Global Histories of Work Work in Global and Historical Perspective
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The Politics of Ambiguity Conditional Manumission, Labor Contracts, and Slave Emancipation in Brazil (1850S–1888)*
Sidney Chalhoub The Politics of Ambiguity Conditional Manumission, Labor Contracts, and Slave Emancipation in Brazil (1850s–1888)* Introduction The historical process that made liberalism, old and new, the guiding ideology of Western societies brought with it the invention of new forms of unfree labor. Lib- eralism and free labor, ancien regime and serfdom and/or slavery are no longer unproblematic pairs of historical intelligibility. The first half of the nineteenth century did not see the weakening of slavery in the Americas at all, but just the partial relocation of it. The institution of slavery gradually disappeared in the British and French Caribbean while it became stronger in Brazil, Cuba, and the US South.1 In the second half of the nineteenth century, as the nightmare of an international order based on slavery was finally defeated in the American Civil War,2 there emerged extremely aggressive racist ideologies that justified Western imperial expansion and the persistence of forced labor in Africa and elsewhere. Actually, it boggles the mind to think that for so long it seemed possible to con- ceive of the nineteenth century as a time of transition from slavery to freedom, from bondage to contractual and/or free labor. In fact, contract labor, however diverse in its forms, was often thought of as a form of coerced labor, with workers * This article was first published under the same title in International Review of Social History, Vol. 60 (2015), pp. 161–191 doi:10.1017/S0020859015000176 © 2015 Internationaal Instituut voor Sociale Geschiedenis, published by Cambridge University Press, reproduced with permission. -
Köpenick <> Ostkreuz Ersatzverkehr Mit Bussen
x3 Köpenick <> Ostkreuz 25. 6. 2020 (Do) – 13. 7. 2020 (Mo) 4 Uhr 1.30 Uhr Ersatzverkehr mit Bussen Replacement service by bus S 3 fährt bis Wuhlheide und bis Rummelsburg. Sehr geehrte Fahrgäste, vom 25.06.2020 (Do) 4 Uhr bis 13.07.2020 (Mo) 1:30 Uhr wird in Karlshorst das historische Bahnsteigdach wieder aufgebaut. Zeitgleich dazu wird in Karlshorst eine Lärmschutzwand errichtet und das Gleislayout in Rummelsburg verändert. Die S3 kann im Abschnitt Wuhlheide <> Karlshorst <> Rummelsburg nicht fahren. Ersatzverkehr mit Bussen wird zwischen: 0b S3 Köpenick <> Tram-/Nachtbushaltestelle „Freizeit- und Erholungszentrum (FEZ)“ <> Karlshorst <> U-Bf. Tierpark (Zusatzhalt) <> Bushaltestelle „Michiganseestraße“ (Halt für Betriebsbahnhof Rummelsburg <> Rummelsburg <> Ostkreuz eingerichtet. Bitte steigen Sie zwischen der S3 (Erkner <> Köpenick <> Wuhlheide) und dem Ersatzverkehr mit Bussen in beiden Fahrtrichtungen in Köpenick um. Zwischen dem Ersatzverkehr und der S3 (Rummelsburg <> Ostbahnhof/ Spandau) können Sie sowohl in Rummelsburg, als auch in Ostkreuz umsteigen. Im Abschnitt Rummelsburg <> Ostkreuz fahren die S3 und der Ersatzverkehr mit Bussen parallel. Fahrgäste von Wuhlheide in Richtung Karlshorst/Ostkreuz nutzen bitte zuerst die S3 in Richtung Erkner bis Köpenick (1 Station) und steigen dort in den Ersatzverkehr mit Bussen um. In der Gegenrichtung nutzen Fahrgäste nach Wuhlheide zunächst den Ersatzverkehr mit Bussen bis Köpenick und steigen dort in die S3 nach Wuhlheide um. Bitte beachten Sie in Karlshorst die wechselnden Abfahrtshaltestellen des Ersatzverkehrs. In Betriebsbahnhof Rummelsburg halten die Busse des Ersatzverkehr nicht direkt am S-Bahnhof, sondern an der Bushaltestelle „Michiganseestraße“ in der Sewanstraße. In Ostkreuz fährt die S3 nach Rummelsburg von Gleis 5 (Bahnsteig stadteinwärts). Die S75 wird während dieser Bauarbeiten mit allen Fahrten bis/ab Ostbahnhof verlängert. -
Reglas De Congo: Palo Monte Mayombe) a Book by Lydia Cabrera an English Translation from the Spanish
