Nationalism has reasserted itself today as the political force of our times, remaking European politics wherever one looks. Britain is no exception, and in the midst of Brexit, it has even become a vanguard of nationalism's confident return to the mainstream. Brexit, in the course of generating a historically unique standard of sociopolitical uncertainty and constitutional intrigue, tore apart the two-party compact that had defined the parameters of political contestation for much of twentieth-century Britain. This book offers a wide-ranging picture of the different theoretical accounts relevant to addressing nationalism. It briefly repudiates the increasingly common attempts to read contemporary politics through the lens of populism. The book explores the assertion of 'muscular liberalism' and civic nationalism. It examines more traditional, conservative appeals to racialised notions of blood, territory, purity and tradition as a means of reclaiming the nation. The book also examines how neoliberalism, through its recourse to discourses of meritocracy, entrepreneurial self and individual will, alongside its exaltation of a 'points-system' approach to the ills of immigration, engineers its own unique rendition of the nationalist crisis. There are a number of important themes through which the process of liberal nationalism can be documented - what Arun Kundnani captured, simply and concisely, as the entrenchment of 'values racism'. These include the 'faux-feminist' demonisation of Muslims.
Over more than thirty years of reform and opening, the Chinese Communist Party has pursued the gradual marketization of China’s economy alongside the preservation of a resiliently authoritarian political system, defying long-standing predictions that ‘transition’ to a market economy would catalyse deeper political transformation. In an era of deepening synergy between authoritarian politics and finance capitalism, Communists constructing capitalism offers a novel and important perspective on this central dilemma of contemporary Chinese development. This book challenges existing state–market paradigms of political economy and reveals the Eurocentric assumptions of liberal scepticism towards Chinese authoritarian resilience. It works with an alternative conceptual vocabulary for analysing the political economy of financial development as both the management and exploitation of socio-economic uncertainty. Drawing upon extensive fieldwork and over sixty interviews with policymakers, bankers, and former party and state officials, the book delves into the role of China’s state-owned banking system since 1989. It shows how political control over capital has been central to China’s experience of capitalist development, enabling both rapid economic growth whilst preserving macroeconomic and political stability. Communists constructing capitalism will be of academic interest to scholars and graduate students in the fields of Chinese studies, social studies of finance, and international and comparative political economy. Beyond academia, it will be essential reading for anyone interested in the evolution of Chinese capitalism and its implications for an increasingly central issue in contemporary global politics: the financial foundations of illiberal capitalism.
Newspapers, magazines and pamphlets have always been central, almost sacred, forms of communication within Irish republican political culture. While social media is becoming the primary ideological battleground in many democracies, Irish republicanism steadfastly expresses itself in the traditional forms of activist journalism. Shinners, Dissos and Dissenters is a long-term analysis of the development of Irish republican activist media since 1998 and the tumultuous years following the end of the Troubles. It is the first in-depth analysis of the newspapers, magazines and online spaces in which the differing strands of Irish republicanism developed and were articulated during a period where schism and dissent defined a return to violence. Based on an analysis of Irish republican media outlets as well as interviews with the key activists that produced them, this book provides a compelling long-term snapshot of a political ideology in transition. It reveals how Irish Republicanism was moulded by the twin forces of the Northern Ireland Peace Process and the violent internal ideological schism that threatened a return to the ‘bad old days’ of the Troubles. This book is vital for those studying Irish politics and those interestedin activism as it provides new insights into the role that modern activist media forms have played in the ideological development of a 200-year-old political tradition.
