Louise Zamparutti

This essay analyses the literature on the foibe to illustrate a political use of human remains. The foibe are the deep karstic pits in Istria and around Trieste where Yugoslavian Communist troops disposed of Italians they executed en masse during World War II. By comparing contemporary literature on the foibe to a selection of archival reports of foibe exhumation processes it will be argued that the foibe literature popular in Italy today serves a political rather than informational purpose. Counterpublic theory will be applied to examine how the recent increase in popular foibe literature brought the identity of the esuli, one of Italy‘s subaltern counterpublics, to the national stage. The paper argues that by employing the narrative structure of the Holocaust, contemporary literature on the foibe attempts to recast Italy as a counterpublic in the wider European public sphere, presenting Italy as an unrecognised victim in World War II.

Human Remains and Violence: An Interdisciplinary Journal
A social representation of scientific expertise
Warren Pearce and Brigitte Nerlich

helped AIT to establish a dominant social representation of climate change also contributed to the creation of a counter-representation and counterpublic that questioned how AIT represented climate-science expertise. With AIT’s success in bringing social context to scientific content came inevitable contestation. We conclude with some tentative lessons for science communicators from the AIT story. Background AIT had a huge cultural and political impact following its release in 2006, winning a host of awards, including the 2007 Academy Award for Best Documentary (IMDb

in Science and the politics of openness
Open Access (free)
Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

The role of minority engagement
Sujatha Raman, Pru Hobson-West, Mimi E. Lam, and Kate Millar

, 2015), often providing ‘the basis for publicity for an alternative view of the public benefit’ (Hess, 2011: 630; emphasis added). Knowledge from some areas of public science may be used to scrutinise or call to account other research areas – for example, those on environmental sustainability. Such engagements may emerge from ‘scientific counterpublics’ (Hess, 2011), who form alliances across different organisations and sectors (including science, non-governmental organisations (NGOs), professional groups and sympathetic parts of the state) and claim to offer a better

in Science and the politics of openness
Feminist aesthetics, negativity and semblance
Ewa Plonowska Ziarek

reducing it to an instrumental political use value. And what would provide the means of such mediation is the notion of a feminist counter-public sphere which, instead of direct attribution of political meaning to particular styles, contextualises women’s art vis-à-vis social and ideological conditions of production/reception. Felski’s work, including her most recent Doing Time, raises many provocative questions – for instance, why the project of feminist aesthetics should be defined in such reductive terms (which are then indeed disclosed as reductive), and more

in The new aestheticism
From starving children to satirical saviours
Rachel Tavernor

–63. 60 Boyd, ‘Social Network Sites as Networked Publics’. 61 Couldry, Media, Society, World , p. 50. 62 M . Warner , Publics and Counterpublics ( New York : Zone Books , 2002 ), p. 54

in Global humanitarianism and media culture
Open Access (free)
Publics, hybrids, transparency, monsters and the changing landscape around science
Stephen Turner

and part 330 Science and the politics of openness of the language. But Gore’s efforts also produced a counter-politics and a scientific counterpublic, made possible by the exaggerations that made AIT so successful. Gore’s movie is a solution to the problem of including the public. We can think of these cases as failed or only partially successful attempts at hybridisation and openness, but none of them were self-conscious attempts to open science or create a new relation between science and the public. Instead they were attempts to achieve goals or values of

in Science and the politics of openness
Open Access (free)
The imaginary archaeology of redevelopment
David Calder

pre-existing ‘discursive communities’ or ‘counterpublics’ in order to function.39 KompleXKapharnaüM and the other artists of Mission SPP could rely on locals’ understanding of the Carré de Soie redevelopment, but they also deployed paratheatrical ephemera to render the irony of the SPP performances intelligible. During my time with KompleXKapharnaüM, a student intern and I cycled around the neighbourhood distributing the latest issue of Soie Mag, a newspaper created by Mission SPP.40 The tone of Soie Mag matched the mixture of irony and engagement that characterized

in Street theatre and the production of postindustrial space
Open Access (free)
Birgit Lang, Joy Damousi, and Alison Lewis

as an anchor for new forms of disciplinary authority.8 Scholars of homosexual and transgender history have made an invaluable contribution to revising this narrative, as part of an attempt to restore agency to those subjects who voluntarily embraced sexological discourse.9 Yet case studies were powerfully in play beyond the milieu of specific sexual counterpublics (a term from both Michael Warner and Berlant).10 Their wider workings in relation to a broader history of medical, legal and literary knowledge have not been analysed; neither has the agency of case

in A history of the case study
Leopold von Sacher-Masoch’s Venus im Pelz (1870)
Birgit Lang

. Venus im Pelz became a code phrase with a currency far beyond its maso­ chist counter-public, as modernist writers such as Robert Musil and Franz Kafka turned to masochism and channelled the concept into the realms of high culture in works such as Die Verwirrungen des Zöglings Törleß (The Confusions of Young Törless) of 1906, Die Verwandlung (Metamorphosis) of 1915 and Der Prozess (The Trial), eventually published in 1925. As discussed in Chapter 5, writer and medical doctor Alfred Döblin did likewise, in works that seamlessly integrated Darwinian and scientific

in A history of the case study