Michael Urban – författare

A unique illustrated exploration of the development of finance that combines data from every part of the world and covers five thousand years of history  “The book is a lot of fun. Data-fixated readers will enjoy unpicking its main content: a series of elegantly produced maps, graphs and other visualisations. These are eclectic in scope and ambitious in intent.”—Jonathan Guthrie, Financial Times  From the emergence of money in the ancient world to today’s interconnected landscape of high-frequency trading and cryptocurrency, the story of finance has always taken place on an international stage. Finance is one of the most globalized and networked of human activities, and one of the most important social technologies ever invented.  This volume, the first visually based book dedicated to finance, uses graphics and maps to bring the complex and abstract world of finance down to earth, showing how geography is fundamental for understanding finance, and vice versa. It illuminates the people—including Adam Smith, Karl Marx, and John Maynard Keynes—who have shaped our thinking about global finance; brings to life the ways that place-specific histories, laws, regulations, and institutions influence finance; shows how finance relates to innovation, globalization, and environmental change; and details how finance plays a key part in drawing the landscape of uneven development, inequality, and instability.  The Atlas of Finance, with word and image, will change the way you view both your money and your world.

The studies collected in this volume cover a range of topics - market reforms, social justice, ecology, nationalism, new political parties and more - that are at the centre of the revolutionary changes under way in the former Soviet bloc. Their focus on ideology - both the previous orthodoxy of Marxism-Leninism and new political and social currents of thought emerging in tandem with the transformation of these societies - provides a crucial vantage for understanding the historic changes taking place in the USSR and East Europe. The breadth of this book's subject matter is complemented by the variety of methods and approaches that it features: historical interpretation, linguist analysis, statistical analysis and political sociology.

In Russian politics reliable information is scarce, formal relations are of relatively little significance, and things are seldom what they seem. Applying an original theory of political language to narratives taken from interviews with 34 of Russia's leading political figures, Michael Urban explores the ways in which political actors construct themselves with words. By tracing individual narratives back to the discourses available to speakers, he identifies what can and cannot be intelligibly said within the bounds of the country's political culture, and then documents how elites rely on the personal elements of political discourse at the expense of those addressed to the political community. Urban shows that this discursive orientation is congruent with social relations prevailing in Russia and helps to account for the fact that, despite two revolutions proclaiming democracy in the last century, Russia remains an authoritarian state.

Blending first hand accounts of grassroots politics with an original theory of social relations under communism, this 1997 book seeks to explain one of the seminal events of this century: the rebirth of politics in Russia amid the collapse of the USSR. The authors trace the process from the pre-political period of dissident activity, through perestroika and the appearance of political groups and publications, elections, the formation of political parties and mass movements, counter-revolution and coup d'état, the victory of democratic forces and the organization of a Russian state; to the struggle of power in the post-communist epoch, the violent end of the first republic and the contentious relations engulfing its successor. By focusing on the popular forces which accomplished Russia's political rebirth, rather than the reforms of the Soviet establishment, this book offers an original perspective on this critical period.

Blending first hand accounts of grassroots politics with an original theory of social relations under communism, this 1997 book seeks to explain one of the seminal events of this century: the rebirth of politics in Russia amid the collapse of the USSR. The authors trace the process from the pre-political period of dissident activity, through perestroika and the appearance of political groups and publications, elections, the formation of political parties and mass movements, counter-revolution and coup d'état, the victory of democratic forces and the organization of a Russian state; to the struggle of power in the post-communist epoch, the violent end of the first republic and the contentious relations engulfing its successor. By focusing on the popular forces which accomplished Russia's political rebirth, rather than the reforms of the Soviet establishment, this book offers an original perspective on this critical period.

Michael Urban chronicles the advent of blues music in Russia and explores the significance of the genre in the turbulent, postcommunist society. Russians, he explains, have taken a music originating in the "low" culture of the American South and transformed it into an object of "high" culture, fashioning a social identity that distinguishes blues adherents from both the discredited Soviet past and the vulgar consumerism associated with the country's Westernization. While adapting the idiom to their own conditions, Russia's bliuzmeny (bluesmen) have absorbed the blues ethos encoded in the music by their American forebears, using it to invert their social world, thus deriving dignity and satisfaction from those very things that give one the blues.Based on more than forty interviews with blues musicians and fans, nightclub managers, and others, Russia Gets the Blues reveals the fascinating history of blues in Russia, from the initial mimicry of British blues-rock to the recent emergence of a specifically "Russian blues." The gradual mastering of the idiom in Russia has been conditioned by the culture of the country's intelligentsia, a fact explaining why, on one hand, bliuzmeny feel compelled to proselytize on behalf of the music, to share with others this treasure of "world culture," while, on the other, they perform blues almost exclusively in English—which almost no one understands—and condemn any and all efforts to make the music commercially successful.

Michael Urban chronicles the advent of blues music in Russia and explores the significance of the genre in the turbulent, postcommunist society. Russians, he explains, have taken a music originating in the "low" culture of the American South and transformed it into an object of "high" culture, fashioning a social identity that distinguishes blues adherents from both the discredited Soviet past and the vulgar consumerism associated with the country's Westernization. While adapting the idiom to their own conditions, Russia's bliuzmeny (bluesmen) have absorbed the blues ethos encoded in the music by their American forebears, using it to invert their social world, thus deriving dignity and satisfaction from those very things that give one the blues.Based on more than forty interviews with blues musicians and fans, nightclub managers, and others, Russia Gets the Blues reveals the fascinating history of blues in Russia, from the initial mimicry of British blues-rock to the recent emergence of a specifically "Russian blues." The gradual mastering of the idiom in Russia has been conditioned by the culture of the country's intelligentsia, a fact explaining why, on one hand, bliuzmeny feel compelled to proselytize on behalf of the music, to share with others this treasure of "world culture," while, on the other, they perform blues almost exclusively in English—which almost no one understands—and condemn any and all efforts to make the music commercially successful.

In Russian politics reliable information is scarce, formal relations are of relatively little significance, and things are seldom what they seem. Applying an original theory of political language to narratives taken from interviews with 34 of Russia's leading political figures, Michael Urban explores the ways in which political actors construct themselves with words. By tracing individual narratives back to the discourses available to speakers, he identifies what can and cannot be intelligibly said within the bounds of the country's political culture, and then documents how elites rely on the personal elements of political discourse at the expense of those addressed to the political community. Urban shows that this discursive orientation is congruent with social relations prevailing in Russia and helps to account for the fact that, despite two revolutions proclaiming democracy in the last century, Russia remains an authoritarian state.

Music, magic and myth are elements essential to the identities of New Orleans musicians. and membership in the city's musical community entails participation in the myth of New Orleans, breathing new life into its storied traditions.

Music, magic and myth are elements essential to the identities of New Orleans musicians. and membership in the city's musical community entails participation in the myth of New Orleans, breathing new life into its storied traditions.