This book explores contemporary urban experiences connected to practices of sharing and collaboration. Part of a growing discussion on the cultural meaning and the politics of urban commons, it uses examples from Europe and Latin America to support the view that a world of mutual support and urban solidarity is emerging today in, against, and beyond existing societies of inequality. In such a world, people experience the potentialities of emancipation activated by concrete forms of space commoning. By focusing on concrete collective experiences of urban space appropriation and participatory design experiments this book traces differing, but potentially compatible, trajectories through which common space (or space-as-commons) becomes an important factor in social change. In the everydayness of self-organized neighborhoods, in the struggles for justice in occupied public spaces, in the emergence of “territories in resistance,” and in dissident artistic practices of collaborative creation, collective inventiveness produces fragments of an emancipated society.
Between 1921 and 1965, Irish and Scottish migrants continued to seek new homes abroad. This book examines the experience of migration and settlement in North America and Australasia. It goes beyond traditional transnational and diasporic approaches, usually focused on two countries, and considers a range of destinations in which two migrant groups settled. The book aims to reclaim individual memory from within the broad field of collective memory to obtain 'glimpses into the lived interior of the migration processes'. The propaganda relating to emigration emanating from both Ireland and Scotland posited emigration as draining the life-blood of these societies. It then discusses the creation of collective experiences from a range of diverse stories, particularly in relation to the shared experiences of organising the passage, undertaking the voyage out, and arriving at Ellis Island. The depiction at the Ellis Island Museum is a positive memory formation, emphasising the fortitude of migrants. Aware that past recollections are often shaped by contemporary concerns, these memories are also analysed within the broader context in which remembering takes place. The book then examines migrant encounters with new realities in New Zealand, Australia, and Canada. The formal nature of ethnic and national identities for Irish and Scottish migrants, as exhibited by language, customs, and stereotypes, is also explored. The novelty of alleged Irish and Scottish characteristics emphasised in accounts presumably goes some way to explaining the continued interest among the children of migrants. These ongoing transnational connections also proved vital when migrants considered returning home.
representing such cultural conflicts as a way of self-consciously
or unconsciously reinforcing those social and ideological antagonisms,
vicissitudes and turbulences, mediating these individual and collectiveexperiences and discourses or reflecting upon these processes in order to
propose and to imagine alternative symbolic systems that may potentially
contribute to political change and social transformation. From this
Baxter that she noted thoughts ‘that stay there’ in her diary. Hearing and noting sermons must have helped Gell address her personal doubts about salvation, but it was also a collectiveexperience, a family project, and one that connected her individual crisis to the broader experiences of the community of the godly. It was a more detached written regime than keeping a diary, and a more outward-looking one, applying the minister's words to her own condition, and reflecting on the ‘affections’ and ‘duties’ implied, rather than beginning with self-examination. Taking
The socio-economics of community
This chapter focuses on three aspects of collectiveexperience among
young French-North Africans in Seine-Saint-Denis: the banlieue, the
quartier (or cité) and racial discrimination. While the banlieue and the
quartier are often considered as predominantly socio-economic categories,
I argue that they can be seen as representing an interface between social
and more cultural forms of identity. The interface between the socioeconomic and the cultural is also discussed in relation to the interviewees’
such provided for the creation of an alternate emotional
community, one that existed within the war, but which stood apart from
the most common tropes of the ‘wartime community’.
The idea that the cinema was able to foster a sense of community is
not new. Scholars have, however, tended to focus on the ways in which
films used communal imagery to promote the notion of collectiveexperience and endeavour, with Margaret Butler, for instance, arguing that the
‘one major function’ of British films during the war was to ‘visualise the
“people’s war”, at the heart of which
, the CRAV inherited
and developed the ideological mantle of the Défense movement’s collectiveexperience. By housing this inheritance within one organisation, the
CRAV became the most articulate voice of the Midi winegrowers and
their most fervent champion. The CRAV was the latest manifestation
of a long regional history of mobilisation to defend the economic interests, and way of life, of Midi winegrowers. The Défense movement had
assumed various guises but always drew upon the memory, symbols and
forms of action bequeathed by the momentous events of 1907.
common’. An understanding of boredom is, as Roland Barthes has
suggested, ‘not simple’.45 But for all the complexity involved in its formation
there is, as I have shown throughout this book, one circumstance which adds
particular weight to its occurrence: to be faced with boredom is to germinate
the conditions for resistance. In this sense, to experience boredom is not simply
to be subjected to a structure of mass constriction. Rather, through its collectiveexperience and politicised figuration, boredom can also reveal new spaces and
alternative modes of being.
Myth, memory and masculinity in Irish men’s narratives of work in the British construction industry
This chapter examines the meanings male migrants attach to their experiences of work within the post-war British construction industry. Setting the analysis within the broader context of change within the post-war British economy and culture, the chapter uses the personal work histories of three migrants to explore the industry as a site for the re/negotiation of migrant masculinities. As well as investigating how the performance of distinct roles, different occupational trajectories and changing conditions within the industry shaped subjects’ experiences in different ways, the chapter foregrounds how migrants’ collective experiences within the sector have generated a range of competing popular representations of the identity of the Irish construction worker. Through analysis of diaries and memoirs, popular novels and folk song, industry publications and newspapers, the chapter shows how these images form part of a ‘communal imaginary’ of the Irish in post-war England, expressive of the collective fantasies of the post-war generation, and how they routinely feed back into the production of personal memory, complicating as well as facilitating subjects’ efforts to ‘compose’ coherent narratives of belonging. Through attention to this process, the chapter traces the different ‘rewritings’ of the migrant self that occur over the life course.
Chapter 1 proposes that the once-canonical ‘Harley Lyrics’ require literary-geographical re-contextualization. These poems’ backwater status is not native, but a consequence of the peripheral location assigned them by metropolitan narratives preoccupied with formal-genealogical influence. Harley 2253 was produced for a gentry household near Ludlow, Herefordshire, by a copyist using exemplars from across England and beyond (Paris, Avignon, Ireland). By attending to lyric transmission, and through readings of genre and geography, ‘Harley Lyrics and Hereford clerics’ demonstrates how, notwithstanding the provincial gentry setting of their copying, these adaptable poems align formally and socially with another textual community. This underlying context lies in the well-travelled secular clerks and episcopal officials of Hereford Diocese. The collective experience of such men was defined by unusually pronounced mobility, cohort solidarity, and district boosterism. But if these clerical lives, given incessant travel, are defined by spatial dislocation, so too are the Harley Lyrics preoccupied with geographical displacement. Waxing nostalgic for a ‘hom’ located vaguely ‘by west’, they idealize the figure of a beloved ‘levedi’ [lady] or ‘lef in lond’ [love in land]) who is brought into being through passionate poetic longing. Such (imported) conventions bespeak the cosmopolitanism of the Harley Lyrics, while underlining their regional orientation.