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Networks If the book is not conceived of as the arguing through of an idea or the exposition of a destiny, if it refuses to investigate itself, to anchor itself outside the signifier, it must be perpetual: not full stop to the text, no last word. And what is infinite in that book is not only its end; at every point the supplement is possible: something new can always grow later on in the interstices of the fabric, of the text. The book has holes, and therein lies its productivity …; it is not going somewhere, it is going away, it never stops going away.13
In the Arctic and the North, networks play a large role in the ability of WWF to do its work in a way that resonates with key audiences, bolsters organizational legitimacy and trust, and helps it overcome the IENGO stigma in the Circumpolar North. This chapter illustrates that WWF takes networks and networking very seriously and that the various types and levels of networks of WWF Arctic, its national organizations and associate offices and of its organizational representatives play a large role in how WWF accomplishes its work and fosters
In the previous chapter, I suggested that music worlds are social networks, or more precisely – as the festival network demonstrated – distinctive clusters within the broader network comprising the musical universe. Musicking is interaction, but not just dyadic interaction. It is collective action involving multiple parties whose interactions and relations concatenate, simultaneously drawing upon and generating a wider network. All musicking belongs to this network, but it is possible to identify distinct clusters of activity – sub-networks – within it
1931. 7 From her days at Homerton Teacher Training College (1906–08) onwards, Manning was involved with a wide range of informal and formal organisations and networks associated with the women’s movement, teaching, pacifism and left-wing politics. These included the Fabian Society, the Young Liberals’ League, the Socialist League, the Independent Labour Party (ILP), the Cambridge branch of the Trades and Labour Council, the National Union of Teachers and before that the National Federation of Class Teachers, the National Association of Labour Teachers (for which
In this chapter we move beyond relatively static and unchanging formal codes of conduct by exploring the more fluid and dynamic ‘vertical’ dimension of networking: the redistribution of strategic resources between network players. At a general level, the basic relationship that exists across both EU networks remained relatively stable since formation. Departmental players rely upon network managers to: distil their preferences into a single negotiating position (the Cabinet Office/DFA); for EU expertise and lobbying activity in other
Mechanisms of coordination refer to those ‘horizontal’ processes that embed strategic networking in regularized practices, facilitate and structure interaction, and create relationships of mutual interdependency. They include formal structures of decision making and coordination (such as standing committees), as well as informal processes of consultation and communication (for example through ad hoc meetings, circulation lists or correspondence). Within the EU network, these mechanisms are critical for coordinating policy across
Modern writers have not only adopted the collective term ‘gentry’, but also have sought to uncover the various small groups or networks to which the gentry belonged. The motive is an important one: to understand the frameworks within which the gentry’s political, social and cultural identities were formed. This can establish the relative importance of vertical (patron
2 Female networks Collecting contacts with Gabrielle Enthoven Kate Dorney In her Times obituary Gabrielle Enthoven (née Romaine)1 (1868–1950) was described as an ‘archivist of the theatre’ and an amateur actor who had ‘some success as a dramatic author’.2 For Who’s Who in the Theatre she described herself as a theatre historian and dramatic author […] for many years a prominent amateur actress appearing with the Old Stagers, Windsor Strollers etc. and author of Montmartre, Alhambra 1912; Ellen Young (with Edmund Goulding), Savoy 1916; The Honeysuckle (from D
This book provides a critical investigation of what has been termed the ‘global justice movement’. Through a detailed study of a grassroots peasants' network in Asia (People's Global Action); an international trade union network (the International Federation of Chemical, Energy, Mining and General Workers); and the Social Forum process, it analyses some of the global justice movement's component parts, operational networks and their respective dynamics, strategies and practices. The authors argue that the emergence of new globally connected forms of collective action against neoliberal globalisation are indicative of a range of variously place-specific forms of political agency that coalesce across geographic space at particular times, in specific places and in a variety of ways. They also argue that, rather than being indicative of a coherent ‘movement’, such forms of political agency contain many political and geographical fissures and fault-lines, and are best conceived of as ‘global justice networks’: overlapping, interacting, competing and differentially placed and resourced networks that articulate demands for social, economic and environmental justice. Such networks, and the social movements that comprise them, characterise emergent forms of trans-national political agency. The authors argue that the role of key geographical concepts of space, place and scale are crucial to an understanding of the operational dynamics of such networks. Such an analysis challenges key current assumptions in the literature about the emergence of a global civil society.
What role do individuals play in sustaining the so-called global film festival network? This article considers this question through case studies of four specialist Chinese-language film festivals in London. It argues that while the global circuit shapes the institutional appearance of these smaller events, the kinds of strategic collaborations that the organisers of the latter effect at the former – striking up connections with directors and sales agents at film markets, for example – are key ways in which global relationships and A-list events are built from the ground up. These mutually related but unstable interactions allow us to rethink the network as an assemblage of events and individuals, addressing the analytical problem of scale in film festivals studies in the process.