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This title was first published in 2003. Development is a complex and heterogeneous phenomenon, driven by the expansion of one or more sectors and their influence on the others. It is the outcome of local interdependencies among firms, households and institutions which give rise to specific territorial patterns of local systems. Policies of development cannot therefore restrict themselves to undifferentiated intervention from the centre to the periphery, but must be able to stimulate and sustain endogenous bottom-up growth by means of specific programmes. Thus, individuals and organizations, public or private interact, take decisions and devise strategies in a context that is simultaneously co-operative and competitive. The first in a series, this volume brings together a team of leading international social scientists from the IGU study group on local development. Illustrated by a wide range of global case studies, it analyses what knowledge is required for industrial production and how best to organize this knowledge, embedded as it is in physical, human and social capital. It focuses on the formation of social capital and the various forms into which this may evolve, in particular, the sets of institutions which regulate relationships within and among firms.
Voglis (New York U.) examines the relationship between the specific subject of political prisoners, and certain practices of punishment in the context of a polarization that led to civil war in Greece from 1946 to 1949. He asks what impact an exceptional situation, such as a civil war, has on practices of punishment; how the category of political prisoners is constructed; how a social and political subject is made; and how political prisoners experienced their internment. Annotation copyrighted by Book News, Inc., Portland, OR
Act as a Feminist maps a female genealogy of UK actor training practices from 1970 to 2020 as an alternative to traditional male lineages. It re-orientates thinking about acting through its intersections with feminisms and positions it as a critical pedagogy, fit for purpose in the twenty-first century. The book draws attention to the pioneering contributions women have made to actor training, highlights the importance of recognising the political potential of acting, and problematises the inequities for a female majority inspired to work in an industry where they remain a minority. Part One opens up the epistemic scope, shaping a methodology to evaluate the critical potential of pedagogic practice. It argues that feminist approaches offer an alternative affirmative position for training, a via positiva and a way to re-make mimesis. In Part Two, the methodology is applied to the work of UK women practitioners through analysis of the pedagogic exchange in training grounds. Each chapter focuses on how the broad curriculum of acting intersects with gender as technique to produce a hidden curriculum, with case studies on Jane Boston and Nadine George (voice), Niamh Dowling and Vanessa Ewan (movement), Alison Hodge and Kristine Landon-Smith (acting), and Katie Mitchell and Emma Rice (directing). The book concludes with a feminist manifesto for change in acting. Written for students, actors, directors, teachers of acting, voice, and movement, and anyone with an interest in feminisms and critical pedagogies, Act as a Feminist offers new ways of thinking and approaches to practice.
A provocative feminist analysis of the moral panics of sexuality, this interdisciplinary edited collection showcases the range of historical and contemporary crises we too often suppress, including vagina dentata, vampires, cannibalism, age appropriateness, breast cancer, menstrual panics, and sex education.