Collective creation - the practice of collaboratively devising works of performance - rose to prominence not simply as a performance making method, but as an institutional model. By examining theatre practices in Europe and North America, this book explores collective creation's roots in the theatrical experiments of the early twentieth century.

The book tells the story of communal living from about 1850 until today. Three motives of sharing - the economic, political and social intention - divide the residential objects, which are investigated in a historical analysis and allocated to nine development phases. The author investigates and compares different forms of housing and the way they developed from their origins until today; she illustrates how everyday shared living and the degrees of privacy in housing are practiced in Europe. Owing to its comprehensive documentation, the analysis of typologies, layout plans, and user and expert interviews, the book can also be considered to be a lexicon or handbook on communal living. A detailed overview that is unique in this form.

In the midst of China’s post-Mao market reforms, the old status hierarchy is collapsing. Who will determine what will take its place? In Creating Market Socialism, the sociologist Carolyn L. Hsu demonstrates the central role of ordinary people—rather than state or market elites—in creating new institutions for determining status in China. Hsu explores the emerging hierarchy, which is based on the concept of suzhi, or quality. In suzhi ideology, human capital and educational credentials are the most important measures of status and class position. Hsu reveals how, through their words and actions, ordinary citizens decide what jobs or roles within society mark individuals with suzhi, designating them “quality people.” Hsu’s ethnographic research, conducted in the city of Harbin in northwestern China, included participant observation at twenty workplaces and interviews with working adults from a range of professions. By analyzing the shared stories about status and class, jobs and careers, and aspirations and hopes that circulate among Harbiners from all walks of life, Hsu reveals the logic underlying the emerging stratification system. In the post-socialist era, Harbiners must confront a fast-changing and bewildering institutional landscape. Their collective narratives serve to create meaning and order in the midst of this confusion. Harbiners collectively agree that “intellectuals” (scientists, educators, and professionals) are the most respected within the new social order, because they contribute the most to Chinese society, whether that contribution is understood in terms of traditional morality, socialist service, or technological and economic progress. Harbiners understand human capital as an accurate measure of a person’s status. Their collective narratives about suzhi shape their career choices, judgments, and child-rearing practices, and therefore the new practices and institutions developing in post-socialist China.

Genocide and Mass Violence brings together a unique mix of anthropologists, psychiatrists, psychologists and historians to examine the effects of mass trauma.

This study of collective American memory exposes the historical phenomenon of self-directed American imperialism, still frequently ignored or denied in the United States. Over the course of the 250 years of its history, this has taken the form of African American slavery, thwarted black motherhood, same-race slavery (both white and African American) as well as the extermination of indigenous American peoples. On the literary level, the study helps to broaden, or even modify, the present perspective on the oeuvres of four major American writers, i. e., William Faulkner, Toni Morrison, Louise Erdrich, and Cormac McCarthy, by pointing to the intertwining of their themes, motifs, and techniques of writing to form an intricate pattern of the intertextualized collective memory of the American nation.

This book draws upon economic and sociological theory to provide a comprehensive discussion of economic space for social innovation, addressing especially marginalized groups and the long-term projects, programmes, and policies that have emerged and evolved within and across European states. It approaches the explanatory and normative questions raised by this topic via a novel approach: the Extended Social Grid Model (ESGM). Taking inspiration from the fields of economic sociology and ethics, this model shows that social innovation processes must be structural, and require change in power relations, if marginalization is to be effectively dealt with via social innovation. Part I of the book sets out the ESGM, including an exposition on the model along with background chapters on innovation, power and marginalization, ethics and social innovation, and empirical methods. Part II explores the model with a focus on social innovation trajectories of social housing, drinking water provision, employment, education, and food provision. It also explores the operationalization of the model with a view to agency and empowerment, as well as social innovation policy in Europe and the use of social impact bonds as a tool for financing social innovation. Part III revisits the ESGM and considers the explanatory adequacy and fruitfulness of the model for innovation research and for theorizing social innovation, addressing questions on the role and limitations of participation in social innovation for the marginalized, the role of capital for creating economic space for capabilities, and how we can approach the social impact of social innovation. This collection of essays presents a diverse range of perspectives on understanding and addressing the key issue of marginalization, and offers key recommendations for policy makers engaging with social innovation across the European Union and beyond.

This Handbook offers a multiform sweep of theoretical, historical, practical and personal glimpses into a landscape roughly characterised as contemporary Irish theatre and performance. Bringing together a spectrum of voices and sensibilities in each of its four sections — Histories, Close-ups, Interfaces, and Reflections — it casts its gaze back across the past sixty years or so to recall, analyse, and assess the recent legacy of theatre and performance on this island. While offering information, overviews and reflections of current thought across its chapters, this book will serve most handily as food for thought and a springboard for curiosity. Offering something different in its mix of themes and perspectives, so that previously unexamined surfaces might come to light individually and in conjunction with other essays, it is a wide-ranging and indispensable resource in Irish theatre studies.

In New Perspectives on Old Testament Prophecy and History, colleagues, students, and friends of Hans M. Barstad offer essays in honour of his esteemed career in biblical studies. Contributions on prophecy include: the debate on prophets as historical figures, the biblical books of Isaiah, Ezekiel, Hosea, Amos, and Micah, and issues of methodology and interpretation. Essays devoted to history address various historiographic issues as well as specific historical topics such as the monarchy in ancient Israel, the relationship of Judah to Edom, and the ritual of reading the law. In ways that reflect Hans Barstad’s innovative insights and methodological critiques, this collection of essays probes beyond the oft-trodden paths of biblical studies and challenges the status quo within the field.