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this will require principles, regulations and institutions that can press for change and bind policymakers and the platform economy to fair conditions and more inclusive regulations. Current efforts to include refugees in the internet economy must be paired with wider struggles for a more inclusive and fair digital economy. Acknowledgements For the purpose of open access, the author has applied a Creative Commons Attribution (CC BY) licence to any Author
consistent with the neoliberal tenets of the digital economy. This finding also corroborates the ideas of Duffy (2016) , who suggests that women’s personal motivations to engage in the creative digital economy lie in the belief that their work will pay off, irrespective of the precarious conditions involved. For Mia, the future prospect of generating income through ICTs is minimised, downplayed by the baseline level of digital access that is a prerequisite to
humanitarian sector. Chesbrough (2006) used the term ‘open innovation’ to explain the shift in the way companies had been innovating. Historically, businesses attempted to internalise the creative and innovative process, funding large research, development and design laboratories by selling market successes at high margins ( Chesbrough and Crowther, 2006 ; Van de Vrande et al. , 2009 ). The humanitarian sector followed a similar path. It promoted
sectors that have developed comprehensive norms to guide their engagement with ‘the digital’, she calls for the development of a framework of digital responsibility among humanitarians that takes these risks into account. Acknowledgements For the purpose of open access, the author has applied a Creative Commons Attribution (CC BY) License to any Author Accepted Manuscript version arising from this submission. Notes
inclusion (i.e. incorporation into existing, mainstream financial systems on the same terms as host populations). In response to various exclusions, refugees accepted jobs illegally, registered for financial accounts with borrowed IDs or purchased PayPal accounts online. Sometimes these behaviours are cited as creative, resilient workarounds ( Shepherd et al. , 2020 ; Omeje and Mwangi, 2014 ), but they often increased research participants
) with our interlocutors, we hoped to get a better sense of their everyday life routines and female sociability, which might have gone unnoticed in a more formal interview setting. Like Guha (2019) , we avoided questions which singled out a specific traumatic moment, putting family life in exile in the context of women’s wider life course. With this study, we add to recent scholarship that highlights the complex nature of Syrian women’s narratives, their creative engagement
Art and culture are supposed to bring society together. Culture is bad for you challenges the received wisdom that culture is good for us. It does this by demonstrating who makes who and consumes culture are marked by significant inequalities and social divisions.
The book combines the first large-scale study of social mobility into cultural and creative jobs, hundreds of interviews with creative workers, and a detailed analysis of secondary datasets. The book shows how unpaid work is endemic to the cultural occupations, excluding those without money and contacts. It explores unequal access to cultural education and demonstrates the importance of culture in childhood. The book looks at gender inequalities, analysing key moments when women leave cultural occupations, while men go on to senior roles. Culture is bad for you also theorises the mechanisms underpinning the long-term and long-standing class crisis in cultural occupations. In doing so it highlights the experiences of working-class origin women of colour as central to how we understand inequality.
Addressing the intersections between social mobility, ethnicity, and gender, the book argues that the creative sector needs to change. At the moment cultural occupations strengthen social inequalities, rather than supporting social justice. It is only then that everyone in society will be able to say that culture is good for you.
Beckett’s Afterlives is the first book-length study dedicated to posthumous reworkings of Samuel Beckett’s oeuvre. Contextualised against the backdrop of his own developing views on adaptation and media specificity, it nuances the long-held view that he opposed any form of genre crossing. Featuring contemporary engagements with Beckett’s work from the UK, Europe, the USA and Latin America, the volume does not approach adaptation as a form of (in)fidelity or (ir)reverence. Instead, it argues that exposing the ‘Beckett canon’ to new environments and artistic practices enables fresh perspectives on the texts and enhances their significance for contemporary artists and audiences alike. The featured essays explore a wide variety of forms (prose, theatre, performance, dance, ballet, radio, music, television, film, visual art, installation, new/digital media, webseries, etc.), in different cultural contexts, mainly from the early 1990s until the late 2010s. The concept of adaptation is broadly interpreted, including changes within the same performative context, to spatial relocations or transpositions across genres and media, even creative rewritings of Beckett’s biography. The collection offers a range of innovative ways to approach the author’s work in a constantly changing world and analyses its remarkable susceptibility to creative responses. Viewed from this perspective, Beckett’s Afterlives suggests that adaptation, remediation and appropriation constitute forms of cultural negotiation that are essential for the survival as well as the continuing urgency and vibrancy of Beckett’s work in the twenty-first century.
This book provides a lucid, wide-ranging and up-to-date critical introduction to the writings of Hélène Cixous (1937–). Cixous is often considered ‘difficult’. Moreover she is extraordinarily prolific, having published dozens of books, essays, plays and other texts. Royle avoids any pretence of a comprehensive survey, instead offering a rich and diverse sampling. At once expository and playful, original and funny, this micrological approach enables a new critical understanding and appreciation of Cixous’s writing. If there is complexity in her work, Royle suggests, there is also uncanny simplicity and great pleasure. The book focuses on key motifs such as dreams, the supernatural, literature, psychoanalysis, creative writing, realism, sexual differences, laughter, secrets, the ‘Mother unconscious’, drawing, painting, autobiography as ‘double life writing’, unidentifiable literary objects (ULOs), telephones, non-human animals, telepathy and the ‘art of cutting’. Particular stress is given to Cixous’s work in relation to Sigmund Freud and Jacques Derrida, as well as to her importance in the context of ‘English literature’. There are close readings of Shakespeare, Emily Brontë, P. B. Shelley, Edgar Allan Poe, Lewis Carroll, Virginia Woolf, James Joyce and Samuel Beckett, for example, alongside in-depth explorations of her own writings, from Inside (1969) and ‘The Laugh of the Medusa’ (1975) up to the present. Royle’s book will be of particular interest to students and academics coming to Cixous’s work for the first time, but it will also appeal to readers interested in contemporary literature, creative writing, life writing, narrative theory, deconstruction, psychoanalysis, feminism, queer theory, ecology, drawing and painting.
Translations is a personal history written at the intersection of colonial anthropology, creative practice and migrant ethnography. Renowned postcolonial scholar, public artist and radio maker, UK-born Paul Carter documents and discusses a prodigiously varied and original trajectory of writing, sound installation and public space dramaturgy produced in Australia to present the phenomenon of contemporary migration in an entirely new light. Rejecting linear conceptualisations of migrant space–time, Carter describes a distinctively migrant psychic topology, turbulent, vortical and opportunistic. He shows that the experience of self-becoming at that place mediated through a creative practice that places the enigma of communication at the heart of its praxis produces a coherent critique of colonial regimes still dominant in discourses of belonging. One expression of this is a radical reappraisal of the ‘mirror state’ relationship between England and Australia, whose structurally symmetrical histories of land theft and internal colonisation repress the appearance of new subjects and subject relations. Another is to embrace the precarity of the stranger–host relationship shaping migrant destiny, to break down art’s aesthetic conventions and elide creative practice with the poetics (and politics) of social production – what Carter calls ‘dirty art’. Carter tackles the argument that immigrants to Australia recapitulate the original invasion. Reflecting on collaborations with Aboriginal artists, he frames an argument for navigating incommensurable realities that profoundly reframes the discourse on sovereignty. Translations is a passionately eloquent argument for reframing borders as crossing-places: framing less murderous exchange rates, symbolic literacy, creative courage and, above all, the emergence of a resilient migrant poetics will be essential.