Labor organization and class alliance

Conclusion The analysis reported here helps to clarify the dual role played by craft organization in labor movement development. In the United States, as in France, community rather than industry was the more promising ground on which to build an inclusive working-class organization. Craft organization in the community always helped mobilize less-skilled workers, and the effect was strongest during the period when the labor movement was growing most rapidly. In contrast, craft organizations within a local industry may have impeded less-skilled workers' organization during the Knights' early years. Only later, when the Knights found themselves on the defensive - attacked by employers, the press, and the craft unions affiliated with the rival American Federation of Labor - did craft locals provide unambiguous support for the organizational efforts of less-skilled workers in their own industries.This dual role must be reckoned with if we are to understand class formation. Because labor historians and others who study working-class movements often pursue research agendas dictated by the dominant tendencies of a single country, their studies tend to exaggerate each country's peculiarites. This study pursued a different line of inquiry by asking its questions from a comparative framework, and by seeking out local variation. The results suggest that craft workers in all countries probably harbored both exclusive and solidaristic tendencies. We need to undertake other studies that might illuminate the conditions that lead to solidarity or exclusivity. Such information will go a long way toward elucidating the dynamics of labor-movement development, thus explaning how oft-mentioned factors such as state action and the pace of capitalist development had the effects they did.Finally, these findings support recent arguments about American exceptionalism put forward by Ira Katznelson and his collaborators. In two influential books, Katznelson argues that America's unique pattern of working-class formation stems, in large part, from the radical division between the politics of work and the politics of community in the United States. Katznelson believes that the institutional set that supported the divorce of workplace and community system (that is, political parties organized around community concerns and trade unions organized around workplace issues) was largely in place by the 1860s. After that the die was cast, except perhaps in small communities where the two spheres were not yet so radically divided. Based on this study I would argue that community remained the most important arena for labor organization even in large urban areas until 1886. But periodization aside, both the quantitative findings and the Trenton case study suggest that the divorce of the community from the workplace must have had a profound effect not only on working-class politics, but on the growth of the union movement as well.

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点草成金,巧手编织致富梦

返乡创业的周艳文通过一双巧手编织创业梦想,让更多人了解草编,并喜欢上了这一有着悠久历史的民间手工艺。她说之所以甘当“草民”,不仅是为了传承和守护传统工艺,也因为草编艺术不仅改变了自己的命运,更成为她带领姐妹们走上脱贫致富道路的有效途径。     

Authorizing Art: The Effect of Multimedia Formats on the Museum Experience*

Les galeries d'art utilisent des techniques médiatiques particulières pour donner un caractère didactique a ce qu'elles présentent. L'expo-sition Art for a Nation proposée à l'Art Gallery of Ontario en 1996 illustre l'utilisation de techniques modernes, basees sur des documents imprimés, pour structurer l'exposition d'oeuvres d'art et guider le visiteur. L'exposition présentait le Groupe des Sept comme des artistes célébres, décrivait leur parcours sous la forme d'un récit historique et donnait une opinion d'expert sur leurs ceuvres. L'atelier Oh! Canada Workshop, organisé en parallèle, utilisait quant à lui le multimédia et des techniques postmodernes. Dans cet atelier, les ceuvres étaient placees au hasard, sans notes historiques. Cela permettait aux visiteurs de creer leurs propres ceuvres d'art et de devenir critiques d'art. Un sondage effectué parmi les visiteurs ainsi que l'étude de leur comportement ont révéle une nette préferénce pour l'exposition Art for a Nation. Les visiteurs recherchaient les techniques médiatiques directives que les galeries d'art proposent habituellement plutôt qu'un environnement multimedia totalement libre, qui s'apparente à ce que les visiteurs vivent quotidiennement. Pour eux, un musée doit rester un lieu où il faut être respectueux envers ce qui est montré, un lieu antipopulaire par excellence. Art galleries use special media formats to authorize what they display. The art Gallery of Ontario's 1996 Art for a Nation exhibition exemplifies the use of print-based, modern means of authorization. It presented the Group of Seven as famous artists, contructed an historical narrative of their development and provided expert opinion on their work. The Gallery's accompanying Oh! Canada Workshop used multimedia, postmodern means of authorization. It distributed exhibits randomly without an historical narrative, and allowwed visitors to create their own art and to be art critics. A survey of visitors and observations of their activties revealed an overwhelming     

