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Links between urban areas and public space have always had a central presence in the field of Urban Sociology. During the last four decades, and in relation with globalization processes, reflection about city places and what constitutes the “public” has increasingly been in line with what has been called an “emplacing heritage process,” which emerged as a controversial point of intervention in urban areas. In this sense, itineraries have been considered of primary importance in urban heritage signification, recognition, and symbolic production. In short, these routes appear as ways in which public space is materially and symbolically occupied, becoming emplacing heritage processes in themselves.

In this chapter, we study two heritage-making processes through neighborhood itineraries, which are carried out in district territory and are located in two peripheral neighborhoods belonging to the City of Madrid (Hortaleza and Carabanchel). Ultimately, the point here is that these routes are not merely a pathway that “goes” along acknowledged heritage places; these itineraries are an emplacement and a signification of patrimony itself. These processes act as markers of iconic places and as remembrance performances of neighborhood memory. We would argue that routes around historical places in Carabanchel, as well as the “Three Wise Men” popular parades in Hortaleza bring shared geographical imaginaries, collective memory, and iconic places together in everyday experiences of both places. These itineraries change both urban sites in terms of their neighborhood heritage by disputing spatial discourses and imaginaries of heritage, urban place, and neighborhood.

Purpose: The first objective is to explore how narcotelenovelas and news can be compared in their representation of drug violence and figures. The second is to explore a method which identifies intertextual references in fiction by contrasting them with journalistic reports. Methodology/approach: Qualitative content analysis is of three narcotelenovelas: El Señor de los Cielos, El Chapo, and Narcos: México. After documenting clear historical references and figures, a search was made through news engines and portals to make a comparison of the fictional versus journalistic representation of such references. Findings: Many elements of narcotelenovelas such as events and public figures are highly comparable to those described in news. While producers openly warn that they changed facts for dramatic purposes, it’s possible to propose hypotheses in which audiences construct their historical memories based on fictional narratives. Research limitations: This chapter does not offer an exhaustive list of intertextual references from all three narcotelenovelas. Originality/value: This type of comparative analysis between fiction and journalism hasn’t been explored for the study of narcoculture media products. The author poses a hypothesis, in which fiction contributes significantly to collective memories and imaginaries, especially when it appeals to historical references audiences might identify.

In this chapter, the authors situate metal medievalism in the discourse on medievalism and neomedievalism. Detangling the ways in which historicity and authenticity are perceived and negotiated in metal cultures reveals how metal medievalism’s relationship to the past illuminates perceptions of post-modernity. The disparate pieces of the Middle Ages (both ‘real’ and ‘imagined’) form a bricolage through which post-modern meanings are expressed. Metal musicians and consumers use these fragments of the past as a means of collective resistance against the post-enlightenment, capitalist and machine-mediated present. The Middle Ages represent attempts at the re-enchantment of the present with a transcendent, organic, and carnal past. The meanings which are created this way are far from uniform or absolute however, but spiral between historical and imaginary, collective and individual, and continue to spin on in ever more complex permutations with no sign of abating.

In this chapter, we “occupy the earth” with an overview of the anti-fracking discourse(s) of diverse local initiatives converging as a global movement opposed to fracking. By mapping the discourse(s) of the anti-fracking movement, the articulation of the problems and solutions associated with fracking raise questions not only about the environment but draw attention to a crisis of democracy and the critical need for social and environmental justice. With the help of a multiple theoretical framework we draw on insights about environmental movements and their democratizing potential; conceptualizations about power and (counter) discourse; and depictions of the environmental justice movements in the United States. Toward this end, we analyze the framing of the anti-fracking movement: the many local voices engaging in political struggles to sustain their communities, places and ways of life, and the global movements’ forum for collective solidarity, recognition, and civic action. Shedding light on the multiple frames employed by movement members, we discuss the implications and potential embodied in this widening debate.

This chapter explores how coming into contact with the narratives of environmental victims helps to develop different forms of reflexivity useful for imagining and confronting environmental crises. The generation and sharing of environmental data and of visual and narrative experiences of lived environmental harms by ‘ordinary people’ amounts to more than merely supplying robust data to fellow citizens, scientists and decision-makers. It is also a proactive claim for social and environmental justice, especially when these people are silenced or even criminalised. While forms of civic monitoring can be regarded as a contribution to environmental governance, they have instead often been labelled as ‘subversive’ or illegal practices. In this contribution, the authors explore how ‘green’ activist criminology may help in the challenge to have these voices enabled and listened. The challenge has to be taken up by developing an active listening attitude towards the voices of people (‘folk voices’) affected by/exposed to environmental harms, enhancing visual imagination and complexity about the contested notion of the environmental victim, together with new ways of taking care and a new paradigm of the ‘active victim’. In the conclusion, the authors acknowledge the potential of an art-based inquiry that is inclusive of civic imaginaries and knowledge. However, they also stress that cultural barriers and ideologies may hamper this potential. Critical attitude and integrity of any scientific approach should be sought and preserved.

Hackathons, time-bounded events where participants write computer code and build apps, have become a popular means of socializing tech students and workers to produce “innovation” despite little promise of material reward. Although they offer participants opportunities for learning new skills and face-to-face networking and set up interaction rituals that create an emotional “high,” potential advantage is even greater for the events’ corporate sponsors, who use them to outsource work, crowdsource innovation, and enhance their reputation. Ethnographic observations and informal interviews at seven hackathons held in New York during the course of a single school year show how the format of the event and sponsors’ discursive tropes, within a dominant cultural frame reflecting the appeal of Silicon Valley, reshape unpaid and precarious work as an extraordinary opportunity, a ritual of ecstatic labor, and a collective imaginary for fictional expectations of innovation that benefits all, a powerful strategy for manufacturing workers’ consent in the “new” economy.