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This book offers a much-needed new political theory of an old phenomenon. The last decade alone has marked the highest number of migrations in recorded history. Constrained by environmental, economic, and political instability, scores of people are on the move. But other sorts of changes—from global tourism to undocumented labor—have led to the fact that to some extent, we are all becoming migrants. The migrant has become the political figure of our time. Rather than viewing migration as the exception to the rule of political fixity and citizenship, Thomas Nail reinterprets the history of political power from the perspective of the movement that defines the migrant in the first place. Applying his "kinopolitics" to several major historical conditions (territorial, political, juridical, and economic) and figures of migration (the nomad, the barbarian, the vagabond, and the proletariat), he provides fresh tools for the analysis of contemporary migration.
This volume seeks to investigate the representation of the migrant and migration in literary texts and the arts. Through studies that examine works in a range of art forms ‒ novels, theatre, poetry, creative non-fiction, documentary films and performance and video installations ‒ that evoke a variety of historical and (trans)national contexts, the volume focuses on the question of the roles of literature and the arts in representing migration. An important issue considered is the extent to which artistic figuration can act as a counterpoint to social discourse on migrants that often involves stereotypes and reductive views. The different contributions to the volume illustrate that literature and the arts can provide readers and viewers with a space for fluid knowledge production and affective expansion and that within that overarching function, artistic works play three main roles with regard to representing migration: undertaking a socio-political and cultural critique, presenting alternative views to stereotypes that highlight the singularity and complexity of the migrant and providing proposals for different futures.
Winner of the 2009 Lora Romero First Book Prize from the American Studies Association 2009 Choice Outstanding Academic Title Explores the transnational movements of Mexican migrants, including their expressive culture and social movement practices Migrant Imaginaries explores the transnational movements of Mexican migrants in pursuit of labor and civil rights in the United States from the 1920s onward. Working through key historical moments such as the 1930s, the Chicano Movement, and contemporary globalization and neoliberalism, Alicia Schmidt Camacho examines the relationship between ethnic Mexican expressive culture and the practices sustaining migrant social movements. Combining sustained historical engagement with theoretical inquiries, she addresses how struggles for racial and gender equity, cross-border unity, and economic justice have defined the Mexican presence in the United States since 1910. Schmidt Camacho covers a range of archives and sources, including migrant testimonials and songs, Amrico Parede’s last published novel, The Shadow, the film Salt of the Earth, the foundational manifestos of El Movimiento, Richard Rodriguez’s memoirs, narratives by Marisela Norte and Rosario Sanmiguel, and testimonios of Mexican women workers and human rights activists, as well as significant ethnographic research. Throughout, she demonstrates how Mexicans and Mexican Americans imagined their communal ties across the border, and used those bonds to contest their noncitizen status. Migrant Imaginaries places migrants at the center of the hemisphere’s most pressing concerns, contending that border crossers have long been vital to social change.
Despite -- and perhaps because of -- increasing global mobility, there are more types of borders today than ever before in history. Borders of all kinds define every aspect of social life in the twenty-first century. From the biometric data that divides the smallest aspects of our bodies to the aerial drones that patrol the immense expanse of our domestic and international airspace, we are defined by borders. They can no longer simply be understood as the geographical divisions between nation-states. Today, their form and function has become too complex, too hybrid. What we need now is a theory of the border that can make sense of this hybridity across multiple domains of social life. Rather than viewing borders as the result or outcome of pre-established social entities like states, Thomas Nail reinterprets social history from the perspective of the continual and constitutive movement of the borders that organize and divide society in the first place. Societies and states are the products of bordering, Nail argues, not the other way around. Applying his original movement-oriented theoretical framework "kinopolitics" to several major historical border regimes (fences, walls, cells, and checkpoints), Theory of the Border pioneers a new methodology of "critical limology," that provides fresh tools for the analysis of contemporary border politics.
Refuge in a Moving World draws together more than thirty contributions from multiple disciplines and fields of research and practice to discuss different ways of engaging with, and responding to, migration and displacement. The volume combines critical reflections on the complexities of conceptualizing processes and experiences of (forced) migration, with detailed analyses of these experiences in contemporary and historical settings from around the world. Through interdisciplinary approaches and methodologies – including participatory research, poetic and spatial interventions, ethnography, theatre, discourse analysis and visual methods – the volume documents the complexities of refugees’ and migrants’ journeys. This includes a particular focus on how people inhabit and negotiate everyday life in cities, towns, camps and informal settlements across the Middle East and North Africa, Southern and Eastern Africa, and Europe.
