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Utopia as process
Matt York

rule. 5 In the 1960s, Participatory Action Research (PAR) methods grew out of the anti-imperialist and anti-colonial revolutionary movements so prevalent at that time. The PAR process involves participants working together to understand a context-specific problematic situation, seeking to ‘liberate’ the group through developing a collective

in Love and revolution
Manchester’s mixed-genre anthologies and short-story collections
Lynne Pearce

3970 Postcolonial Manchester:Layout 1 28/6/13 12:38 Page 154 4 Collective resistance Manchester’s mixed-genre anthologies and short-story collections Lynne Pearce Along with the crime fiction featured in Chapter 3, the anthology (that is, a multi-authored collection of poetry or prose fiction or – very often – a mixture of both) is the most popular literary genre to emanate from Manchester in recent years.1 Inasmuch as short stories and poems constitute a more manageable undertaking for non-professional writers than the novel, this is hardly surprising, and

in Postcolonial Manchester
Co- constituting free society
Matt York

ago, Kropotkin conceived of such mutual relations as ‘not petrified by law, routine, or superstition, but continually developing and continually readjusted, in accordance with the ever-growing requirements of a free life … a continual evolution – such as we see in nature’. 7 We have seen how this love materialises as political direct action in moments where our collective psycho

in Love and revolution
Stephen C. Neff

One of the most urgent tasks of the international community in the wake of the Great War was to ensure that such a tragedy would not recur. The means chosen was the establishment of a League of Nations that would prevent disputes between states from escalating into war. When aggression did occur, it would be punished by the automatic imposition of collective

in The rights and duties of neutrals
Nadia Kiwan

8 From individual to collective subjectivities? Introduction Chapter 7 revealed that a number of interviewees mobilise a sense of individual subjectivity and agency. However, what about the question of mobilising a collective sense of subjectivity or agency? It has already been pointed out that a process of individual subjectivation involves an, albeit difficult, reconciliation of individual and community, of social and cultural specificities. Do young French-North Africans enter into this process of subjectivation on a collective level? In other words, do they

in Identities, discourses and experiences
Nadia Kiwan

5 Collective identities and cultural communities? Introduction Chapter 4 examined some areas of the interviewees’ lives which are defined in terms of the ‘individualism pole’ of identity. It looked at how certain interviewees expressed their desire to participate in ‘society’ according to universalist principles. Also included in the analysis were those interviewees who could be described as wanting to ‘escape’ their communities of origin, whether the term ‘community’ is defined in cultural or in socio-economic terms. Still using the ‘triangle of identity’ as our

in Identities, discourses and experiences
José Álvarez-Junco

4 National history and collective memory The nationalisation of culture In 1815, following the second, definitive defeat of Napoleon, the most urgent requirement was the rebuilding of the political fabric of Europe, which had been torn asunder by the revolutionary and Bonapartist whirlwinds that had swept through it. In the fond belief that the turmoil of the previous twenty-five years had been no more than a passing madness, Tsar Alexander I and the Austrian Chancellor Metternich presided over a coalition of absolute monarchs that aimed to restore the ancien

in Spanish identity in the age of nations
Rakhee Balaram

-convent of a feminism that imprisons her – sex unleashed – in the exclusivity of her womanhood. In this chapter the institutional confrontations and formation of groups for women artists in the 1970s will be explored. Particular attention will be paid to existing women's artistic collectives such as the Union des Femmes Peintres et Sculpteurs (UFPS). Later the major collective groups (La Spirale, Femmes en Lutte, Collectif Femmes/Art, and Art et Regard des Femmes) in addition to the exhibiting collective Féminie-Dialogue will be discussed in tandem with

in Counterpractice
Geoffrey Cubitt

1111 2 3 4 5111 6 7 8 9 10111 11 1112 3111 4 5 6 7 8 9 20111 1 2 3 4 5 6 7 8 9 30111 1 2 3 4 5 6 7 8 9 40111 5 SOCIAL MEMORY AND THE COLLECTIVE PAST From the materials and messages that are transmitted within society, specific representations and larger understandings of a collective past are continuously woven. Events, experiences and personalities that have left an impact in people’s thinking get incorporated into narratives or organized accounts of the society’s or the nation’s past. Some of these accounts prove ephemeral, others durable; some acquire

in History and memory
Hepburn Sacha

history of racialised, gendered, and generational inequalities. Supporters of the formalisation agenda have struggled to address these challenges, both today and in the past. The image of domestic workers coming together and marching to demand greater rights stands in stark contrast to the common stereotype of these workers as atomised and passive, incapable of organising collectively because of the private

in Home economics