Notes towards a politics of Bartleby The ignorance of chicken

Abstract

Niels Bohr provided the perfect example of how a fetishist disavowal of belief works in ideology: seeing a horse-shoe on his door, the surprised visitor said that he didn't believe in the superstition that it brings luck, to which Bohr snapped back: 'I also do not believe in it; I have it there because I was told that it works also if one does not believe in it!' This is how ideology works today in our epoch, which presents itself as 'post-ideological': we practice our beliefs, even if, consciously, we do not take them seriously. The disavowed ideological dimension is inscribed in everyday material practices and rituals, especially in the apparently innocent reference to pure utility (a man who lives in a large city and owns a Land Rover doesn't simply lead a no-nonsense, 'down to earth' life; rather, he owns such a car in order to signal that he leads his life under the sign of a no-nonsense, 'down to earth' attitude).     

Social Work,Spirituality, and Diasporic Communities

Abstract

The discourse surrounding the role of spirituality in social work practice has been expanding exponentially in recent years. Similarly, the discourse surrounding the role of spirituality among diasporic communities has expanded in recent times as well. In this paper, we will consider the linkages between social work, spirituality, and diaspora. We will focus our discussion on a particular diasporic spiritual community, the Sathya Sai Baba movement and its social service activities. We will then consider the implications of such spiritual movements for the social work profession. Among the key issues explored in this paper are the change in the social construction of populations that have moved between two countries as 'immigrant communities' to 'diasporic communities' and the implications of these changes for social work. Another critical issue we discuss is how working with spiritual movements may help address the 'spiritual deficit' concern that some social work academics have referred to, and indirectly at least, we begin to address 'the social work crisis' issue that has negatively affected the social work profession over the last few years.     

Purpose and pleasure in late life: Conceptualising older women's participation in art and craft activities

The fourth age, as the last stage of life, represents a final challenge to find personal meaning in the face of changing capacities, illness and disability. Participation in valued activities is important for sustaining interest in life and has been associated with enhanced health and well-being. Art and craft activities are a popular form of participation amongst women in late life with growing international interest in the potential for these types of activities to maintain health and well-being and address problems of social isolation. Drawing on open text comments from 114 women enrolled in the Australian Longitudinal Study on Women's Health and in-depth interviews with 23 women all aged in their eighties, this paper explores the nature of older women's participation in art and craft activities and conceptualises links between participation in these activities and health and well-being in late life. Participation in art and craft activities is complex and dynamic, comprising cognitive and physical processes infused with emotion and occurs in the context of social relationships, physical spaces, physical ailments and beliefs about the value of the activities. By participating in art and craft activities, older women find purpose in their lives, contributing to their subjective well-being whilst helping and being appreciated by others. They develop a self view as enabled and as such take on new art and craft challenges, continue to learn and develop as art and craft makers and remain open to new possibilities.     

Revivifying Russia: Literature,Theory, and Empire in Viktor Shklovskii's Civil War Writings

Abstract

When in 1924 Iurii Tynianov identified Viktor Shklovskii's memoir A Sentimental Journey as a work 'on the margin of literature', he was commenting on the text's generic experimentation. But he also provided an apt label for its geopolitical setting, as war drives Shklovskii back and forth from Russia's dying imperial centre Petrograd to the country's peripheries. The sometimes uneasy relationship between Shklovskii's literary theory and his movement through the disintegrating Empire is this essay's main focus. Drawing on recent scholarship that identifies a fundamental paradox of modern literary theory as both the cosmopolitan study of literature per se and a discipline validated by national literary canons, the essay proposes that Shklovskii negotiates cosmopolitan and national impulses by exploring Russian literature as the expression of a multi-ethnic and multilingual empire. In analogy with Shklovskii's famous dictum that art exists to 'make the stone stony', the argument is made that in his Civil War writings Shklovskii strove to revivify the Russian Empire, that is, to 'make Russia Russian', by presenting his readers with a new and strange view of Russia from its imperial borders.     

