continues to represent power as something that is wielded by elite global
actors, thus rendering the ‘ordinary’ realms of work and labour secondary
concerns to finance and production. I identify the central elements of an IPE
of socialpractice which, I propose, makes everyday practices such as work
visible and amenable to inquiry.
Orthodox perspectives in IPE
IPE as a field of inquiry, a set of questions and a range of assumptions, is a
highly contested discipline (Tooze, 1984). Indeed, it is perhaps misleading to
consider IPE to be a discipline at all, given that it is
Theorising race, racism and culture:
David Lloyd’s work
My focus here is an important and influential article by postcolonial
scholar David Lloyd, ‘Race Under Representation’, published in the 1991
‘Neo-Colonialism’ issue of Oxford Literary Review.1 Lloyd sets out to
explain ‘how the meshing of racial formations can take place between various levels and spheres of socialpractice, as, for example, between political and cultural spheres or between the individual and the national level’
(p. 63). A central argument of his
point, if difficult to grasp in practice: that is, the significance of approaching questions of rights and abuse not only through convictions about what must be done, or the dealings of international diplomacy, but through attentiveness to and engagement with the socialpractices, circumstances and perceptions of the people directly involved in the situation. This is the work of listening to the parties and the people involved and creating conditions where they can be more clearly heard.
Directions taken in the period leading up to the invasion
considered examples of what Kun has called an ‘audiotopia’, that is, ‘small, momentary, lived utopias built, imagined, and sustained through sound, noise, and music’ ( 2005 : 21).
With this book we want to underline that an attention to sound-making, recording and listening practices can bring innovative contributions to the ethnography of an area that has already been the setting for a number of researches from different eras and approaches. From the anthropology of sound we draw the fundamental premise that in a soundscape both resonate and are shaped socialpractices
Engine of Modernity: The Omnibus and Urban Culture in Nineteenth-Century Paris examines the connection between public transportation and popular culture in nineteenth-century Paris through a focus on the omnibus - a horse-drawn vehicle for mass urban transport which enabled contact across lines of class and gender. A major advancement in urban locomotion, the omnibus generated innovations in social practices by compelling passengers of diverse backgrounds to interact within the vehicle’s close confines. Although the omnibus itself did not actually have an engine, its arrival on the streets of Paris and in the pages of popular literature acted as a motor for a fundamental cultural shift in how people thought about the city, its social life, and its artistic representations. At the intersection of literary criticism and cultural history, Engine of Modernity argues that for nineteenth-century French writers and artists, the omnibus was much more than a mode of transportation. It became a metaphor through which to explore evolving social dynamics of class and gender, meditate on the meaning of progress and change, and reflect on one’s own literary and artistic practices.
community of strangers the nation also has resonance in the locale. This
resonance depends on the material aspects of the nation, principally the
perpetuation of kinship-like ties in socialpractice. My argument is not that one
level is more important than others but rather that national identity depends
upon the interaction and interdependence of each level of abstraction (abstract
frames, political entrepreneurs and socialpractice).
Modernist and primordialist approaches to national identity are incompatible and
order (Gill, 1995a, Van der Pijl, 1984),
or by new social movements engaged in an anti-globalisation struggle (Falk,
1999). While such diverse perspectives have restored political agency to the
globalisation debate, I argue that there remains too little attention paid to the
contested and contradictory dynamics of social change.
This book develops a perspective that views globalisation as, in significant
part, contested through and contingent upon structured socialpractices.
Globalisation is imbued with a contingency that rests upon the diverse
The restructuring of work and production in the international political economy
automatic economic imperative.
Though the relationships between states and firms are explored and
problematised to an extent in mainstream IPE literature, the contests within,
across and around the firm itself tend to be neglected. In this way, globalising
forces are treated as though they exist exogenously and are rarely considered as
integral elements of a wider set of socialpractices. So, for example, much of
the analysis of the relationship between technology and the firm adheres to
some variant of the imperatives of lean production.3 Womack et al. (1990) The
Thus, rather than being primarily an evangelical task of ‘truth-bearing’, or an assertion of the inevitable ‘rightness’ of a particular model of government, the promotion of human rights may demand long-term engagement with particular institutions or knots of socialpractice – with mechanisms for constructing community – across and between cultures. Response to abuse is part of a long and slow conversation between and across cultures on the nature of political community and the place of injury within it. In practical terms, efforts to change violent or injurious
The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913. This book is about two distinct but related professional cultures in late Soviet
Russia that were concerned with material objects: industrial design and
decorative art. The Russian avant-garde of the 1920s is broadly recognised to
have been Russia’s first truly original contribution to world culture. In
contrast, Soviet design of the post-war period is often dismissed as hackwork
and plagiarism that resulted in a shabby world of commodities. This book
identifies the second historical attempt at creating a powerful alternative to
capitalist commodities in the Cold War era. It offers a new perspective on the
history of Soviet material culture by focusing on the notion of the ‘comradely
object’ as an agent of progressive social relations that state-sponsored Soviet
design inherited from the avant-garde. It introduces a shared history of
domestic objects, handmade as well as machine-made, mass-produced as well as
unique, utilitarian as well as challenging the conventional notion of utility.
Situated at the intersection of intellectual history, social history and
material culture studies, this book elucidates the complexities and
contradictions of Soviet design that echoed international tendencies of the late
twentieth century. The book is addressed to design historians, art historians,
scholars of material culture, historians of Russia and the USSR, as well as
museum and gallery curators, artists and designers, and the broader public
interested in modern aesthetics, art and design, and/or the legacy of socialist