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Alireza F. Farahani
Azadeh Hadizadeh Esfahani

(‘big-D’ development) and its counter narrative (which can be characterised as ‘little-d’ development). ‘Big-D’ development can be understood as a post-Second World War project of intervention in the ‘Third World’ that emerged in the context of decolonisation and the Cold War, and has been continued with globalisation ( Hart, 2001 ; McMichael, 2011 ). ‘Little-d’ development has developed as a counter narrative that focuses on ‘post-development’ with an emphasis on non-intervention ( Escobar, 2008 ; Jakimow, 2008 ). The comfort gained from taking non- reflexive

in The power of pragmatism
The deep mapping projects of Tim Robinson’s art and writings, 1969–72
Nessa Cronin

artwork from this period took on the sombre mood of the city, which was then a ‘Cold War city unstably encamped on the ruins of its recent past’. His works ‘took a turn into nightmare’ where ‘atomic bombers flew in at the window, skeletalised birds fell through a lethal sky, monstrous creatures crawled in the sewers of towering “cities in a vacuum” ’.50 Robinson’s first exhibition as Timothy Drever was in a gallery owned by the ‘fantastic realist’ Ernst Fuchs, who was according to current legend ‘subject to visitations from angels who periodically commanded him to

in Unfolding Irish landscapes
Abstract only
Phil Hubbard

Britain of the three-day week and oil shortages, a time when the white heat of industrial modernity was burning out. It was also during the Cold War, a period of considerable nuclear anxiety, a theme played up in ‘The Claws of Axos’ when the alien Axons threaten to turn Dungeness power station into a gigantic nuclear bomb. As Kate Shaw notes in her overview of hauntological literature, there has been a lot of attention given to the legacy of early 1970s sci-fi and fantasy TV, especially programmes portraying the past returning to haunt the present

in Borderland
The invisibility of border-related trauma narratives in the Finnish–Russian borderlands
Tuulikki Kurki

value of literary works. The emphatic documentary style tended to diminish or even hide the authors’ attempt to address traumatic experiences. In the reception of these works, the emotional features of the narratives, often referring to underlying traumatic events, appeared as elements that reduced the credibility of the narrative. Furthermore, until the end of the Cold War, the reception of such works tended to diminish the trauma narratives of border-crossers. The border-crossers were seen as ‘heroic survivors’, and there was no space for a discussion about their

in Border images, border narratives
Seen and unseen migrants
Stephen F. Wolfe

of knowledge of their history, of their right to apply for asylum, or of the national and international wars and famines that have motivated them, or their aspirations for work and security in a safe environment. As Andrew Hammond ( 2018 ) has argued, the enthusiasm that greeted the end of the Cold War now seems distant. The fall of the Berlin Wall and dismantling of the Iron Curtain promised a more inclusive and united continent, as signalled by the EU's eradication of internal borders by the terms of the Schengen Convention of 1990. Yet the

in Border images, border narratives
Abstract only
Christiaan De Beukelaer

American journalist, explains that this has made being ‘green’ as dangerous as it was being ‘red’ during Cold War McCarthyism. 53 Few people want to live a fugitive life, like the fictional George Hayduke or his real-life incarnation Paul Watson, who founded Sea Shepherd. 54 Secondly, the narrative in The Ministry for the Future suggests that a few targeted acts of sabotage would be enough to make industry realise that a major shift is needed. Given the long history of piracy, incessant wars, and adverse weather

in Trade winds
Theoretical and methodological starting points
Sarah Kunz

political as well as economic domination and inequality, and racism in capitalist societies became a chief ‘propaganda weapon’ for the Soviet Union in the Cold War (Melamed 2006 :4). Getachew ( 2019 ), for example, highlights that anti-colonial nationalism was not solely a project of nation-state building but one of ‘worldmaking’, with its ‘most ambitious project’ being the New International Economic Order (NIEO) that politicised the global political economy and contended that sovereign statehood and equality required changed economic structures. The NIEO was quickly

in Expatriate