The appearance of corpses in rubbish tips is not a recent phenomenon. In Argentina, tips have served not only as sites for the disposal of bodies but also as murder scenes. Many of these other bodies found in such places belong to individuals who have suffered violent deaths, which go on to become public issues, or else are ‘politicised deaths’. Focusing on two cases that have received differing degrees of social, political and media attention – Diego Duarte, a 15-year-old boy from a poor background who went waste-picking on an open dump and never came back, and Ángeles Rawson, a girl of 16 murdered in the middle-class neighbourhood of Colegiales, whose body was found in the same tip – this article deals with the social meanings of bodies that appear in landfills. In each case, there followed a series of events that placed a certain construction on the death – and, more importantly, the life – of the victim. Corpses, once recognised, become people, and through this process they are given new life. It is my contention that bodies in rubbish tips express – and configure – not only the limits of the social but also, in some cases, the limits of the human itself.
This article examines James Baldwin’s late text The Evidence of Things Not Seen (1985) as one of his substantial attempts at “forging a new language,” which he tentatively mentions in his late essays and interviews. As an unpopular and difficult text in Baldwin’s oeuvre, Evidence carries the imprint of a new economy of time, casting the past into the present, and a new economy of space, navigating across other geographies in appraising the serial killings of children in one of Atlanta’s poorest Black neighborhoods. This article suggests that a new economy of time emerges earlier in No Name in the Street (1972), as a result of Baldwin’s self-imposed exile in Europe. The article then analyzes his spatiotemporal logic in the specifics of Evidence with reference to a Black middle class, urbanization, the ghetto, gentrification, and other colonized spaces.
’ ( Guardian , 2018 ). It is not that everyone within NGOs refuses to accept that this problem exists or its potential severity, but Goldring’s comments demonstrate a tendency among white, male, middle-class figures who are senior in these organisations – who are unlikely themselves to be the target of sexual harassment, abuse or intimidation – to downplay the risk of this occurring and to respond to accusations slowly and reluctantly. British
Humanitarian actors touting financial inclusion posit that access to financial services builds refugees’ resilience and self-reliance. They claim that new digital financial tools create more efficient and dignified pathways for humanitarian assistance and enable refugees to better manage their savings and invest in livelihoods, especially during protracted displacement. Our in-depth, repeat interviews with refugees in Kenya and Jordan refute this narrative. Instead, self-reliance was hindered primarily by refugees’ lack of foundational rights to move and work. Financial services had limited ability to support livelihoods in the absence of those rights. The digital financial services offered to refugees under the banner of ‘financial inclusion’ were not mainstream services designed to empower and connect. Instead, they were segregated, second-class offerings meant to further isolate and limit refugee transactions in line with broader political desires to encamp and exclude them. The article raises questions about the circumstances in which humanitarian funding ought to fund financial service interventions and what those interventions are capable of achieving.
Based on a recent, archival discovery of the script, “But Amen is the Price” is the first substantive writing about James Baldwin’s collaboration with Ray Charles, Cicely Tyson, and others in a performance of musical and dramatic pieces. Titled by Baldwin, “The Hallelujah Chorus” was performed in two shows at Carnegie Hall in New York City on 1 July 1973. The essay explores how the script and presentation of the material, at least in Baldwin’s mind, represented a call for people to more fully involve themselves in their own and in each other’s lives. In lyrical interludes and dramatic excerpts from his classic work, “Sonny’s Blues,” Baldwin addressed divisions between neighbors, brothers, and strangers, as well as people’s dissociations from themselves in contemporary American life. In solo and ensemble songs, both instrumental and vocal, Ray Charles’s music evinced an alternative to the tradition of Americans’ evasion of each other. Charles’s sound meant to signify the history and possibility of people’s attainment of presence in intimate, social, and political venues of experience. After situating the performance in Baldwin’s personal life and public worldview at the time and detailing the structure and content of the performance itself, “But Amen is the Price” discusses the largely negative critical response as a symptom faced by much of Baldwin’s other work during the era, responses that attempted to guard “aesthetics” generally—be they literary, dramatic, or musical—as class-blind, race-neutral, and apolitical. The essay presents “The Hallelujah Chorus” as a key moment in Baldwin’s search for a musical/literary form, a way to address, as he put it, “the person and the people,” in open contention with the social and political pressures of the time.
Introduction ‘In Syria, I was always like, bring me this, bring me that.’ Before the Syrian conflict, 38-year-old Marwa 1 lived in various working-class neighbourhoods in Damascus, sheltered by her parents and, later, by her husband. At the age of 17, Marwa dropped out of high school to get married to a tradesman and thereafter never left the house unaccompanied. Seven years after the family fled to Jordan, we met with Marwa in Al Hashmi Al
role of ongoing knowledge production in biomedical and public health fields as defining features of the pandemic response. However, his analysis highlights the importance of social factors, notably ‘the intersections of questions of race, class and power with public health interventions’ as key mediators in the success of health responses. Questions of biopolitics and power loom over the discussions of public health interventions, especially in the call to consider the possibility of a plague
‘Central America’, displayed reproductions of images from the IDPL, including some by renowned Canadian photographers like Dilip Metha, accompanied by the words of writers and the editor-in-chief. ‘We also made maps by continent, we had … Africa, Asia and the Americas,’ recounted Marc Rockbrune. ‘We also had a silent map. It was just the outline of the world and the educators could work in class with a map on which there was just the outline, you didn’t see the countries. It was an interesting tool’ ( ACDI, 1986 ; CIDA, 1988 ; Canadian Geographic Education, 2008
. Moreover, important topics or questions remain to be explored by further research, including the practical ways in which humanitarianism can engage in gender-transformative action, its complementarity to the longstanding work of feminist activists, and the relationship between humanitarian action and other cultural identity factors, such as race, ethnicity, class, caste, age, disability and legal status. Definitions Building on Enloe (2004 : 4
.1080/13552074.2019.1664046 . Martin de Almagro , M. ( 2017 ), ‘ Producing Participants: Gender, Race, Class, and Women, Peace and Security ’, Global Society , 1 – 20 , published online 11 October, doi: 10.1080/13600826.2017.1380610 . Martínez , S. and Libal , K. ( 2011 ), ‘ Introduction: The Gender of