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Author : Andrew Feenberg,Jim Freedman Publisher : State University of New York Press Page : 218 pages File Size : 46,6 Mb Release : 2010-03-29 Category : Political Science ISBN : 9780791490631
When Poetry Ruled the Streets by Andrew Feenberg,Jim Freedman Pdf
More than a history, this book is a passionate reliving of the French May Events of 1968. The authors, ardent participants in the movement in Paris, documented the unfolding events as they pelted the police and ran from the tear gas grenades. Their account is imbued with the impassioned efforts of the students to ignite political awareness throughout society. Feenberg and Freedman select documents, graffiti, brochures, and posters from the movement and use them as testaments to a very different and exciting time. Their commentary, informed by the subsequent development of French culture and politics, offers useful background information and historical context for what may be the last great revolutionary challenge to the capitalist system.
If there is one thing that people agree about concerning the massive, leaderless, spontaneous protests that have spread across the globe over the past decade, it's that they were failures. The protesters, many claim, simply could not organize; nor could they formulate clear demands. As a result, they failed to bring about long-lasting change. In the Street challenges this seemingly forgone conclusion. It argues that when analyses of such events are confined to a framework of success and failure, they lose sight of the on-the-ground efforts of political actors who demonstrate, if for a fleeting moment, that another way of being together is possible. The conception of democratic action developed here helps us see that events like Occupy Wall Street, the Gezi uprising, or the weeks-long protests that took place all around the US after George Floyd's killing by the police are best understood as democratic enactments created in and through "intermediating practices," which include contestation, deliberation, judging, negotiation, artistic production, and common use. Through these intermediating practices, people become "political friends"; they act in ways other than expected of them to reach out to others unlike themselves, establish relations with strangers, and constitute a common amidst disagreements. These democratic enactments are fleeting, but what remains in their aftermath are new political actors and innovative practices. The book demonstrates that the current obsession with the "failure" of spontaneous protests is the outcome of a commonly accepted way of thinking about democratic action, which casts organization as a technical matter that precedes politics and moments of spontaneous popular action as sudden explosions. The origins of this widely shared understanding lie in Jean-Jacques Rousseau's conception of popular sovereignty, shaped by his rejection of theatricality and idealization of immediacy. Insofar as contemporary thinkers see democratic moments as the unmediated expressions of people's will and/or instantaneous eruptions, they, like Rousseau, reduce spontaneity to immediacy and erase the rich and creative practices of political actors. In the Street counters this Rousseauian influence by appropriating Aristotle's notion of "political friendship," and developing an alternative conceptualization of democratic action through a close reading of Antonio Negri, Jürgen Habermas, and Jacques Rancière and the global protests of 1968 that inspired these thinkers and their work.
Contemporary Street Arts in Europe by S. Haedicke Pdf
Street theatre invades a public space, shakes it up and disappears, but the memory of the disruption haunts the site for audiences who experience it. This book looks at how the dynamic interrelationship of performance, participant and place creates a politicized aesthetic of public space that enables the public to rehearse democratic practices.
Occupying the Stage: the Theater of May '68 tells the story of student and worker uprisings in France through the lens of theater history, and the story of French theater through the lens of May '68. Based on detailed archival research and original translations, close readings of plays and historical documents, and a rigorous assessment of avant-garde theater history and theory, Occupying the Stage proposes that the French theater of 1959–71 forms a standalone paradigm called "The Theater of May '68." The book shows how French theater artists during this period used a strategy of occupation-occupying buildings, streets, language, words, traditions, and artistic processes-as their central tactic of protest and transformation. It further proposes that the Theater of May '68 has left imprints on contemporary artists and activists, and that this theater offers a scaffolding on which to build a meaningful analysis of contemporary protest and performance in France, North America, and beyond. At the book's heart is an inquiry into how artists of the period used theater as a way to engage in political work and, concurrently, questioned and overhauled traditional theater practices so their art would better reflect the way they wanted the world to be. Occupying the Stage embraces the utopic vision of May '68 while probing the period's many contradictions. It thus affirms the vital role theater can play in the ongoing work of social change.
