Search results

Focusing on Johannes L. Sadie, a South African economist hired to investigate the economic options of Southern Rhodesia at the time of the Unilateral Declaration of Independence (UDI), this chapter examines the historical, ideological, pedagogical, and international influences of the intersection between economic discourse and racial ideology. Using the example of the Sadie recommendations, this chapter examines how the changing political context informed the state’s approach to the economy. A reading of the context in which Sadie was hired to justify Rhodesia’s UDI and provide legitimacy to its economic policies sheds light onto the Ian Smith regime’s approach to an alternative post-imperial (but not post-settler) state and economy, but it also speaks of the ways in which economic discourse can be deployed for political purposes by authoritarian regimes.

In this chapter I employ a hybrid critical framework that draws on feminist media studies, feminist critiques of post-feminism, theories of intersectionality, and genre theory to consider a range of domestic violence stories on screen. The chapter begins with a summary of prototypical patterns of narrative and character in contemporary Hollywood films about abuse and subsequently explores two recent media representations that, while conforming to certain of these patterns, also introduce alternative perspectives: the 2017/2019 Home Box Office miniseries Big Little Lies and French director Xavier Legrand's 2018 film Custody (Jusqu’à la garde). I argue that both of these media texts draw on familiar genres that engage audiences not simply to generate sympathy for the abused woman-turned-heroine, but to challenge persistent myths about domestic violence such as that abusers are monsters who never show love towards their partners; that abused women are weak, passive, and the victims of their own bad judgment; that the effects and repercussions of abuse end with the departure of the abuser; that, ultimately, the problem of abuse must be “solved” by the individual; that the “solution” is as simple as leaving; and that there is little as a community or a society that we can do. I conclude that, in different ways and to different degrees, each of these media texts succeeds in making small but significant interventions into the predictable formulas of mainstream Hollywood domestic violence films through narratives that foreground the complexities, contradictions, and dilemmas of abuse.

Today, the global education market is one of the faster growing sectors, and it has attracted several new actors or what we call educational brokers who are now responsible for shaping national agendas. The newer actors in education are vastly different for the former players in that whereas previous actors engrossed national educational systems through the provision of technical assistance to meet international standards, best practices, and benchmarks, these newer players are for-profit entities that emphasize austerity, leanness, human resource maximization, performance targets, and competition. Therefore, in this new educational landscape, national governments are seen as “clients” who receive “expert” advice from “external consultants” that have an assortment of experiences across different sectors. Education governance is no longer a statist endowed but one that incubates in laborites of best practices resonates with existing case studies and results driven based on Big Date collected. We argue that educational brokers are responsible for the emergence of a hybrid form of education governance that use business and market techniques to reform strategies within the education sector. We conclude by suggesting that collectively educational brokers are using what we call “educational sub-prime mechanisms” – higher interest rates, reduced quality collateral, and less advantageous terms to counterweight higher credit risk – to manage educational portfolios and newer forms of educational risk.

Michael E. Brown's book, The Concept of the Social in Uniting the Humanities and Social Sciences, demonstrates that prominent attempts to account for the social dimension of human affairs rely on an unstated notion of a “course of activity,” that is diametrically opposed to the conceptualization of sociality that is presumably intended to realize it. I want to focus on the idea of a “course of activity” in order to locate his work in and clarify its importance to the development of dialectical reason from Heraclitus through Hegel and beyond. Of special importance is the bearing of his research on the critique of contemporary theories of agency and sociality, and, since considerable attention has been paid, in this regard, to the arts and humanities, some of what I will say about this refers to art and its avant-garde moments—-particularly in my work on Dada and Brown's account of two avant-garde theatrical performances. 

This chapter examines what is entailed by separating agency from individuality and what it means for the idea of a “course of activity,” (going on) and its relation to the concept of sociality. This also bears on questions of ontology, as Brown's course of activity is generative and nonrepeatable. The course of activity and nonrepeatability are linked to both avant-garde practice and theoretical notions that reframe our temporal understandings. These include the avant-garde of dada and surrealism, and the reformulations of bourgeois time of Jean Duvignaud, Walter Benjamin, Ernst Bloch, and Jean-Paul Sartre. The question raised here is that of a teleological understanding—how we link the present course of activity with future events.