The transnational turn,Houston Baker's new southern studies and Patrick Neate's Twelve Bar Blues

Abstract

This article considers Houston Baker's take on the 'new southern studies' in Turning South Again (2001) in relation to the transnational turn in American studies and Paul Gilroy's theory of the 'Black Atlantic'. The article begins by pointing out that the vision of 'the South' formulated in southern (literary) studies during and after the 1950s frequently cut against the nationalism and exceptionalism central to the development of American studies in the same period. However, southern literary critics and writers (both white and black) developed their own exceptionalist and nativist models of identity, including Donald Davidson's 'autochthonous ideal' and the 'Quentissential fallacy' – in William Faulkner's Absalom, Absalom!, Quentin Compson's claim that 'you would have to be born' in the South to understand it. A transnational turn displaces such southern exceptionalism and nativism. However, Baker's 'new southern studies' approach to African-American experience (from slavery to 'United States black modernism') proceeds through a predominantly regional-national framework and privileges 'the South' and his own native southern authority. From a transnational perspective, Baker's approach becomes problematic when it facilitates the 'Quentissential' repudiation of Gilroy's Black Atlantic. The article concludes by discussing the transnational South of Patrick Neate's novel, Twelve Bar Blues, with reference to Gilroy and songs by Billie Holiday and Eric B and Rakim.     

PRIMITIVE ACCUMULATION,EMINENT DOMAIN,AND THE CONTRADICTIONS OF NEO-LIBERALISM

Abstract

This essay addresses the institutional conditions of cultural studies, especially those bearing on cultural studies teaching. It does so by reviewing the history of the Open University Popular Culture course from an insider's perspective. Whereas most published accounts of this course have related it closely to the concerns of the Birmingham Centre for Contemporary Cultural Studies, this essay suggests that the two projects — while overlapping in certain respects — are more usefully thought of as distinct. Having disentangled the history of the Open University course from that of the Birmingham Centre, the author goes on to advance a more general argument concerning the politics and practice of cultural studies pedagogy. The essay's main contention in this regard is that a conception of cultural studies teaching which connects it to the cultivation of resistive practices in the classroom is incoherent. It is suggested that this now influential current of thought is best assessed as a negative outcome of the encounter between the projects of cultural studies and US liberationist philosophy.     

Problems of participation: The limits of action research

Alvin Gouldner (1979) suggests knowledge is both culture and capital. Knowledge enables meaningful action. Capital is culture privatized. Culture is capital generalized. This raises the question of ownership in social research. Detachment in social research is praised as a virtue but also viewed as a source of difficulties epistemologically and ethically. Participatory action research offers a critique of detachment and advocates its opposite, 'commitment'. This may not necessarily involve 'political' advocacy. However, commitment to involve participants, and to further their goals through the conduct of research, does become a form of 'advocacy'. This paper draws on problematic experiences as a 'participatory action researcher' in social movement and evaluation research. Drawing on the recent work of Fuller, this paper suggests, rather bluntly, that when asked 'whose side are we on', academics might be more bold and suggest 'we are on our own side'.     

Patriarchy and incest in William Faulkner's 'Absalom! Absalom!' and Juan Rulfo's 'Pedro Páramo'

Abstract

This article presents a comparative analysis of patriarchy and incest in the work of William Faulkner and Juan Rulfo. Focusing primarily on Absalom! Absalom! and Pedro Páramo, I argue that Rulfo adopts and, at the same time, interrogates Faulkner's patriarchal model of the family: the incestuous relationships that characterize Absalom! Absalom! reappear, under different disguises, in the Mexican writer's novel. My analysis also suggests that both Faulkner and Rulfo were intrigued by the symbolic implications of incest, and exploited these implications in order to talk about the collapse of the patriarchal and cultural order in the post-Civil War South and early 20th century Mexico respectively. The conclusion maintains that, despite Rulfo's reluctance to acknowledge Faulkner's impact on his artistic consciousness, the intertextual dialogue between the two writers should be read both as a form of incest, and as a quest for a new social structure.     