When reporters asked about the Bush administration’s timing in making their case for the Iraq war, then Chief of Staff Andrew Card responded that “from an marketing point of view, you don’t introduce new products in August.” While surprising only in its candor, this statement signified the extent to which consumer culture has pervaded every aspect of life. For those troubled by the long reach of the marketplace, resistance can seem futile. However, a new generation of progressive activists has begun to combat the media supremacy of multinational corporations by using the very tools and techniques employed by their adversaries. In OurSpace, Christine Harold examines the deployment and limitations of “culture jamming” by activists. These techniques defy repressive corporate culture through parodies, hoaxes, and pranks. Among the examples of sabotage she analyzes are the magazine Adbusters’ spoofs of familiar ads and the Yes Men’s impersonations of company spokespersons. While these strategies are appealing, Harold argues that they are severely limited in their ability to challenge capitalism. Indeed, many of these tactics have already been appropriated by corporate marketers to create an aura of authenticity and to sell even more products. For Harold, it is a different type of opposition that offers a genuine alternative to corporate consumerism. Exploring the revolutionary Creative Commons movement, copyleft, and open source technology, she advocates a more inclusive approach to intellectual property that invites innovation and wider participation in the creative process. From switching the digital voice boxes of Barbie dolls and G.I. Joe action figures to inserting the silhouetted image of Abu Ghraib’s iconic hooded and wired victim into Apple’s iPod ads, high-profile instances of anticorporate activism over the past decade have challenged, but not toppled, corporate media domination. OurSpace makes the case for a provocative new approach by co-opting the logic of capitalism itself. Christine Harold is assistant professor of speech communication at the University of Georgia.
A comprehensive look at how the 'establishment' responded to the Italian student revolt of 1968. Using oral interviews, media analysis and archival evidence, the book explores the reactions of those who became the frequent targets of student protests - professors, police, activists' parents, the clergy, journalists, lawyers and auto workers.
Hunger is one of the governing metaphors for literature in the late nineteenth and twentieth centuries. Beginning in the mid-nineteenth century, writers and critics repeatedly describe writing as a process of starvation, as in the familiar type of the starving artist, and high art as the rejection of 'culinary' pleasures. The Art of Hunger: Aesthetic Autonomy and the Afterlives of Modernism argues that this metaphor offers a way of describing the contradictions of aesthetic autonomy in modernist literature and its late-twentieth-century heirs. This book traces the emergence of a tradition of writing it calls the 'art of hunger', from the origins of modernism to the end of the twentieth century. It focuses particularly on three authors who redeploy the modernist art of hunger as a response to key moments in the history of modernist aesthetic autonomy's delegitimization: Samuel Beckett in post-Vichy France; Paul Auster in post-1968 Paris and New York; and J. M. Coetzee in late apartheid South Africa. Combining historical analysis of these literary fields with close readings of individual texts, and drawing extensively on new archival research, this book offers a counter-history of modernism's post-World War II reception and a new theory of aesthetic autonomy as a practice of unfreedom.
Detective L. A. Franco is back! For Frank, L.A.P.D. Homicide Lieutenant L. A. Franco and her homicide squad, it’s business as usual—a multiple murder, ugly as it is, at least seems to have an easy explanation. Until it coincides with an untimely drive-by shooting. The drive-by victim is Placa Estrella, a rising young Chicana gang-banger. Placa was a toddler on the streets when Franco was just a rookie, and for her Placa’s death is personal. The murder appears to be a routine gang hit, but as Frank tracks every lead to it’s logical conclusion, it becomes apparent that this case is anything but routine. The investigation ultimately pulls Frank and her squad in conflicting directions while drawing Frank closer to the county’s new Chief Coroner, Gail Lawless. Through a series of twists and turns, all of Frank’s leads eventually bring her to the disquieting possibility that the killer she seeks might well be one of own brothers in blue.
The events of 1968 have been seen as a decisive turning point in the Western world. The author takes a critical look at "May 1968" and questions whether the events were in fact as "revolutionary" as French and foreign commentators have indicated. He concludes the student movement changed little that had not already been challenged and altered in the late fifties and early sixties. The workers' strikes led to fewer working hours and higher wages, but these reforms reflected the secular demands of the French labor movement. "May 1968" was remarkable not because of the actual transformations it wrought but rather by virtue of the revolutionary power that much of the media and most scholars have attributed to it and which turned it into a symbol of a youthful, renewed, and freer society in France and beyond.
