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Author: Amy Bryzgel

This book represents the first attempt to write a comprehensive account of performance art in Eastern Europe - the former communist, socialist and Soviet countries of Central, Eastern and Southeastern Europe - since the 1960s. It demonstrates performance art, which encompasses a range of genres, among them body art, happenings, actions and performance. In exploring the manifestations and meanings of performance art, the book highlights the diversity of artistic practice, moments and ways in which performance emerged, and its relationship to each country's sociopolitical climate. The book discusses 21 countries and over 250 artists, exploring the manner in which performance art developed concurrently with the genre in the West. It examines how artists used their bodies in performance to navigate the degrees of state control over artistic production and cultivate personalised forms of individual integration and self-expression of body, gender, politics, identity, and institutional critique. A comparative analysis of examples of performance art addressing gender-related issues from across the socialist and post-socialist East is then presented. The themes addressed provide local cultural and historical references in works concerning beauty, women's sexuality and traditional notions of gender. Artists' efforts to cope with the communist environment, the period of transition and the complexities of life in the post-communist era are highlighted. Artists during the communist period adopted performance art as a free-form, open-ended means of expression to give voice to concepts, relationships and actions that otherwise would not have been possible in the official realm of art.

Tony Dundon, Miguel Martinez Lucio, Emma Hughes, Debra Howcroft, Arjan Keizer, and Roger Walden

Introduction Worker voice is perhaps the most politicised and power-centric of all WES issues. An eminent scholar many years ago, Alan Flanders ( 1970 ), articulated the point that ‘for management to gain control, they must first learn how to share it’. Thus, the very idea of having a say about work-related issues is a contested space, subject to various power struggles and forms of regulation and control, as well as hidden agendas and control strategies (see Wilkinson et al. , 2020 ). In this chapter, we discuss four approaches affecting ‘who speaks for

in Power, politics and influence at work
Marcel Stoetzle

shelter; that this production and its conditions determine, to an extent, social and intellectual forms; that God is a human projection, not a reality. By contrast, some important points that are in fact central to and original in Marx are that classes are relational, rather than stand-alone entities with an essence of their own; similarly, that human ‘essence’ or nature, insofar as it has to do with social behaviour, is nothing more than ‘the ensemble of social relations’, i.e., historically and socially constituted rather than fixed; and that ‘men make their own

in Beginning classical social theory
Abstract only
Ben Cohen and Eve Garrard

’s jealous god – ‘in face of which no other god may exist’ – is money. The emancipation of the Jews is said by him to be equivalent to the emancipation of mankind from Judaism. Part I, on the other hand, presents a version of secular democracy in which the Jews, like any religious or other particularistic grouping, may retain their religion and their separate identity consistently with the state itself rising above such particularisms, and rendering these politically irrelevant. Though Marx himself regards this – political emancipation – as an incomplete form of

in The Norman Geras Reader
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Donald Trump, neoliberalism and political reconfiguration
Edward Ashbee

and ways in which the post-war Keynesian settlement was dismantled through deregulation, privatisation and the pulling back of state social provision. In broad terms, and although there were very significant differences between countries as neoliberalism took ‘embedded’ or ‘hybrid’ forms, the neoliberal agenda (expressed in most notably the Washington Consensus) rested upon the squeezing of the social state, fiscal discipline, the curbing of government subsidies, the cutting of tax rates to bolster trade and financial liberalisation, privatisation, deregulation and

in The Trump revolt
Magnolia Pauker

interlocutors only, has identified more than one hundred such interviews in over eighty publications during the course of those twenty-three years; these ranged from televised debates to cultural and literary magazine features and Q&As. 4 Edward Said describes Foucault as ‘a master of the interview as a cultural form’. 5 Gilles Deleuze notes that ‘Foucault’s interviews form an integral part of

in Foucault’s theatres
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Series: Pocket Politics
Author: Edward Ashbee

This book explores how a candidate who broke with almost every single norm governing candidate behaviour, appeared to eschew the professionalised forms of campaigning, and who had been more or less disowned by Republican elites, prove victorious? The focus is on Trump and his campaign; the account does not go beyond the November election and its immediate aftermath. The book argues that the Trump campaign, like earlier populist insurgencies, can be explained in part by considering some defining features of US political culture and, in particular, attitudes towards government. It explains the right-wing populism that has been a recurrent and ingrained feature of the political process over a long period. The book discusses structural characteristics of the American state that appear to be of particular significance in shaping attitudes, as well as some other ideas and frames brought to the forefront by the Trump campaign during the course of 2015 and 2016. It also considers the shifts and swings amongst voters and suggests that these, alongside ideas about the state and the 'entrepreneurial' efforts of the campaign, form part of the explanation for Trump's eventual victory. The book assesses Trump's ascendancy as a function of, and reaction to, the strategies and discourses pursued in the years preceding 2016 by Republican Party elites. 'Trumpism' and European forms of populism are still in some ways weakly embedded but they may intensify the battles and processes of group competition between different constituencies.

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The social life of music
Author: Nick Crossley

This book argues that music is an integral part of society – one amongst various interwoven forms of social interaction which comprise our social world; and shows that it has multiple valences which embed it within that wider world. Musical interactions are often also economic interactions, for example, and sometimes political interactions. They can be forms of identity work and contribute to the reproduction or bridging of social divisions. These valances allow music both to shape and be shaped by the wider network of relations and interactions making up our societies, in their local, national and global manifestations. The book tracks and explores these valances, combining a critical consideration of the existing literature with the development of an original, ‘relational’ approach to music sociology. The book extends the project begun in Crossley’s earlier work on punk and post-punk ‘music worlds’, revisiting this concept and the network ideas underlying it whilst both broadening the focus through a consideration of wider musical forms and by putting flesh on the bones of the network idea by considering the many types of interaction and relationships involved in music and the meanings which music has for its participants. Patterns of connection between music’s participants are important, whether they be performers, audience members or one of the various ‘support personnel’ who mediate between performers and audiences. However, so are the different uses to which participants put their participation and the meanings they co-create. These too must be foci for a relational music sociology.

The myth and reality of social existence
Anthony King

Introduction The structure and agency debate in one form or another has been a periodic feature of sociology since the origins of the discipline. Since the debate deals with the question of what fundamentally a society is, this is unsurprising – for the way sociologists conceive of society determines how they study it. In the last decade, it has once again become a topic of intense struggle. Given the seemingly eternal return of the debate, it is probably unwise to believe that it will stop, or that adherents of structure and agency will be

in Human agents and social structures
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The difficult and definitive guide to what video games are
Author: David Myers

The nascent field of game studies has raised questions that, so far, that field has been unable to answer. Among these questions is a foundational one: What is a game?

Despite the widespread appeal of games, despite the rise of digital games as a global cultural phenomenon, vexing problems persistently confront those who design, play, and think about games. How do we reconcile a videogame industry's insistence that games positively affect human beliefs and behaviors with the equally prevalent assumption that games are “just games”? How do we reconcile accusations that games make us violent and antisocial and unproductive with the realization that games are a universal source of human joy?

In Games are not, David Myers demonstrates that these controversies and conflicts surrounding the meanings and effects of games are not going away; they are essential properties of the game's paradoxical aesthetic form.

Buttressed by more than three decades of game studies scholarship, Myers offers an in-depth examination of games as objects of leisure, consumption, and art. Games are not focuses on games writ large, bound by neither by digital form nor by cultural interpretation. Interdisciplinary in scope and radical in conclusion, Games are not positions games as unique objects evoking a peculiar and paradoxical liminal state – a lusory attitude – that is essential to human creativity, knowledge, and sustenance of the species