CREDITS AND CRAFT PRODUCTION: FREELANCE SOCIAL ORGANIZATION IN THE HOLLYWOOD FILM INDUSTRY, 1964–1978*

This paper describes a system of work and patterns of productivity in the Hollywood film industry. Describing the social organization of the film industry entails two primary tasks. One is to describe the administration of work activities among technical specialists. The second is to investigate empirically the organization of those work activities. We argue that because of the particular needs of filmmaking, efficiency is achieved utilizing craft methods of work administration. An analysis of longitudinal data on film specialist's productivity provides some preliminary answers to Becker's theoretical idea of the recurrent nature of work activities in the production of art works. Finally, accounting for the disproportionate work contributions among specialists, some explanations are offered based upon an analysis of the process by which coalitions of specialists are joined.     

Proust's butterfly James McNeill Whistler and painterly writing in In Search of Lost Time

Abstract

This article examines the influence of Whistler's art on Proust and the role it plays in Proust's analysis of involuntary memory in In Search of Lost Time. Whistler (a near anagram of Proust's 'Elstir'), alongside Monet and Paul César Helleu, is generally credited with making up the composite figure of Elstir, the painter who takes his place as one of the central characters in Proust's novel and plays a pivotal role in linking the experiences of Proust's youthful narrator, Marcel, with those of the older Swann, and of reconciling the cultural shift in emphasis from portraits painted in studios to the en plein air style of the Impressionists. Whistler's, though, is an influence that runs deeper than historical or biographical contingency. Whistler, too, saw memory rather than direct observation as central to the creative act; and in the way in which his increasingly strictly pictorial art dramatizes the act of looking, he provides a parallel to Proust's concern with how memory, through the rhetoric of metaphor, is transformed into art.     

Reshaping Social Movement Media for a New Millennium

This article contextualizes Indymedia, the Internet-based network of Independent Media Centres (IMCs) that has developed since the 30 November protests in Seattle against the World Trade Organization talks there in 1999. In a short space of time this network has become the backbone of communication for the broad coalition of groups that comprise the anti-capitalism movement. Context is sought from three perspectives: first, through a consideration of new social movement use of the Internet as a radical, socio-technical paradigm to challenge the dominant, neoliberal and technologically determinist model of information and communication technologies (ICTs). This perspective is approached through Paschal Preston's recent work on ICTs in late modernity ('Reshaping Communications: Technology, Information and Social Change', London: Sage, 2001). Second, the article regards Indymedia as the most current manifestation of radical Internet use. It examines the (inevitably) brief history of such use, exploring examples of praxis by anarchist groups, the Zapatistas and factions of the anti-capitalism movement, and assesses Indymedia's place in this history. Finally, the nature and value of Indymedia are assessed using the theoretical tools afforded by recent alternative media scholarship (Atton 2002: 'Alternative Media', London: Sage; and Downing 2001: 'Radical Media: Rebellious Communications and Social Movements', Thousand Oaks, CA: Sage): in particular, Indymedia is examined in terms of its organization, its socio-politics and its news cultures.     

Mixing methods as a process towards indigenous methodologies

This paper considers the possibility of accurately measuring the numbers of persons homeless in a given location, at particular times. It is maintained that such data are necessary to the efficient apportioning of resources, but hitherto have been unobtainable through 'traditional' methods of counting. In recent years researchers have advocated the use of the method of 'capture-recapture', a technique which utilizes information from duplicate cases to allow the number of people otherwise unobserved to be calculated. This paper describes and critically evaluates the use of this method in two studies in Plymouth and Torbay, UK.     

