A Model for Historical Reflection in the Humanitarian Sector
Kevin O’Sullivan and Réiseal Ní Chéilleachair
robust engagement with humanitarianism as an
historical phenomenon help us to better navigate the contemporary aid environment?
If so, what steps can we take to translate the lessons of the past into future
policy? This article outlines the results of a pilot project conducted by Trócaire and
National University of Ireland (NUI) Galway on using history as a tool for
policy-making in the humanitarian sector. It begins by reflecting on the need for
Four Decisive Challenges Confronting Humanitarian Innovation
Gerard Finnigan and Otto Farkas
Smith , M.
Guth , S.
et al . ( 2017 ),
‘ Climate Change and Global Food Systems: Potential
Impacts on Food Security and Undernutrition ’,
Annual Review of Public Health , 38 ,
259 – 77 ., doi: 10.1146/annurev-publhealth-031816-044356 .
NAS ( 2018 ), Urbanization and Slums: Infectious Diseases in the BuiltEnvironment: Proceedings
An Interview with Caroline Abu Sa’Da, General Director of SOS MEDITERRANEE
see how exactly we can engage with and mobilise people. SOS was not conceived as something to exist forever. It is an ad hoc initiative, which will
stop as soon as there is an institutionalised, legal way for people to cross the Mediterranean to
seek asylum without drowning. So it’s really not built as an NGO. It’s a gathering
of people from different backgrounds who are willing to work together for a very specific reason,
and it will be dismantled as soon as the political answer is considered satisfactory, even if
that takes a while. JF: SOS
Architecture, Building and Humanitarian Innovation
they managed to respond creatively to the peculiar situation in
Vienna, where huge empty office buildings had been allocated to shelter new asylum
seekers during the ‘summer of migration’ in 2015. The architects had
focused on adding simple furnishings that created a more homely environment,
articulating a careful, human-centred approach that had interpreted shelter not as
four walls and a roof but as a calming and secure internal space. The aim of these
projects was to
called post-humanism ( Braidotti, 2013 ) brings several contemporary positivist stands together.
These include the new empiricism, speculative realism and actor network theory. Post-humanist
thought draws on process-oriented behavioural ontologies of becoming. These privilege
individuals understood as cognitively limited by their unmediated relationship with their
enfolding environments ( Galloway, 2013 ; Chandler, 2015 ). An individual’s
‘world’ reduces to the immediate who, where and when of their changing network
1980s, the US, to two now) stems from the rise of China. A kind of bipolarity – a system
dominated by two centres of power – has been re-established in global politics. As in
other areas – trade, environment, security, public health, transport – the return
to bipolarity has had a major impact. The implications of this are simple but profound:
rules and norms that conflict in some way with the preferences of the Chinese government
will no longer necessarily be enforceable at the global level . We know what this looks
like because it is how the
Frédéric Le Marcis, Luisa Enria, Sharon Abramowitz, Almudena-Mari Saez and Sylvain Landry B. Faye
show how social dynamics are re-enacted in a
context of crisis. Background Historical analyses have attributed the failure of the Guinean, Liberian and Sierra
Leonian governmental responses at the onset of the epidemic to a number of factors
related to history and international political economy. They range from the legacy
of the transatlantic slave trade and colonial histories to economic structures built
around international extractive industries and aid dependency ( Benton and Dionne
This book examines how the working-class people are portrayed in the British cinema. One objective of this work is to take a modest step in redressing the balance by considering the popularity of the films discussed. A second objective is to demonstrate how film might be used by disciplines whose practitioners often display scant interest in its possibilities. The third objective is to consider what films can contribute to the debate on the consequences of war. A final objective is to test received opinion. The book discusses a five-dimensional model for examining images of the working class in films. These are: place in the authority structure; cohesion/fragmentation within the working-class community; internalised values; the built environment; and personal signifiers of class, notably speech, hairstyles and clothing. It deals with the war films that were made in the context working class community, and discusses The Way to the Stars, The Hasty Heart, and Wooden Horse. With the approach of war in the late 1930s, changes in censorship allowed industrial disputes to be portrayed on British screens for the first time. The working class community was portrayed in It Always Rains on Sunday to better effect as compared to Passport to Pímlíco. Three groups of criminals make regular appearances in postwar British films: spivs, who are black market traders; those have served in the forces; and career criminals. The book also deals with several British films in the postwar years focusing on dance hall, namely, Floodtide, Waterloo Road, and Dance Hall.
This book focuses on the ways in which German urban élites tried to mould German cities between the 'birth' of modern planning in the 1890s and the complete cessation of building caused by the economic collapse around 1930. It investigates the attributes which 'metropolis', was given by early twentieth-century Germans. The book takes Munich as its 'still point in the turning world' of German urban development in particular, but makes arguments relevant well beyond the southern capital's city limits. It presents a case study of the urban landscape of modernity and modernisation which was increasingly. The book commences with exploration of the balanced construction of 'the city' in planners' world views. It addresses contemporaries' 'action plans' as responses to the problems of modernity, and characterises these actions as themselves distinctly modern. The book also tries to restore an emphasis on contemporaries' nuanced views of modernity and modernisation, and explores the balanced construction of 'the city' in planners' world views. Discussing hospitals, old people's homes and social housing, the book discusses that space could be a highly coercive tool for the social reformer, and scholars need to address material effects. It also demonstrates how intellectual impasses in manipulating the technologies of space could have profound political consequences. The ways that the built environment is currently used as evidence in historical writing are problematic. The book treats modernity with little eye for Modernism.
Across the early decades of the seventeenth century, Englishmen and women moved through a physical, social, and mental world organised into a carefully maintained balance of motion and pause. This book examines how seventeenth-century English architectural theorists and designers rethought the domestic built environment in terms of mobility, as motion became a dominant mode of articulating the world across discourses. These discourses encompassed philosophy, political theory, poetry, and geography. From mid-century, the house and estate that had evoked staccato rhythms became triggers for mental and physical motion-evoking travel beyond England's shores, displaying vistas, and showcasing changeable wall surfaces. The book sets in its cultural context a strand of historical analysis stretching back to the nineteenth century Heinrich Wolfflin. It brings together the art, architectural, and cultural historical strands of analysis by examining why seventeenth-century viewers expected to be put in motion and what the effects were of that motion. Vistas, potentially mobile wall surface, and changeable garden provided precisely the essential distraction that rearticulated social divisions and assured the ideal harmony. Alternately feared and praised early in the century for its unsettling unpredictability, motion became the most certain way of comprehending social interactions, language, time, and the buildings that filtered human experience. At the heart of this book is the malleable sensory viewer, tacitly assumed in early modern architectural theory and history whose inescapable responsiveness to surrounding stimuli guaranteed a dependable world from the seventeenth century.