. Audiences, participants and public/s When many people first think about communicating their research they can sometimes be motivated by the desire to reach ‘the general public’. In fact, in research communication settings, as in many others, it has become uncommon to refer to a singular public; rather, it is recognised that participants in research communication come from a variety of backgrounds, communities, experiences and perspectives, and the idea of one exclusive and singular public is therefore problematic. In the past many researchers and communicators
persisted in some quarters in the nineteenth century (some said it would help worshippers identify with disaster sufferers), abstinence was rare once the ‘fast day’ came to be understood later in the century not as a day without food and drink, but as a moment when the individual implored God’s intervention or sought better understanding of divine purposes through attendance at church, private prayer and personal acts of penitence. 105 Sermons also guided participants on how they should respond emotionally to great
into the formal labour market, repeating a global pattern that is also persistent in other migratory flows. The project was developed at the Reference Center for Migrants and Refugees at the Federal University of Roraima (UFRR), in the framework of the programme ‘Portuguese as a Reception Language’, which provided a technology lab equipped with twenty computers with internet access and a children’s room to receive the children of the project participants. The institutions
unfolded among actual and potential trial participants. Research participants are rarely involved in ethical debates in which they are so centrally implicated: but to understand the complexity of medical research, it is crucial to ‘recognise its study subjects as interlocutors in ongoing global ethics debates, not as mere objects of ethical responsibility’ ( Geissler and Pool, 2006 : 975). We adopt an anthropological approach which examines the lived experience of ‘postcolonial techno
(characterised by many participants as #AidToo), with a focus on British organisations. I argue that the aid industry exists in a historical, social and political space that is particularly volatile when it comes to sexual abuse, harassment and assault. The power hierarchies of the industry make it difficult to call out this abuse and easy to cover it up – powerful men are protected by their image as humanitarian saviours and enabled by organisations that rely on public goodwill for
is that such a case illustrates a Rwandan way of communicating that only makes sense when one takes into account the dialectic of speech/silence as discussed in the previous section. Indeed, one could say that ‘the truth was out there’ that day, in some expressive form, situated in the midst of the participants in that particular gacaca session. The trial participants on that hill that day deterritorialised the gacaca assemblage in their way. In doing so, they deterritorialised the assemblage when looked at from the perspective of its design. They
During summer 2018, Club Des Femmes (CDF), in collaboration with the Independent Cinema Office funded by the British Film Institute (BFI), curated a UK-wide touring season of films considering the aftermath of May 1968. ‘Revolt, She Said: Women and Film after ’68’ comprised nine feature films and eight accompanying shorts, exploring the legacy of 1968 on contemporary feminisms, art and activism transnationally. In this article, two members of CDF unpack the queer feminist ethics and affects of the tour, through the voices of multiple participants, and framed conceptually by Sara Ahmed’s ‘willful feminist’ and Donna Haraway’s ‘staying with the trouble’.
Whilst the focus of much criticism has addressed goth as a subculture, considerably less attention has been given to the gendered status of marketing and advertising in subcultural magazines, whilst ‘glossy’ goth magazines have enjoyed little concerted analysis at all. Subcultures are frequently represented by participants and critics as ‘idyllic’ spaces in which the free play of gender functions as distinct from the ‘mainstream’ culture. However, as Brill (2008), Hodkinson (2002) and Spooner (2004) have identified, this is unfortunately an idealistic critical position. Whilst goth men may embrace an ‘androgynous’ appearance, goth women frequently espouse a look which has much in common with traditional feminine values. Slippages between subcultural marketing and mainstream advertising are frequent and often neotraditional in their message regarding masculinity and femininity. In using critiques of postfeminism alongside subcultural theory, I seek to reevaluate how gender functions in these publications. By close inspection of scene representations of ‘goth’ in the twenty-first-century through magazines such as Gothic Beauty (US), Unscene and Devolution (UK), as well as interviews with participants, I argue women’s goth fashion, sexuality and body image often (but not exclusively) represent a hyperfemininity which draws from conventional ideas of womanhood.
-first century, particularly the normalisation of crisis and displacement and the recurrent themes of food security, famine and drought. Each session was introduced by brief reflections from two practitioners and an academic, followed by a guided open discussion, bringing in participants from the floor and lasting approximately an hour and a half in each case. Brief outlines of the session themes, including questions for reflection, were circulated
March to May 2017. The number of interviews is small because of the difficulty of talking to locals about their understanding of foreign concepts. To avoid alienating the participants by making them feel they did not know the ‘right answer’, our study focused on a general discussion about the household’s post-disaster recovery. In addition, a great deal of time was spent to build rapport with the respondents to make them feel comfortable and at ease when discussing their experience of Haiyan and their understanding of humanitarian interventions. Figure 1: Map