Aesthetics of disaster as decolonial aesthetics: making sense of the effects of Hurricane María through Puerto Rican contemporary art

ABSTRACT

On 20 September 2017, Hurricane María made landfall on Puerto Rico causing unprecedented disaster. From that day onwards, the Puerto Rican multi-layered colonial, social and political context was further complicated by the traumatic acceleration of a human disaster via this natural disaster. This crystalized the urgency of using art as vehicle for (social) catharsis, a practice that continues to be used by individual artists, collectives, community organizations, art projects, and other art institutions on the island and abroad, through mural art, community paintings, art exhibitions, literature, music, and many other aesthetic expressions. This article examines, from a decolonial and critical cultural studies perspective, post-Hurricane María artistic expressions in contemporary art as decolonial aesthetics through the cathartic use of the frame of an aesthetics of disaster. It is argued that, an aesthetics of disaster aims to re-assert an artistic form that is able to accelerate the discursive nullification of a deeply rooted colonial, social and cultural problem by way of art as catharsis inspired by the way that Hurricane María unveiled these problems. The piece briefly contextualizes Puerto Rico, and it examines the idea of Puerto Rican contemporary art as catharsis. Then, it describes how Puerto Rican contemporary art exhibitions and associated aesthetic production are processing urgent post-hurricane issues through three illustrative pieces in exhibitions in PR and abroad in the United States (US). Lastly, decolonial aesthetics is reexamined and re-understood, informed by Édouard Glissant's view expressed in Poetics of Relation which aids to the conclusion that Puerto Rican contemporary art using the frame of an aesthetics of disaster functions as a powerful form of decolonial aesthetics.     

The residential treatment of an abusing family

Abstract

This article discusses the residential treatment of an abusing family in a local authority setting, when the use of short-stay children's homes was changed to provide a preventive service for families in trouble. The Centre has room to admit a family where the child's safety cannot be guaranteed in its own home.

The structure of the treatment programme is described, the partnership of residential and field work staff, the monitoring role provided by residential staff and the importance of supervision, particularly for those closely involved with the family. The role of the NAI Conference is discussed, and the individual functions of its members in relation to the family. The varied methods of working with the family are described, and the family's emotional response is illustrated with the theme of separation.

The article concludes that the family did respond to treatment, and that we have further to go in developing residential work with abusing families at our Centre.     

Youth-Adult Partnership in Community Organizing

Abstract

This paper presents a case study of a campaign developed around sexuality education policy by a national youth-focused organization, Advocates for Youth, and its network of youth activists. The paper provides an overview of the national sexuality education debate and the specific strategies youth and adults use in partnership to advocate for a comprehensive approach to the education. The case study of the My Voice Counts!Campaign provides insight into the creation and evolution of a youth-adult partnership approach to community organizing, beginning with an online activism campaign and resulting in local youth-led projects to improve sex education policies and curricula. Following an analysis of the Campaign's accomplishments, the paper lays out recommendations for action and research to demonstrate the positive effects of this form of community practice.     

A cultural studies without guarantees: Response to Kuan-Hsing Chen

Abstract

This article is a short response to Chen's critique of our article ‘Asianing Australia: notes toward a critical transnationalism in cultural studies’. It is argued that Chen's attack on our article is misdirected. Furthermore, we are in substantial agreement with Chen on many issues, most importantly that the nation-state should not be the uninterrogated site for the development of a ‘local’ cultural studies. However, we find Chen's politics, and his use of a reductionist Marxist theory, overly simplistic. Moreover, the core/periphery binary which he uses is not adequate to express the complexities of a global capitalist world order in which the sites of power are becoming increasingly decentred. Similarly, the politics of resistance are also more complex than Chen suggests; resistance must be understood in relation to local situations and local tactics, as well as the imperatives of global capitalism. Finally, a properly localized and left-politicized cultural studies must reflexively interrogate the politics of theory, including Marxism, considering its specific ‘western’ history and recognizing the necessary partiality of theory in a post-colonial world of differentiated modernities.     

Old and novel methods for estimating Feral Pigeons (Columba livia f. domestica) population size: a reply to Amoruso et al. (2013)

In a recent paper Amoruso et al. (2013) proposed a novel method for estimating population size of Feral Pigeons, the Superimposed Urban Strata (SUS) method. In our reply we firstly comment on the lack of a complete review of the available literature. Secondly we point out that the SUS method does not account for birds detection probability and thus it is just a simple index of abundance as many others proposed in recent years. Thirdly, we question the approach used by the authors to evaluate the reliability of their method. To conclude, we believe that the SUS method is not truly innovative and that further investigations are needed before considering it as a reliable way for estimating Feral Pigeons populations size.