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Carla Konta

-Lussier concentrated, respectively, on the consequences of using dancers and musicians to make political statements about American foreign and domestic policies. 9 This chapter investigates how the CPP linked American private artists sponsored by the CU, the Embassy, and USIS, with Yugoslav art directors, music commentators, journalists, and audiences, to encompass medium- and long-term psychological effects, particularly through enhancing artistic freedom and creativity. The influence of American popular music – mainly jazz and rock ‘n’ roll – on Yugoslav pop culture has been

in US public diplomacy in socialist Yugoslavia, 1950–70
Zalfa Feghali

4 Performing the border and queer rasquachismo in Guillermo Gómez-​Peña’s performance art Where Gregory Scofield’s negotiation of the practice and habitus of citizenship in Canada is focused on the Métis, a group whose rights and identity have been debated and unjustly dismissed for centuries, this chapter recrosses the 49th parallel and returns to the border between the United States and Mexico, the site that features most prominently in work by Mexican-​ American and self-​ identifying Chicano performance artist and cultural theorist Guillermo Gómez-​ Peña

in Crossing borders and queering citizenship
Editor’s Introduction
Michaël Neuman, Fernando Espada and Róisín Read

knowledge that this issue attempts to respond, by creating the conditions for a discussion between practitioners and researchers. Contributors to the current issue are researchers – practitioners stimulated by reflecting around their work – and practitioners turned researchers, with some articles being written by four hands. Most of the authors would consider humanitarian aid not as an exact science but an art, or at least a craft characterised by the ‘irreducible uncertainties’ of the situations

Journal of Humanitarian Affairs
Open Access (free)
Architecture, Building and Humanitarian Innovation
Tom Scott-Smith

’s art’. Rudofsky drew attention to vernacular buildings that were constructed by their own inhabitants rather than by architects (see also May, 2010 ). The idea of promoting architecture without building is, in many ways, consistent with Rudofsky’s philosophy, which was to see design as much less fixated on final structures and much more concerned with process . The real insight of the Viennese projects, however, is that this process can focus on furniture rather than

Journal of Humanitarian Affairs
Matthew Hunt, Sharon O’Brien, Patrick Cadwell and Dónal P. O’Mathúna

. and Bloom , L. ( 2014 ), Humanitarian Innovation: The State of the Art , www.unocha.org/publication/policy-briefs-studies/humanitarian-innovation-state-art (accessed 18 October 2018) . Brun , C. ( 2016 ), ‘ There Is No Future in Humanitarianism: Emergency, Temporality and Protracted Displacement ’, History and Anthropology , 27 : 4

Journal of Humanitarian Affairs
Open Access (free)
Four Decisive Challenges Confronting Humanitarian Innovation
Gerard Finnigan and Otto Farkas

), ‘ Humanitarian Innovation: The State of the Art’ , www.unocha.org/sites/unocha/files/Humanitarian%20Innovation%20The%20State%20of%20the%20Art_0.pdf (accessed 20 October 2016) . Blanchet , K. , Ramesh , A. , Frison , S. et al . ( 2017 ), ‘ Evidence on Public Health Interventions in Humanitarian Crises’ , The Lancet

Journal of Humanitarian Affairs
Open Access (free)
Governing Precarity through Adaptive Design
Mark Duffield

). Betts , A. and Bloom , L . ( 2014 ), ‘ Humanitarian Innovation: The State of the Art ’, in OCHA Policy and Studies Series ( New York : United Nations Office for the Coordination of Humanitarian Affairs ). Boltanski , L. and Chiapello , E . ( 2005 ), The New Spirit of Capitalism ( London and New York : Verso . Original edition , 1999 ). BOND ( 2003 ), Joint statement by members of the International Global Security and Development Network on the Development Assistance Committee (DAC), ‘A

Journal of Humanitarian Affairs
A Focus on Community Engagement
Frédéric Le Marcis, Luisa Enria, Sharon Abramowitz, Almudena-Mari Saez and Sylvain Landry B. Faye

=64080.html (accessed 1 September 2018) . Détienne , M. ( 2002 ), ‘ L’art de construire des comparables. Entre historiens et anthropologues ’, Critique internationale , 14 , 68 – 78 . Détienne , M. ( 2009 ), Comparer l’incomparable ( Paris , Le Seuil ). Ellis , S

Journal of Humanitarian Affairs
Uses and Misuses of International Humanitarian Law and Humanitarian Principles
Rony Brauman

, provided they did not take up arms again for the duration of the war (Art. 6). While such a provision was conceivable in the context of nineteenth-century conflicts, the advent of total war rendered it anachronistic. It was removed in 1906 with the Convention’s first revision, which granted the wounded prisoner-of-war status. With that genealogical detail out of the way, let us return to the generally accepted use of the ‘neutrality’ concept and ask ourselves whether it is

Journal of Humanitarian Affairs
From campaign imagery to contemporary art
Julia Gallagher and V. Y. Mudimbe

among political elites – calling for more assertive depictions of the country, which stressed its claim to be the birthplace of humanity, and its rejection of colonialism. Some of these have trodden dangerously close to nationalistic and overly grandiose depictions of the country, airbrushing the problems and ambiguities that many of its people confront daily. This chapter explores the delicate path between these two extremes that is navigated by a growing number of artists working in Ethiopia, part of a lively art scene centred on the capital

in Images of Africa