Combining political-economic, sociological, and historical approaches, Professor Guston provides a coherent new framework for analyzing the changing relationship between politics and science in the United States. After World War II, the "social contract for science" assumed that the integrity and productivity of research were automatic; a belief that endured for four decades. But in the 1980s, cases of misconduct in science and flagging economic performance broke the trust between politics and science. New "boundary organizations" were created to mend the relationship between scientists and politicians.
While political scientists and political theorists have long been interested in social and political performance, and theatre and performance researchers have often focused on the political dimensions of the live arts, the interdisciplinary nature of this labor has typically been assumed rather than rigorously explored. This volume brings together leading scholars in the fields of Politics and Performance--drawing on experts across the fields of literature, law,anthropology, sociology, psychology, and media and communiction, as well as politics and theatre and performance--to map out and deepen the evolving interdisciplinary engagement. Organized into seven thematic sections, the volume investigates the relationship between politics and performance to show thatcertain features of political transactions shared by performances are fundamental to both disciplines--and that to a large extent they also share a common communicational base and language.
This work offers an up-to-date synthesis of current knowledge in the field of power relations, influence and politics of modern worksites as well as the relationship between organizational politics and employees' performance. It also sheds light on the causes and consequences of political behaviour conducted by civil servants in the public sector.
Addresses fundamental questions about the social and political purposes of performance through an investigation of post-war alternative and community theatre. A detailed analysis of oppositional theatre as radical cultural practice.
The movement's significance as a symbol of a shift in official Soviet priorities, from construction of the means of production to intensive use of capital and labor, is emphasized in this analysis.
"The society, politics and future of Cuba are high on the world's agenda in the 21st century. Published in association with the Absolut Art Award, Dangerous Moves presents a fascinating survey of contemporary life and culture in Cuba through some of its most daring and experimental artists. Coco Fusco analyses the ways in which the regime has wielded influence over artists in recent times, showing how - in a context in which overt political speech is subject to censorship - the language of performance has emerged as the favoured means of social commentary. Focusing on a range of performative practices in visual art, music, poetry and political activism, Fusco examines the relationship between the abject body in performance and the greater body politic of a state officially defined as revolutionary yet seeking to limit and constrain dissent. A major new piece of scholarship from a global artist, writer and thinker, this is a key addition to the canon of contemporary art writing, and will be essential reading for students and scholars as well as those with a broader interest in politics, power and contemporary art."--Publisher's description.
This volume brings together important work at the intersection of politics and performance studies. While the languages of theatre and performance have long been deployed by other disciplines, these are seldom deployed seriously and pursued systematically to discover the actual nature of the relationship between performance as a set of behavioural practices and the forms and the transactions of these other disciplines. This book investigates the structural similarities and features of politics and performance, which are referred to here as ‘grammar’, a concept which also emphasizes the common communicational base or language of these fields. In each of the chapters included in this collection, key processes of both politics and performance are identified and analyzed, demonstrating the critical and indivisible links between the fields. The book also underlines that neither politics nor performance can take place without actors who perform and spectators who receive, evaluate and react to these actions. At the heart of the project is the ambition to bring about a paradigm change, such that politics cannot be analyzed seriously without a sophisticated understanding of its performance. All the chapters here display a concrete set of events, practices, and contexts within which politics and performance are inseparable elements. This work will be of great interest to students and scholars in both International Relations and Performance Studies.
In a democracy, we generally assume that voters know the policies they prefer and elect like-minded officials who are responsible for carrying them out. We also assume that voters consider candidates' competence, honesty, and other performance-related traits. But does this actually happen? Do voters consider candidates’ policy positions when deciding for whom to vote? And how do politicians’ performances in office factor into the voting decision? In Follow the Leader?, Gabriel S. Lenz sheds light on these central questions of democratic thought. Lenz looks at citizens’ views of candidates both before and after periods of political upheaval, including campaigns, wars, natural disasters, and episodes of economic boom and bust. Noting important shifts in voters’ knowledge and preferences as a result of these events, he finds that, while citizens do assess politicians based on their performance, their policy positions actually matter much less. Even when a policy issue becomes highly prominent, voters rarely shift their votes to the politician whose position best agrees with their own. In fact, Lenz shows, the reverse often takes place: citizens first pick a politician and then adopt that politician’s policy views. In other words, they follow the leader. Based on data drawn from multiple countries, Follow the Leader? is the most definitive treatment to date of when and why policy and performance matter at the voting booth, and it will break new ground in the debates about democracy.
Across the world, the cooperation of political parties to form governments has become more commonplace. In Europe, North and South America, Asia and Africa and in Australasia, parties have joined forces and taken a partnership approach to government. In Power Politics and Performance, authors Dookeran and Jantzen, using Trinidad and Tobago as the example, demonstrate how collaboration and consensus can be used to meet the challenges facing small developing states.
The Problem with Work develops a Marxist feminist critique of the structures and ethics of work, as well as a perspective for imagining a life no longer subordinated to them.
