Book•
Selections from the prison notebooks of Antonio Gramsci
01 Jan 2015-
TL;DR: The first selection published from Gramsci's Prison Notebooks to be made available in Britain, and was originally published in the early 1970s as discussed by the authors, was the first publication of the Notebooks in the UK.
Abstract: Antonio Gramsci's Prison Notebooks, written between 1929 and 1935, are the work of one of the most original thinkers in twentieth century Europe. Gramsci has had a profound influence on debates about the relationship between politics and culture. His complex and fruitful approach to questions of ideology, power and change remains crucial for critical theory. This volume was the first selection published from the Notebooks to be made available in Britain, and was originally published in the early 1970s. It contains the most important of Gramsci's notebooks, including the texts of The Modern Prince, and Americanism and Fordism, and extensive notes on the state and civil society, Italian history and the role of intellectuals. 'Far the best informative apparatus available to any foreign language readership of Gramsci.' Perry Anderson, New Left Review 'A model of scholarship' New Statesman
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TL;DR: This paper used an intersectional framework to explore how this homogenizing, bordering discourse was experienced and contested from differently situated perspectives of Roma and non-Roma social actors from established communities.
Abstract: On 1 January 2014 the transitional controls on free movement adopted by the UK when Bulgaria and Romania joined the EU in 2007, ended. This paper demonstrates how the discourses of politicians relating to their removal, amplified via news media contributed to the extension of state bordering practices further into everyday life. Based on ethnographic research into everyday bordering during 2013-2015 the paper uses an intersectional framework to explore how this homogenizing, bordering discourse was experienced and contested from differently situated perspectives of Roma and non--Roma social actors from established communities.
25 citations
Journal Article•
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TL;DR: This paper uses a social justice perspective to critique current ideas about engineering ethics and considers the enlarging which needs to occur to break through the dominant paradigms of the profession.
Abstract: We expect engineers, much as we expect doctors, teachers, plumbers, bankers and even our politicians to be honest. Minimally this means that they should not cheat, falsify documents or reports, keep promises and adhere to contractual obligations. But more can be said about the relation between engineering and ethics. Enlarging what it means to be an engineer is to understand the responsibility of a professional to see beyond what ethics means within the boundaries of contemporary pressures and measures of success, and to know what the available choices are before deciding on any new direction. Some ethical problems are internal to engineering itself. In this paper we use a social justice perspective to critique current ideas about engineering ethics and consider the enlarging which needs to occur to break through the dominant paradigms of the profession.
25 citations
Cites background from "Selections from the prison notebook..."
...If we are bounded within a particular thought collective (Fleck, 1979), what becomes common sense and therefore unquestionable and assumed in our place of work, our profession, our society, (Gramsci, 1971) is not visible to us....
[...]
...How is our conscience to be alerted if it is constructed in terms of our own modes of being and knowing? If we are bounded within a particular thought collective (Fleck, 1979), what becomes common sense and therefore unquestionable and assumed in our place of work, our profession, our society, (Gramsci, 1971) is not visible to us....
[...]
Dissertation•
19 Apr 2011
25 citations
Dissertation•
01 Mar 2014
TL;DR: In this paper, the authors examined Irish society in the 1940s and 1950s through the "embodied cultural knowledge" of recreational dance and found that both men and women were immersed in these dancing pleasures, a finding that challenges views of males as reluctant dancers.
Abstract: This investigation can be seen as an 'ethnohistory of dance' that has examined Irish society in the 1940s and 1950s through the 'embodied cultural knowledge' of recreational dance There has been a particular focus on 'small farmers' and their culture in north Co Roscommon It has been established that in the dance halls around Elphin, 'modern dances' such as quicksteps and foxtrots were embraced by the majority of young people during these years Such moves ran contrary to the thrust of hegemonic 'national-popular' culture, associated with 'Irish dances' such as ceili, and promoted by powerful groups in the young Irish state On this basis, and challenging perceptions of cultural life at the time as sterile, insular and conservative, it can be said that Irish youths constructed a generational dance culture that was vibrant, outward-looking and pluralist A type of counter-hegemonic subculture was activated on the basis of dance, music, space and 'deviance' The discourses of moral panic during the period act as a marker for these tensions At the same time, another perspective on this dance culture would see it in more conservative terms as related to the rise of the transnational culture industry, as well as to more exclusive processes around 'distinction' Finally, other findings clearly present the pleasures of attending dances, those related to the moving body, to collective emotions and to 'being together' on the dance floor Significantly, it has been found that both men and women were immersed in these dancing pleasures, a finding that challenges views of males as reluctant dancers
Two main theoretical frames have been used to conceptualise dance moves, meanings and events within the research setting The first, Gramsci's notion of 'cultural hegemony', has allowed recreational dance to be viewed as both undermining and reproducing power The second has operated at a more microcosmic level, drawing on a critical challenge to the gramscian paradigm in the form of a 'post-hegemony' influenced by radical anthropology and anarchist cultural studies In particular, Turner's 'communitas' and Malbon's 'playful vitality' have been critically combined to posit a more phenomenological understanding of dance
Methodologically, the research has centred on forty-five depth interviews carried out over a period of five years of 'yo-yo ethnography' This data has been complemented by an analysis of census returns from 1946 and 1956, as well as by an examination of the local newspaper, The Roscommon Herald These methodological considerations have been located within a reflexive approach that has drawn in a deliberate fashion on the researcher's experiences in three ways - first, as a recreational dancer with an embodied understanding of the complexities of dancing; second, as the son of a man who grew up in the research setting; and, third in my role as a male researcher Together, they have allowed me to see my role as that of 'halfie' ethnohistorian
25 citations