Now more than ever, questions of citizenship, migration, and political action dominate public debate. In this powerful and polemical book, Gregory Feldman argues that We Are All Migrants. By challenging the division between those considered "citizens" and "migrants," Feldman shows that both subjects confront disempowerment, uncertainty, and atomization inseparable from the rise of mass society, the isolation of the laboring individual, and the global proliferation of rationalized practices of security and production. Yet, this very atomization—the ubiquitous condition of migrant-hood—pushes the individual to ask an existential and profoundly political question: "do I matter in this world?" Feldman argues that for particular individuals to answer this question affirmatively, they must be empowered to jointly constitute the places they inhabit with others. Feldman ultimately argues that to overcome the condition of migrant-hood, people must be empowered to constitute their own sovereign spaces from their particular standpoints. Rather than base these spaces on categorical types of people, these spaces emerge only as particular people present themselves to each other while questioning how they should inhabit it.
In The Migrant Image T. J. Demos examines the ways contemporary artists have reinvented documentary practices in their representations of mobile lives: refugees, migrants, the stateless, and the politically dispossessed. He presents a sophisticated analysis of how artists from the United States, Europe, North Africa, and the Middle East depict the often ignored effects of globalization and the ways their works connect viewers to the lived experiences of political and economic crisis. Demos investigates the cinematic approaches Steve McQueen, the Otolith Group, and Hito Steyerl employ to blur the real and imaginary in their films confronting geopolitical conflicts between North and South. He analyzes how Emily Jacir and Ahlam Shibli use blurs, lacuna, and blind spots in their photographs, performances, and conceptual strategies to directly address the dire circumstances of dislocated Palestinian people. He discusses the disparate interventions of Walid Raad in Lebanon, Ursula Biemann in North Africa, and Ayreen Anastas and Rene Gabri in the United States, and traces how their works offer images of conflict as much as a conflict of images. Throughout Demos shows the ways these artists creatively propose new possibilities for a politics of equality, social justice, and historical consciousness from within the aesthetic domain.
In this rich study, Roxana Barbulescu examines the transformation of state-led immigrant integration in two relatively new immigration countries in Western Europe: Italy and Spain. The book is comparative in approach and seeks to explain states' immigrant integration strategies across national, regional, and city-level decision and policy making. Barbulescu argues that states pursue no one-size-fits-all strategy for the integration of migrants, but rather simultaneously pursue multiple strategies that vary greatly for different groups. Two main integration strategies stand out. The first one targets non-European citizens and is assimilationist in character and based on interventionist principles according to which the government actively pursues the inclusion of migrants. The second strategy targets EU citizens and is a laissez-faire scenario where foreigners enjoy rights and live their entire lives in the host country without the state or the local authorities seeking their integration. The empirical material in the book, dating from 1985 to 2015, includes systematic analyses of immigration laws, integration policies and guidelines, historical documents, original interviews with policy makers, and statistical analysis based on data from the European Labor Force Survey. While the book draws on evidence from Italy and Spain in an effort to bring these case studies to the core of fundamental debates on immigration and citizenship studies, its broader aim is to contribute to a better understanding of state interventionism in immigrant integration in contemporary Europe. The book will be a useful text for students and scholars of global immigration, integration, citizenship, European integration, and European society and culture.
Fresh Fruit, Broken Bodies provides an intimate examination of the everyday lives, suffering, and resistance of Mexican migrants in our contemporary food system. Seth Holmes, an anthropologist and MD in the mold of Paul Farmer and Didier Fassin, shows how market forces, anti-immigrant sentiment, and racism undermine health and health care. Holmes was invited to trek with his companions clandestinely through the desert into Arizona and was jailed with them before they were deported. He lived with Indigenous families in the mountains of Oaxaca and in farm labor camps in the United States, planted and harvested corn, picked strawberries, and accompanied sick workers to clinics and hospitals. This “embodied anthropology” deepens our theoretical understanding of the ways in which social inequities come to be perceived as normal and natural in society and in health care. In a substantive new epilogue, Holmes and Indigenous Oaxacan scholar Jorge Ramirez-Lopez provide a current examination of the challenges facing farmworkers and the lives and resistance of the protagonists featured in the book.