THE KONGO RULE: THE PALO MONTE MAYOMBE WISDOM SOCIETY (REGLAS DE CONGO: PALO MONTE MAYOMBE) A BOOK BY LYDIA CABRERA AN ENGLISH TRANSLATION FROM THE SPANISH Donato Fhunsu A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature (Comparative Literature). Chapel Hill 2016 Approved by: Inger S. B. Brodey Todd Ramón Ochoa Marsha S. Collins Tanya L. Shields Madeline G. Levine © 2016 Donato Fhunsu ALL RIGHTS RESERVED ii ABSTRACT Donato Fhunsu: The Kongo Rule: The Palo Monte Mayombe Wisdom Society (Reglas de Congo: Palo Monte Mayombe) A Book by Lydia Cabrera An English Translation from the Spanish (Under the direction of Inger S. B. Brodey and Todd Ramón Ochoa) This dissertation is a critical analysis and annotated translation, from Spanish into English, of the book Reglas de Congo: Palo Monte Mayombe, by the Cuban anthropologist, artist, and writer Lydia Cabrera (1899-1991). Cabrera’s text is a hybrid ethnographic book of religion, slave narratives (oral history), and folklore (songs, poetry) that she devoted to a group of Afro-Cubans known as “los Congos de Cuba,” descendants of the Africans who were brought to the Caribbean island of Cuba during the trans-Atlantic Ocean African slave trade from the former Kongo Kingdom, which occupied the present-day southwestern part of Congo-Kinshasa, Congo-Brazzaville, Cabinda, and northern Angola. The Kongo Kingdom had formal contact with Christianity through the Kingdom of Portugal as early as the 1490s. -
MARCEL CAMUS Quel Est Le Point Commun Entre Jacques Becker
MARCEL CAMUS Quel est le point commun entre Jacques Becker, Vinicius de Moraes, Jorge Amado, Bourvil et Barack Obama ? Marcel Camus, un réalisateur ardennais passionné de voyage et empreint d’humanité et de fraternité. Comme souvent, tout a commencé par une rencontre. Lors de la vente de livres organisée par les Amis de la bibliothèque, je discute avec Gérard Tardif à qui j’apprends que je suis le fils de Marcel Camus. Il me propose alors de participer à Signets et d’écrire un article sur mon père. Cette proposition me rappelle un hasard, une anecdote étonnante. Lors d’un trajet pour me rendre à Paris, je prends un exemplaire de la Gazette du Val d’Oise abandonné sur une banquette du Transilien. Je le feuillette négligemment. Je tombe, c’est vraiment le mot, sur un article concernant la sortie en DVD du film Le Mur de l’Atlantique. Il est écrit : « En juin 1970, pour les besoins du Mur de l’Atlantique de Marcel Camus, Bourvil se rendra successivement à Saint-Leu-La-Forêt, dans la vallée de Chauvry (…)». Lorsque nous avons décidé de quitter Paris pour la banlieue avec ma femme, nous n’avions jamais entendu parler de Saint-Leu-La-Forêt. C’est le hasard des balades qui nous a permis de découvrir cette charmante ville. Apprendre que mon père était venu tourner ici, m’a évidemment touché. Marcel Camus et Bourvil Premières mises en scène en captivité Marcel Camus est né en 1912 à Chappes, près de Charleville Mézières, le pays de Rimbaud. Il n’a jamais été nostalgique du climat rude des Ardennes. -
Tragedy After Darwin by Manya Lempert a Dissertation Submitted In
Tragedy after Darwin by Manya Lempert A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Dorothy Hale, Chair Professor Ann Banfield Professor Catherine Gallagher Professor Barry Stroud Summer 2015 Abstract Tragedy after Darwin by Manya Lempert Doctor of Philosophy in English University of California, Berkeley Professor Dorothy Hale, Chair Tragedy after Darwin is the first study to recognize novelistic tragedy as a sub-genre of British and European modernism. I argue that in response to secularizing science, authors across Europe revive the worldview of the ancient tragedians. Hardy, Woolf, Pessoa, Camus, and Beckett picture a Darwinian natural world that has taken the gods’ place as tragic antagonist. If Greek tragic drama communicated the amorality of the cosmos via its divinities and its plots, the novel does so via its characters’ confrontations with an atheistic nature alien to redemptive narrative. While the critical consensus is that Darwinism, secularization, and modernist fiction itself spell the “death of tragedy,” I understand these writers’ oft-cited rejection of teleological form and their aesthetics