A movement to reform the media has grown explosively in the U.S. in the past decade. Using dramatic, real-world case studies of journalism that made a difference, Good News shows why media reform is worth fighting for. A vast, old growth redwood forest was spared the chainsaw. Thousands of Latina janitors in Houston united to boost their poverty level wages. In these and other victories for justice and nature, non-corporate journalists played a crucial role.

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Beginning around 1850, Italians found themselves in the midst of an identity crisis. Europeans in France and England had surpassed Italians in terms of political, economic, and social progress. Italians seemed trapped in the past, clinging to their magnificent artistic heritage. However, new cultural and social movements were on the rise in Italy that attempted to throw off the domination of other European entities and forge a promising future for Italy. The Macchiaioli, a group of Italian modern artists who painted from 1853 to 1908, were the first group to address contemporary social issues such as class struggle and national weakness. Their art called for progressive change and arguably influenced how the later Italian Futurist movement would address similar concerns beginning in 1909. One of the Macchiaioli, Telemaco Signorini, advocated the development of new technologies and industries—dominated by men—in realist paintings from 1853 to 1901. Futurist artist Giacomo Balla gained recognition for promoting similar ideas in a more radical fashion. Most art historians believe that the Futurists were influenced by trends originating in Western Europe, specifically the French avant-garde. This thesis argues that the Futurists were significantly influenced by an Italian tradition that originated with the Macchiaioli. The Macchiaioli were animated by a nationalistic fervor and a desire to create a strong and unified Italian state. They used art and literature to advance progressive ideals based on masculine acts. The Futurists responded to similar stimuli in their day. In the absence of a powerful national identity, Signorini and Balla employed modern artistic styles to idealize masculine solutions to social problems. Both ultimately foresaw a world in which technology, mastered by men, would elevate Italian society.

Given the consistent findings in the development literature that fertility is associated with economic growth for individuals, families, and even influences a country's Gross Domestic Product, I explore to what degree motorcycles impact changes in fertility in rural Indonesia. I argue that motorcycles function as a "Distance Demolishing Technology" (Scott 2009:11) and therein empower individuals, particularly young rural women from lower socioeconomic groups who are socially and economically isolated, through increasing their access to labor markets, educational opportunities, non-familial social organizations, and more diverse social networks—key indicators in affecting fertility decisions identified in the existing literature. I examine this relationship in Indonesia where from 1990 to 2009, motorcycle ownership in Indonesia increased approximately 893% while the Indonesian population increased approximately 15% (Badan Pusat Statistik 2009). Using Demographic and Health Survey data across 1994, 1997, 2002, 2003 and 2007, I examine this relationship through a combination of multilevel regression models. My findings show a strong association between motorcycle ownership and a decrease in four different measures of fertility. Considering the importance of fertility in indicating individual and aggregate economic development—particularly in terms of increasing GDP and GNI per Capita—my findings indicate that sometimes even the simplest of technologies can be the "engines" of social and economic change.

Daisaku Ikeda is the Buddhist leader of one of the most visible religious movements today, the Soka Gakkai International (SGI). In this thesis, the main research question concerns the peace philosophy of Ikeda and its contribution to peace theory. Daisaku Ikeda and the SGI have been the subject of several scholarly studies in the fields of religious history and sociology. The focus of this research is on the significance of Ikeda's contributions in the field of peace studies, where his work has not yet been the subject of systematic investigation. It is argued that the originality of Ikeda's philosophy of peace resides in two main elements. First, the starting point is consistently human life and its potential for peace and happiness, not the omnipresence of conflict. Second, he offers a coherent system linking the individual, dialogical and global levels, which can be represented as a triangle made of three conceptual frameworks, that of Humanistic Psychology (Human Revolution), Communicative Rationality (Dialogue) and Cosmopolitan Democracy (Global Civilization). It is also argued that while being inspired by Ikeda's Buddhist spirituality and his loyalty to his mentor Josei Toda, this secular humanist approach to peace offers an effective and original way for all people to participate in the construction of a better world, regardless of their religious or ideological affiliation, social background or cultural practices.

Throughout history people have sought to prompt social change through theatrical experiences. The theatre has moved the masses in ways that have frightened governments and religious establishments into closing down theatres and banning theatrical material. History proves that theatre which causes change exists and works, but it also proves there is no one definition or formula for this type of theatre. Depending on the culture, time period, issue, resources and people involved Theatre for Social Change takes a variety of forms. However, theatre affecting change does tend to maintain two common threads: the creation of a new work and the pursuit of the uncertain elements which will ensure the work affects change in its audience. With no more than two common threads, where does a young actor, recognizing a social problem and desiring change prompted through a theatrical experience begin his or her journey? How does one create Theatre for Social Change? How does one know the theatrical work has successfully caused change within an audience? If there is no certain definition, no one way to pursue it, what direction should one follow? Following Peter Brook's example as set in his 1966 production of US, I will create my own original work in the form of a one-person show and use it as the canvas to apply Brook's ideas and techniques. I hope to find that in order for an audience to change they must first be willing to participate in a performance, even if it is a performance demanding a harsh confrontation with an ignored social problem. Through this thesis I aim to prove that through an actor's personal journey with a social issue, the actor leads the way for the audience to be willing to participate and take the journey themselves resulting in change. My written thesis will include the findings of my research and preparation, a detailed rehearsal and performance journal, the original script of my performance work Knowing Fires and a reflection on the completed process including audience feedback. All of these elements will hopefully lead to a conclusive and useful approach to creating Theatre for Social Change.

This thesis examines the development of environmental sustainability on 194 of the wealthiest colleges and universities in the United States and Canada. Campus-based environmental organization membership data, organizational profiles, participant observation, and sustainability grades (from the Sustainable Endowment Institutes College Sustainability Report Cards 2009) are used to examine the relationship between campus-based environmental organizations and sustainability of higher educational institutions. Linear regression is used to analyze the overall university sustainability grades as an outcome variable. Overall university sustainability grades are impacted by campus-based environmental activism social movement organizations, high endowment per student, the age of the university, and the presence of state renewable portfolio standards. My findings suggest that the Sustainable Endowment Institute's College Sustainability Report Card might be improved by including indicators of greenhouse gas reports and interdisciplinary courses on sustainability.

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