Abstract only
Torino and the Collettivo Punx Anarchici
Giacomo Bottà

Vol. 7: Da Capitale Politica a Capitale Industriale (Torino: Einaudi, 2001).   4 N. Tranfaglia, Storia di Torino Vol. 9. Gli Anni della Repubblica (Torino: Giulio Einaudi, 1999), p. 19.    5 B. De Sario, Resistenze Innaturali (Milano: Agenzia X, 2009).    6 R. Farano (‘Tax’), interview with author, 12 March 2011.    7 M. Mathieu, interview with author, 19 February 2011. Similarly, G. Capra, interview with author, 18 March 2011, recalled: ‘I was never interested in 1977 punk; my cultural step was directly from Genesis to Dead Kennedys; from Gentle Giant to DOA

in Fight back
Ross M. English

closely divided, there is a danger of enough supporters of the measure leaving the Capitol that a vote could be called by the filibustering Senator and the measure may be defeated. These are particular dangers towards the end of the week when Senators are looking to return home to their constituencies. Faced with these problems, the proponents of the measure may choose to withdraw it for another time, or to negotiate. The filibuster was immortalised in Frank Capra’s excellent 1939 film Mr Smith Goes to Washington, where an honest but naive young Senator, Jefferson Smith

in The United States Congress
Jenny Edkins

that arose in the early years of the twentieth century take as accepted among other things the impossibility of independent observation, the straightforward existence of objects, or a defined temporality, and this is the picture of the world that makes sense to me. It is also a picture of the world as fundamentally interconnected, a notion expressed perhaps most clearly by Fritjof Capra, whose book, first published in 1975, draws connections between modern physics and Indian and Chinese philosophy.3 As Karen Barad puts it, much later, ‘Existence is EDKINS

in Change and the politics of certainty
Abstract only
Harry Blutstein

somebody should come along to threaten or embarrass me about Irita, I would say, “Go right ahead.”’7 To their credit, Roosevelt and the press kept quiet. The public only became aware of the affair when, in 1948, the film State of the Union was released. Directed by Frank Capra, it is loosely based on the 1940 presidential campaign. Willkie is wonderfully portrayed by Spencer Tracy, with Angela Lansbury playing the role of Irita Van Doren. Katherine Hepburn plays Willkie’s long-­ suffering wife (as opposed to real life where she was Tracy’s long-­suffering mistress

in The ascent of globalisation
A cinematic response to pessimism
Davide Panagia

, or Kant and Capra. These are, to anyone’s eyes, perverse couplings or risky marriages, to be sure. The claim(s) Cavell makes about film(s) are not representational where x and y films are said to offer better understandings or a more capacious or effective semblance of democratic life. Cavell cannot make those claims, given his own anxiety about claim-making, and his

in Cinema, democracy and perfectionism
Jonathan Purkis

increasingly interventionist State during the 1960s. Yet sociology itself can also be seen to reflect this instrumental approach. The eco-sociologist Alwyn Jones (1987) has suggested that instrumental and anthropocentric positions are prevalent in sociology and support what he calls the ‘industrial growth model’ of society. Jones draws on some of the psychoanalytical aspects of Herbert Marcuse’s work, those of libertarian socialist and radical Catholic Ivan Illich, as well as ecologists such as E. F. Schumacher (1976) and Fritjof Capra (1982). He claims that sociology still

in Changing anarchism
Abstract only
Towards a ‘tolerable state of order’?
Thomas R. Seitz

]would seem to bear a responsibility for providing the information necessary for [the people] to comprehend the situation that has actually developed in Vietnam. That has not been done.’11 As a result, Congress remained an obstacle rather than an ally when it came to security assistance efforts in the developing world. Securing such broad, popular support for security assistance was a cherished goal of Cold War presidents, from Truman onward. Truman himself had even approached film-maker Frank Capra, creator of the successful Why We Fight series of Second World War

in The evolving role of nation-building in US foreign policy