of the momentary to be responses to Darwinism and expressions of their tragic philosophy: characters’ short-lived moments of being stand in insoluble conflict with the expansive time of natural and cosmological history. The fiction in this study adopts an anti-Aristotelian view of tragedy, in which character is not fate; character is instead the victim, the casualty, of fate. And just as the Greek tragedians depict externally wrought necessity that is also divorced from mercy, from justice, from theodicy, Darwin’s natural selection adapts species to their environments, preserving and destroying organisms, with no conscious volition and no further end in mind – only because of chance differences among them. -
The Insect Woman – Contextualising Imamura (And The
University of Gothenburg Faculty of Humanities The Insect Woman – Contextualising Imamura (and the Intricacies of Global Cinema Study) Bachelor’s thesis in film studies by Noak Snow Gröning Presented spring term 2018 Tutor: Anna Backman Rogers Course: FL1801 Index 1. Abstract 3 2. Introduction 4 3. Purpose, Issues and Demarcations 6 4. Further Context 9 5. Earlier Research and Fields of Study 10 6. Theoretical Frameworks 10 7. Materials and Methods 18 8. Disposition and Historical Context 19 9.1 Analysis – Story Summary 25 9.2 Analysis – Themes and Aesthetic 29 9.3 Analysis – The Insect Woman and Early Summer 32 10. Conclusion 36 11. References 39 2 1. Abstract This essay represents an attempt to further the understanding of the films by Japanese New Wave director Shohei Imamura through the use of post-colonial theory, and political and cultural contextualisation; it also offers discussion on the inherent issues of discussing non- Western cinema from a Western point-of-view, and how post-colonial theory can be used tentatively by Western writers to prevent the perpetuation of orientalism and the generalisation of non-Western cultures as a single entity simply titled ‘the Other’. This is done through an in-depth exploration of Western film theory’s problematic relationship to Asian cinema, along with disposition and historical contextualisation relevant to Imamura’s films and the Japanese New Wave movement of the 1960s. This is then followed by an analysis on Imamura’s sixth film, The Insect Woman, released in 1963, in which I implement post-colonial theory while also comparing it to Yasujiro Ozu’s 1951 motion picture Early Summer, a film which addresses similar themes but in widely different ways. -
Marcel Camus Ou O Triste Prévert Dos Trópicos
R V O Tunico Amancio Professor associado do curso de Cinema da Universidade Federal Fluminense. Pesquisador e curta-metragista. Marcel Camus ou o Triste Prévert dos Trópicos Marcel Camus fez três filmes de longa-metragem Marcel Camus made three feature films in no Brasil e com um deles – Orfeu do carnaval – Brazil and one of them – Orfeu do carnaval – ganhou fama internacional imediata. Seus outros made him instantly famous worldwide, while filmes passaram despercebidos do público e his other movies remained unnoticed by both da crítica. Taxados de folclóricos, exóticos, the audience and critics. Labeled as folkloric, ingênuos, românticos e alienados, trouxeram uma exotic, naive, romantic and alienated, they brought imagem do Brasil cheia de afeto e curiosidade, e us an image about Brazil full of affection and valem como testemunho de uma época e de um curiosity, and are a testimonial of an era and a olhar estrangeiro. foreigner’s look. Palavras-chave: olhar estrangeiro; Orfeu do carnaval; Keywords: foreign look; Orfeu do carnaval; Marcel Camus. Marcel Camus. omment être poète si message humaniste, briguant les lauriers on ne l’est pas? Telle est (chacun sa vérité) de Saint-Éxupery, il four- “C la quadrature du cercle nit un cinéma confiné de décors exotiques, qu’impose à cet aventurier appliqué le mais n’y déroule que de monotones péri- goût qu’ont des sambas les spectateurs péties de cartes postales: un triste Prévert européens; partagé entre le feuilleton et le sous les tropiques.”1 Acervo, Rio de Janeiro, v. 23, no 1, p. 133-146, jan/jun 2010 - pág. -
Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge
Hobbs, Mark (2010) Visual representations of working-class Berlin, 1924–1930. PhD thesis. http://theses.gla.ac.uk/2182/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Visual representations of working-class Berlin, 1924–1930 Mark Hobbs BA (Hons), MA Submitted in fulfillment of the requirements for the Degree of PhD Department of History of Art Faculty of Arts University of Glasgow February 2010 Abstract This thesis examines the urban topography of Berlin’s working-class districts, as seen in the art, architecture and other images produced in the city between 1924 and 1930. During the 1920s, Berlin flourished as centre of modern culture. Yet this flourishing did not exist exclusively amongst the intellectual elites that occupied the city centre and affluent western suburbs. It also extended into the proletarian districts to the north and east of the city. Within these areas existed a complex urban landscape that was rich with cultural tradition and artistic expression. This thesis seeks to redress the bias towards the centre of Berlin and its recognised cultural currents, by exploring the art and architecture found in the city’s working-class districts. -
Ever Faithful
Ever Faithful Ever Faithful Race, Loyalty, and the Ends of Empire in Spanish Cuba David Sartorius Duke University Press • Durham and London • 2013 © 2013 Duke University Press. All rights reserved Printed in the United States of America on acid-free paper ∞ Tyeset in Minion Pro by Westchester Publishing Services. Library of Congress Cataloging- in- Publication Data Sartorius, David A. Ever faithful : race, loyalty, and the ends of empire in Spanish Cuba / David Sartorius. pages cm Includes bibliographical references and index. ISBN 978- 0- 8223- 5579- 3 (cloth : alk. paper) ISBN 978- 0- 8223- 5593- 9 (pbk. : alk. paper) 1. Blacks— Race identity— Cuba—History—19th century. 2. Cuba— Race relations— History—19th century. 3. Spain— Colonies—America— Administration—History—19th century. I. Title. F1789.N3S27 2013 305.80097291—dc23 2013025534 contents Preface • vii A c k n o w l e d g m e n t s • xv Introduction A Faithful Account of Colonial Racial Politics • 1 one Belonging to an Empire • 21 Race and Rights two Suspicious Affi nities • 52 Loyal Subjectivity and the Paternalist Public three Th e Will to Freedom • 94 Spanish Allegiances in the Ten Years’ War four Publicizing Loyalty • 128 Race and the Post- Zanjón Public Sphere five “Long Live Spain! Death to Autonomy!” • 158 Liberalism and Slave Emancipation six Th e Price of Integrity • 187 Limited Loyalties in Revolution Conclusion Subject Citizens and the Tragedy of Loyalty • 217 Notes • 227 Bibliography • 271 Index • 305 preface To visit the Palace of the Captain General on Havana’s Plaza de Armas today is to witness the most prominent stone- and mortar monument to the endur- ing history of Spanish colonial rule in Cuba. -
Icts, 'Virtual Colonisation' & Political Economy
Review of African Political Economy No.99:5-9 © ROAPE Publications Ltd., 2004 ISSN 0305-6244 ICTs, ‘Virtual Colonisation’ & Political Economy Reginald Cline-Cole & Mike Powell The potential consequences of the nature and dynamics of the increasing use of Information and Communication Technologies (ICTs) for the political economy of Africa deserve considerably more critical attention than they have thus far received. True, there exists a growing body of literature on, for example, the potential of ICTs for democratising political participation and policy formulation; redressing long- standing North-South, regional, rural-urban and gender imbalances; and redefining the parameters of development thinking and practice. Not surprisingly, recent policy attention has tended to focus almost exclusively on why a ‘wired’Africa is an absolute and urgent necessity in the current information age; and on how African countries can formulate e-strategies, among other things, to facilitate their incorporation in the so- called global information society. However, much (but by