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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.
theories, there is also a broader scepticism that questions the priorities of international donors, not to mention a clear political failure on the part of the State, that should not be glossed over ( Khan and Constable, 2019 ). It was with this rich and often tragic historical background in mind that the Journal of Humanitarian Affairs published a call for papers in January 2021 on the politics of infectious disease. The collective experience of COVID-19 has certainly
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.
. Yet this grief and the stigma attached to it might be at the origin of why very few talked about it and no one photographed the victims of suicide. The lack of photography prevented a public acknowledgement of suicide, and therefore a collective experience that could make sense of it. Making visible and invisible was important not just because of what could be seen, but also because they were performative practices that involved recording, feeling, embodying and placing. Visibility, therefore, does not refer to what is seen , but to what is experienced
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 collective experiences 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 perspective
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 collective experience, 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
6 The socio-economics of community Introduction This chapter focuses on three aspects of collective experience 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’ narratives of
), and (2) offer new perspectives regarding individual and collective experiences, the natural and built environment, and the fate of missing persons. 37 Second, the declassification of (and increased level of access to) sources from the UK National Archives, former Soviet territories (most notably Ukraine and Russia) and the International Tracing Service (ITS) archives, was the catalyst for new research regarding many of the forced and slave workers, leading to the creation of micro-histories and a reassessment of what
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 collective experience 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 collective experience. 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. Notes 1