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Tony Dundon, Miguel Martinez Lucio, Emma Hughes, Debra Howcroft, Arjan Keizer, and Roger Walden

The chapter reviews shifts to global capitalism, the rise of non-standard employment relationships and the prevalence of work precarity for many people, including flexibility, work in the gig economy and the rise of new technologies shaping the future of work

in Power, politics and influence at work
Global processes, local challenges

This book is a tribute to Enzo Mingione and his contribution to the fields of sociology and urban studies on the occasion of his retirement. It touches upon the processes of transformation of cities to the informal economy, from the Fordist crisis to the rediscovery of poverty, from the welfare state and welfare policies to migration and the transformation of work. These themes constitute the analytical building blocks of this book on the transitions that Western capitalist societies are undergoing. The book focuses on social foundations of Western capitalism, explaining how socio-economic and institutional complementarities that characterised postwar capitalism created relatively integrated socio-economic regimes, It has five thematic sections reflecting five areas of capitalism, the search interests of Enzo Mingione. The first discusses the transformations of global capitalism, addressing how capitalism works and how it changes. The second provides insights into the mechanisms of re-embedding, in particular how welfare policies are part of a societal reaction to capitalism's disruptive dynamic. The third addresses some main challenges that citizenship systems established in the post-war period have had to face, from the spread of new employment regimes to new migratory flows. The fourth addresses cities and their transformation and the final section addresses poverty and its spatial dimension as a crucial lens through which to understand the differentiated impact of the processes of change in Western capitalist societies, both in socio-economic and spatial terms.

The politics of trans/nationalism and global expositions

Staging art and Chineseness is about the politics of borders ascribed to Chinese contemporary art and the identification of artists by locations and exhibitions. The paradoxical subject of Chineseness is central to this inquiry, which begins with the question, what does the term Chinese Art mean in the aftermath of the globalized shift in art? Through an exploration of embodied and performative representations (including eco-feminist performances) by artists from China and diasporic locations, the case studies in this book put to the test the very premise of the genealogical inscription for cultural objects attributed to the residency, homeland, or citizenship of the Chinese artist. Acknowledging the orientalist assumptions and appropriations that Chineseness also signifies, this study connects the artistic performance to the greater historical scope of ‘geographical consciousness’ envisioned by past and present global expositions. The emergence of China’s shiyan meishu experimental art movement in the 1980s–1990s has largely been the defining focus for ‘global art’ during the period when artfairs, biennials, and triennials also came into prominence as the new globalized art institution (exemplified by China’s first biennial in Guangzhou). The political aim is to recognize the multiple contradictions and repetitions of history engendered by art, nationalism, and capital in the legacy of Althusserian/Maoist interpellations – the reifications of global capitalist illusions in the twenty-first century are conveyed in this book by performative artistic expressions and the temporal space of the exposition.

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Late capitalism and the illegal drug trade in No Country for Old Men and The Counselor
Lydia R. Cooper

increasing global wealth inequality, McCarthy zeroes in on drug wars and illegal drug trade as potent examples of the predatory practices of a deregulated market system that commodifies human bodies in terms of market use value. The reason why McCarthy chooses fictionalized depictions of illicit market agents and commodities in order to comment on licit global capitalism in the twenty-first century may seem murky at first glance. Ernest Mandel offers insight into this narrative conflation of licit and illicit markets when he argues that the history of capitalism shows a

in Cormac McCarthy
Marc James Léger

of this was so that the everyday could be politicised and made the basis of a permanent revolution. In these terms, it is possible to think of the OWS movement as a critique of everyday life under global capitalism. As Jodi Dean argues, the movement’s disruption of public space asserts a contradiction that ‘opens up cuts through democracy as the real of class antagonism.’ 6 Dean argues in a Žižekian manner that the Occupy movement disrupts the capitalist fantasy that denies the antagonism on which it is built, the division, she says

in Vanguardia
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Marc James Léger

Internet, with its websites, videos, blogs and social networking platforms. What this commons requires of people is essentially participation and self-expression, a deregulated aesthetic that finds ways to give value to surplus time. Such ‘counter-institutionality,’ ‘networked resentment,’ ‘ignorance effects’ and creative free for alls provide a space of imagination for those wounded by the deterritorialisations of global capitalism. On the question of glut, overproduction, redundancy, and on the topic of precarity, Dark Matter includes an

in Vanguardia
Ben Cohen and Eve Garrard

constituency I am talking about not only opposed the Iraq War, but also opposed the intervention in Afghanistan before that, and in Kosovo before that, and so on back to the first Gulf War that evicted Saddam Hussein’s armies from Kuwait. And Berman’s other reasons – (1), and (3) through (6) – did not figure, or did not figure every time, in the previous conflicts I have mentioned. But the United States as the foremost embodiment of global capitalism, on one side, and (speaking loosely) regimes and movements of an utterly ghastly kind politically, on the other-these have

in The Norman Geras Reader
Paul Routledge and Andrew Cumbers

5217P GLOBAL JUSTICE-PT/lb.qxd 1111 2 3 4 5111 6 7 8 9 10111 11 12 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 40 1 42111 13/1/09 19:59 Page 1 1 Neoliberalism and its discontents A new global ‘movement’ has arisen over the past decade to confront global capitalism. The emergence of what has been termed the global justice movement (GJM) is the most significant development in counter-systemic politics (Wallerstein, 2002) since the end of the Cold War. In the wake of the ‘End of History’ pronouncements (Fukuyama, 1992), celebrating the

in Global justice networks
Reconfigurations of twenty-first-century audiences
Liz Tomlin

significant part or role in the reception of the work’ (2009: 8–9). Consequently, Malzacher argues, for Tim Etchells, artistic director of Forced Entertainment, ‘the spectator thus becomes a witness – the counter model to the idea of a passive being in Guy Debord’s The Society of the Spectacle’ (2004: 124). The necessity for a politically progressive theatre practice to configure its audience in radical opposition to the passive consumer of the advanced spectacular society of late global capitalism is one that this chapter will return to. However, Malzacher’s distinction

in Acts and apparitions
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Clowning and mass protest
Alister Wedderburn

call ‘parodic parasitism’, referring to the ironic performance of specific, existing subjectivities in order to decentre or ‘make strange’ their privilege ( de Goede, 2005 ). In the case of the Clown Army’s parodic militarism, this tactic was designed to highlight the violent practices that enable global capitalism to operate on a day-to-day basis, including the policing of dissent during the mass protests in which the Clown Army took part. The clown is a quintessential comic subject, intimately involved with processes of social reproduction yet also aloof from

in Humour, subjectivity and world politics