no means all) of this literature has been celebratory, even, on occasion, proselitysing, particularly in its insistence that ICTs represent ‘a key resource that should be maximised by … African nations in order to achieve competitiveness in the current dynamic world order’ (Shibanda and Musisi-Edebe, 2000:228). In contrast, relatively little sustained attention has been paid to the potential (highly differentiated) impact of ICTs on social relations, even though, as Daly (2000) has observed with reference to the extension of the internet to developing countries with low levels of connectivity, ‘the Mathew principle’ will prevail and ‘those who have most will be given still more’. -
Vortrag „Rahnsdorf Um 1910“
Stefan Förster / Festakt „100 Jahre Friedhofskapelle Rahnsdorf“ am 11.08.2012 Vortrag „Rahnsdorf um 1910 “ Anrede, der heutige Festakt zum 100-jährigen Bestehen dieses Gebäudes bietet uns den richtigen Anlass, auf die facettenreiche Geschichte Rahnsdorfs Ende des 19., Anfang des 20. Jahrhunderts zurückzu- blicken. Dabei wird deutlich, dass dieser einstige Berliner Vorort schon immer durch das Selbstbewusstsein und den Lokalpatriotismus seiner Bewohner etwas Besonderes darstellte. Das markanteste Gebäude des heutigen Treptow-Köpenicker Ortsteils ist zweifelsohne die Dorfkirche, die im kommenden Jahr ihr 125- jähriges Jubiläum feiert. Sie ist auf dem höchsten Punkt des Ortes errichtet und an jener Stelle, wo auch die Vorgängerbauten ihren Platz hatten. Schon damals waren die Rahnsdorfer findig im Akquirieren der notwendigen Finanzmittel, aber auch mildtätig genug, um den eigenen Geldbeutel zu öffnen. So spendeten sie über 1000 Mark für ihre Heimatkirche. Sogar der Kreistag Niederbarnim gab 2500 Mark für Glocken und Orgel hinzu. Kaiser Wilhelm I. überwies zur Grundsteinlegung 9500 Mark als Gnadengeschenk, konnte jedoch aufgrund seines Todes – schließlich erfolgte die Fertigstellung im Dreikaiserjahr 1888 – nicht mehr an der Einweihung teilnehmen. Rahnsdorf hatte zu dieser Zeit nur etwa 900 Einwohner – zu wenig, um einen eigenen Bürgermeister stellen zu können. Hierfür waren mindestens 1000 Einwohner nötig, die sowohl das Fischerdorf als auch die Siedlung Rahnsdorfer Mühle und die Kolonie Hessenwinkel gemeinsam noch nicht erreichten. Immerhin gab es einen Gemeinde- vorsteher und jener Albert Rüger führte seine Amtsgeschäfte aus seinem Fischerhaus in der Dorfstraße 19. Im Jahr 1903 wählte die Gemeindevertretung Herrn Imhoff zum neuen Vorsteher. Die Verwaltung zog wiederum in sein Haus in der Seestraße 43 um. -
Bilan Germany - 2002
Bilan Germany - 2002 9/28/21 1:47:02 PM Tel: +33 (0)1 47 53 95 80 / Fax +33 (0)1 47 05 96 55 / www.unifrance.org SIRET 784359069 00043 / NAF 8421Z / TVA FR 03784359069 French films represented 7.3% of movie programming on German TV channels this year, outscored by British films, which obtained a 7.8% share. The U.S. remained the number 1 source of films (57%), ahead of Germany, whose market share nevertheless picked up by 0.7%. The number of French films programmed on the public broadcasters ceased to decline this year, and even increased on several regional channels. ZDF remained the leading broadcaster of French films. This channel ramped up its share of movie programming devoted to French fare, running at 15%, against 13% in 1997. It successfully reran l’Ange noir, and presented le Garçu and Toxic affaire, as well as a number of classics such as les Seins de glace, Don Camillo Monseigneur and la Guerre des polices. Since 1995, the number of films shown on ARD had dwindled. It stabilized in 1998 at 67 titles, with a host of recent titles including Élisa, la Fleur de mon secret, L. 627 and les Apprentis. Regional public channels saw an uptrend: up 6 titles on Bayern 3, up 10 on West 3 and up 19 on B1 in Berlin. Among the commercial channels, TM 3 outstripped Vox in the number of French titles scheduled: it programmed 78, 13 more than in 1997. This channel (owned by the TeleMûnchen Group) broadcast essentially catalogue films, and devoted 28% of film slots to French fare, an all-time high in Germany.