Poetry of Arctic and Life Experiences by Edward Collinson Pdf
As a child, I could not understand why the children got punished because their parents were going through hard times. It was the child that got the blame for the wrongs of the adult. The child was put into homes that needed workers to help on the farms and they were placed their by the Children's Aid. The family was split up so there was no one to play with and in the end the games were played in the ones own mind. My poem, "I Walk Alone" reflects on my pains as a child experiencing difficult times in foster homes and being separated from my family. When I grew older, to confirm to myself that I had become a man and that I could live on my own, I joined the Canadian Armed Forces. I suppose at the same time, I was looking for friendship. But to tell you the truth, I have never been able to experience a lifetime friendship. I have kept in touch with one army friend, but you could not call it close friends as he did not extend the same willingness to carry on our friendship. This isolation shows up in many of my poems, such as "To Walk in Memories". The abuse caused by the welfare is one of my most heart felt poems as when I retired. The hard time they gave me in trying to get financial assistance for me and my grandchild was a paltry $116/month. This financial difficulty cumulated with the frustration of not been able to work for a living, gave me the anger inside that inspired me to write poetry for this book.I am not a story writer. I did it in poetry because it seems easier for me to express my thoughts in short writings. There are several poems that relate to the challenges I faced with welfare, "Welfare Pay Day" is one such poem. Religion is another hard subject for me as it creates a lot of contradictions both in reading it and listening to someone preaching it."Blame It on My Brother" and "What is Sin?" are two poems that express my thoughts on the ambiguity of religion. In our society we have courts and corruption of courts; they call this law? In "Rule by Elders", I write:"One word in law becomes a book, and in the end the meaning mistook." The drunkenness of judges and lawyers up here was pretty bad. They have tried to clean some of it up but what of the lives they ruined when the were drunk in the court rooms themselves? There is no law when you say to the First Nations that you are under apartheid, which the Indian Act is, but we call it equality. The Indian Act is one law that we cannot have in our society. We cannot have equality when the laws are different for different groups of people. They say it is because of the government. But to my mind, that is even worse as they are the ones that are supposed to make society equal. I have done many years hunting and trapping up here in the Arctic. We had wide open trap lines but you respected the other person's line. If another trapper was on a certain line first, you made your line some place else. Most of us just got enough fur to support our families. It was the white-man that thought himself one step higher and in the end destroyed the life in the bush for both himself and the natives. I have several poems on my life in the bush, for example, "The Hunter".
In 1872, Ismail Pasha, the khedive of Egypt, was the first to adopt the European custom of positioning heroic statues on public display as a symbolic message of the continuing authority of the ruling Muhammad Ali dynasty to which he belonged, but it was not until the early twentieth century and the determination of sculptor Mahmoud Mukhtar that such public art gained general acceptance, and today statues stand, ride, or sit in the streets, squares, and gardens of Cairo. Each sculpture adds a piece to the jigsaw of history spanning personalities and events that shaped the city and wider Egypt from 1805 to 1970, and here Cairo-based author Lesley Lababidi provides a unique perspective on Egyptian history through looking at more than thirty statues and monumental sculptures and the stories behind them. Between statues, she explores Cairo's growth and its multidimensional identity, as manifested in the development and changing use of city space over the centuries, and examines the relationship of Cairo's modern denizens with the landscapes, districts, palaces, archaeological sites, cafés, bridges, and gardens of their great and maddening city, the Mother of the World. Illustrated throughout with color photographs and archival pictures, Cairo's Street Stories presents a unique and lively view of the history that fashioned the city's streets and open spaces, and of the many and often unexpected uses to which its inventive inhabitants put them.
The Art of English Poetry. Containing I. Rules for Making Verses. II. A Collection of the Most ... Sublime Thoughts ... in the Best English Poets. III. A Dictionary of Rhymes. -3. Ed by Edward I Bysshe Pdf
Surrealism, Politics and Culture by Raymond Spiteri,Donald Lacoss Pdf
This title was first published in 2003. Drawing on literary, art historical and historical studies, this essay collection explores the complex encounter between culture and politics within Surrealism. The Surrealist movement was one of the first cultural movements to question explicitly the relation between culture and politics, and its attempt to fuse social and cultural revolution has been a critical factor in shaping our sense of modernity. This anthology addresses not only the contested ground between culture and politics within Surrealism itself, and within the subsequent historical accounts of the movement, but also the broader implications of this encounter on our own sense of modernity. Its goal is to delineate the role of radical politics in shaping the historical trajectory of Surrealism.