s government, and it addresses questions such as how this major, still continuing disruption in Turkey’s politics will affect not only the future of the movement but also that of Turkey's embattled democracy as well.

This provocative collection of essays reveals the passionate voice of a Native American feminist intellectual. Elizabeth Cook-Lynn, a poet and literary scholar, grapples with issues she encountered as a Native American in academia. She asks questions of critical importance to tribal people:  who is telling their stories, where does cultural authority lie, and most important, how is it possible to develop an authentic tribal literary voice within the academic community?
    In the title essay, “Why I Can’t Read Wallace Stegner,” Cook-Lynn objects to Stegner’s portrayal of the American West in his fiction, contending that no other author has been more successful in serving the interests of the nation’s fantasy about itself. When Stegner writes that “Western history sort of stopped at 1890,” and when he claims the American West as his native land, Cook-Lynn argues, he negates the whole past, present, and future of the native peoples of the continent. Her other essays include discussion of such Native American writers as Michael Dorris, Ray Young Bear, and N. Scott Momaday; the importance of a tribal voice in academia, the risks to American Indian women in current law practices, the future of Indian Nationalism, and the defense of the land.
    Cook-Lynn emphasizes that her essays move beyond the narrowly autobiographical, not just about gender and power, not just focused on multiculturalism and diversity, but are about intellectual and political issues that engage readers and writers in Native American studies. Studying the “Indian,” Cook-Lynn reminds us, is not just an academic exercise but a matter of survival for the lifeways of tribal peoples. Her goal in these essays is to open conversations that can make tribal life and academic life more responsive to one another.

There are two ways to leave the Amish—one is through life and the other through death. When Saloma Miller Furlong’s father dies during her first semester at Smith College, she returns to the Amish community she had left twenty four years earlier to attend his funeral. Her journey home prompts a flood of memories. Now a mother with grown children of her own, Furlong recalls her painful childhood in a family defined by her father’s mental illness, her brother’s brutality, her mother’s frustration, and the austere traditions of the Amish—traditions Furlong struggled to accept for years before making the difficult decision to leave the community. In this personal and moving memoir, Furlong traces the genesis of her desire for freedom and education and chronicles her conflicted quest for independence. Eloquently told, Why I Left the Amish is a revealing portrait of life within—and without—this frequently misunderstood community.

The Why of Music was first published in 1969. 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.

In his many tears of teaching and writing about music Professor Ferguson has given much thought to the question of the why of music — why does music affect us as it does, why are we deeply moved by some music by not by other music, what is it about music that "sends" us, and where does it send us? In this book he explores such questions in depth and provides intriguing answers. The discussions are presented in the form of dialogues between the author and several friends.

As Professor Ferguson explains, the book is intended to take the reader on a guided tour, a tour which follows, in part, the familiar roads of formal music appreciation but which leads more often into byways where, almost hidden by the brilliant Hows that line the more familiar roads, lurks the essential Why of music. He describes this Why as the fertilizing commerce between music and human experience—a portrayal, not of the tangible facts of experience, but of the concern aroused by our encounter with those facts. He explains that while avant-garde abstractionism is concerned only with music as art—a concern too specialized for the general music lover to grasp and too narrow to sustain interest—the Why of enduring music lies in its endeavor to portray experience as it lives in Everyman's mind.

Conundrums, puzzles, and perversities: these are Leo Katz’s stock-in-trade, and in Why the Law Is So Perverse, he focuses on four fundamental features of our legal system, all of which seem to not make sense on some level and to demand explanation. First, legal decisions are essentially made in an either/or fashion—guilty or not guilty, liable or not liable, either it’s a contract or it’s not—but reality is rarely as clear-cut. Why aren’t there any in-between verdicts? Second, the law is full of loopholes. No one seems to like them, but somehow they cannot be made to disappear. Why? Third, legal systems are loath to punish certain kinds of highly immoral conduct while prosecuting other far less pernicious behaviors. What makes a villainy a felony? Finally, why does the law often prohibit what are sometimes called win-win transactions, such as organ sales or surrogacy contracts?

Katz asserts that these perversions arise out of a cluster of logical difficulties related to multicriterial decision making. The discovery of these difficulties dates back to Condorcet’s eighteenth-century exploration of voting rules, which marked the beginning of what we know today as social choice theory. Condorcet’s voting cycles, Arrow’s Theorem, Sen’s Libertarian Paradox—every seeming perversity of the law turns out to be the counterpart of one of the many voting paradoxes that lie at the heart of social choice. Katz’s lucid explanations and apt examples show why they resist any easy resolutions.

The New York Times Book Review called Katz’s first book “a fascinating romp through the philosophical side of the law.” Why the Law Is So Perverse is sure to provide its readers a similar experience.