Given the significant similarities and differences between the welfare states of Northern Europe and their reactions to the perceived 'refugee crisis' of 2015, the book focuses primarily on the three main cases of Denmark, Sweden and Germany. Placed in a wider Northern European context – and illustrated by those chapters that also discuss refugee experiences in Norway and the UK – the Danish, Swedish and German cases are the largest case studies of this edited volume. Thus, the book contributes to debates on the governance of non-citizens and the meaning of displacement, mobility and seeking asylum by providing interdisciplinary analyses of a largely overlooked region of the world, with two specific aims. First, we scrutinize the construction of the 2015 crisis as a response to the large influx of refugees, paying particular attention to the disciplinary discourses and bureaucratic structures that are associated with it. Second, we investigate refugees’ encounters with these bureaucratic structures and consider how these encounters shape hopes for building a new life after displacement. This allows us to show that the mobility of specific segments of the world’s population continues to be seen as a threat and a risk that has to be governed and controlled. Focusing on the Northern European context, our volume interrogates emerging policies and discourses as well as the lived experiences of bureaucratization from the perspective of individuals who find themselves the very objects of bureaucracies.
aims. Secondly, art and
culture exist in, and are fundamental to, all cultures worldwide and should have
a place across the university curriculum, both within and beyond the confines
of faculties and schools of fine arts or literature. We believe compartmentalising
aesthetic experience simply reinforces problematic preconceived or elitist notions
about the arts and limits their capacity as instruments of critical, social and
Over the years we have worked within adult education and community organisations where the arts were not regarded as
This chapter reviews the work and life of Elizabeth Colson, Gluckman’s successor as head of the Rhodes-Livingstone Institute, through an intellectual history focused on her social biography. The account explains how and why her legacy, so rich in Central African ethnography, matters for coming generations of anthropologists. A main contention is that coming from a Midwestern town in Minnesota, distinguished by the uneasy coexistence of displaced Ojibwa Indians and white settler farmers, predisposed Colson towards concerns with discrimination, emplacement and displacement, egalitarianism and participatory democracy, and towards being a systems sceptic, who cast doubt on the utility of any model of a system as if it were something consistently well integrated as a totality. Her scepticism stands out against the approaches of other pioneering social anthropologists; so too does the creative legacy of travelling theory in her transatlantic role. Early in her long career, she introduced to British social anthropology approaches from American sociology. Her breakthrough regarding cross-cutting ties in conflict resolution called into question the utility of the mainstream structuralist model of segmentary opposition and lineage theory. This account documents the intense networking, the broad critical reviewing, and the sustained international collaboration that she accomplished.
We started the book with a comment from Henna. She was talking about her experiences in the film industry. We’re thinking about Henna again as we close the book.
We are going to focus on film and TV to bring together the four themes we’ve discussed in the book. Film and TV also show why looking at occupations is a useful way of understanding inequality in cultural and creative industries.
In the late 1960s the BBC broadcast two episodes of its Man Alive documentary series. These episodes looked at the changing patterns and perceptions of social class in
Parade making as a cultural trope for urban policy
stuff’ as artists, prop-makers, parade organisers, City Council workers and
Gradually I developed the insight that artists are trained to use the ‘something inside of them’ as creative inspiration. They learn how to ‘bring it out’ in
a structured, productive way. The inspiring, creative people I met making these
parades in Manchester clearly understood this process and recruited parade
artists to draw out the creative potential of non-artists – the 1800 people in
ninety community groups across the city who made the parade. The
Creative resistance to racial capitalism within and beyond the
Agnieszka Coutinho, Jay Gearing, and Ben Rogaly
broader contexts of their lives – as musicians and poets, as community activists and informal teachers, as individuals whose employment conditions are onerous and whose creative capacities persist. It is a hopeful film despite the accounts it includes of terrible work experiences. And as it seeks to avoid stereotypes of misery or heroism, it is both a creative and analytical gesture in its own right. It documents the richness of workers’ lives and contributes to debates about work and its representation’ (Lyon 2019 ).
In the first section of the
sociological, as opposed to a
purely psychological, approach to the understanding of improvisational practices.
Jazz as an art world
In developing the concept of the ‘art world’, Becker was concerned
to illuminate the cultural practices and institutional constraints
which become established in any field of creative activity (Becker,
1982 and 1974; Gilmore, 1990). But Becker’s purpose is not simply
to reveal the features of the ‘social context’ of any process of artistic production (though these may be important); rather, the point is
to demonstrate the ways in which such