Working Classes

El lunes 22/3, a las 11hs (Argentina, Brasil, Chile) presentamos el libro "Mujeres trabajadoras: puente entre la producción y la reproducción. Lugar de trabajo y militancia en la Nueva Ola Feminista", coordinado por Paula Varela.
Además de la autora, estarán presentes en el panel: Didice Godinho Delgado, 1º coordinadora de la Comisión de las Mujeres Trabajadoras de la CUT, Brasil y Andrea Delfino, docente e investigadora de la Universidad Nacional del Litoral. Modera: Meritxell Calbet Montcusi

Following the recent interest of bringing capitalism back into social movement studies, this article contributes to the debate with the application of new techniques for examining the dynamics of social class in protest politics. Questioning the declining importance of labour mobilisation in the recent anti-austerity cycles of protest in eastern Europe, I draw on a unique protest event dataset to propose a new way of exploring the relations between social class, repertoires and claim-making. I show that this innovation can bring greater clarity to a systematic analysis of social class politics in the protest arena. The empirical exploration highlights that more than one-third of the protest events in Bulgaria and Slovenia in the aftermath of the financial crisis were driven by specific social class actors. The article suggests that, contrary to individual-level data, social class can be observed through the basic conceptions of workers and independents; and then through site and sector: production; services; and socio-cultural. These typologies help in understanding where mobilisations arise, under what conditions and for what demands.

La presente propuesta plantea el estudio de la representación de la mujer en el cine de los orígenes en su condición de explotada: como trabajadora, como emigrante y como prostituida. Este texto aspira a ser la otra cara de la comunicación presentada en el Seminario de 2017 sobre la representación de las mujeres como sujeto político activo, en concreto sobre las revolucionarias, las terroristas y las sufragistas. Esto es, aspira a estudiar cómo se representaba la condición de explotada que las hacía rebelarse. Los resultados entonces mostraron que la conducta de rebelión se cen-suraba moralmente presentándolas como mujeres desnaturalizadas, masculinas, vengativas, perturbadas o regañonas, en conexión con representaciones visuales previas desarrolladas durante el tránsito al capitalismo. Se observaba que el ligero aumento de la autonomía de la mujer en la entrada del siglo XX venía acompañado de un refuerzo ideológico que censuraba en el cine a la mujer que se negaba a asu-mir el orden de las cosas; empleando el humor o el drama, el cine reconstruía una caricatura femenina con ecos en otros momentos de revuelta de la historia. Las mujeres que sufrían unas condiciones laborales miserables se representan a me-nudo como seres pasivos y trágicos que, en caso de no aceptar su destino, acaban prostituidas o tratan de suicidarse como en Les misères de l'aiguille (1914, FR). La ex-cepción a esa pasividad aparece en los filmes en los que mujeres burguesas deciden hacerse pasar por trabajadoras, como es el caso de Le violoniste della carità (1910, IT). La situación de miseria se naturaliza, del mismo modo que los accidentes laborales se presentan como hechos aislados sin relación con la estructura de producción, a lo sumo se vinculan con un despiste como The crime of careleness (1912, EUA). Las condiciones de vida de las trabajadoras se relacionan con su conducta, en especial, cuando se vinculan al alcoholismo o a la ausencia de higiene moral, como Christmas Day in the Workhouse (1914, GB) o Une vie gaspillée (1910, DK). La mujer trabajadora suele presentarse con un ser débil y sin voluntad que transita por el precipicio de su propia naturaleza: el embarazo, su supuesta debilidad innata y la falta de voluntad frente a las conductas inmorales que la amenazan siempre que sale del espacio protegido, esto es, siempre que se aventura en soledad. Trabajadoras, emigrantes y prostituidas: una aproximación a la representación de las mujeres explotadas en el cine de los orígenes (1898-1914)

O presente trabalho buscou analisar a atuação das associações de classe na proposição de ações de controle de constitucionalidade das leis. Além de se destacarem por provocarem o controle de constitucionalidade via sociedade civil, as associações de classe também se mostram interessantes por envolverem grupos com interesses potencialmente antagônicos, como empresários e trabalhadores. Daí a intenção de estudar seus padrões de atuação no que concerne ao uso das Arguições de Descumprimento de Preceito Fundamental, em que são questionados atos do poder público atentatórios contra a Constituição naquilo que tais associações consideram como seus ditames mais importantes.

Are postcolonial intellectuals in the metropolis simply bad-faith representatives of the upper bourgeoisie? An old reflection on this topic, apropos of Edward Said,  that I had forgotten myself but that the new Tim Brennan biography brought back to mind.

Since the turn of the millennium, millions of people born between the late 1970s and the late 1990s have been categorized as "millennials." A media discourse tells people what a millennial is and is not, shaping how those people it depicts as "millen-nial" may perceive themselves and how others perceive them. This paper examines four media representations of the millennial: a member of a youth cohort, a consumer, a worker to be managed, and an immiserated victim of hard times. It argues that these four media representations of the millennial distort the capitalist determinations of millennial life and labour and prevent the millennials from seeing themselves as part of the working class. By way of a critique of these four ideological media representations of the class-less millennial, the paper forwards a historical-materialist account of the millennial working class in a new capitalist millennium.

Introduction This ebooklet is the result of the notes I prepared for a lecture that I gave at a prominent London English Language School. The core theme of the booklet is the infusion of modern Anglo-American pop by African American music. The success of this popular music is first measured by numbers of sales, views, downloads and other indicators of global reach; such as the number of covers made by other artists. Later this measure is challenged with a network view of music production in underground Electronic Dance Music, Rap and to a lesser extent Punk. Most sections end with a question intended to spark group discussion. Out of a vast range of possible music that might have a claim to be global in some way, I only discuss a dozen or so individual tunes. Inevitably this selection is personal; not necessarily in selecting only tunes that I like, but because I'm telling the story of my growing awareness of the global reach of musics influence. I also wanted to concentrate on music with something to communicate from a diverse range of viewpoints. In the last few years I've been busy with a project called 'Agit Disco' which was a collection of playlists made by a wide range of selectors in response to the question 'What music had a political effect in your life?'. After growing as an online project, 23 of the CD length playlists were published as a book in 2012. The project then entered a dispersal phase with me playing several live sets on 7" records with guests who talked about and played their own selections. 'Global Music?' is a work in progress. Is there a global music that is significant beyond being light entertainment? What might it be capable of achieving? What might need to change for it to have a worthwhile effect? These are big questions I'd like to hear people thinking about. The value may be in the resulting conversations rather than the emergence of an expert set of definitive answers.

Tytułowa figura robotnika i związane z nią performanse pamięci przedstawione są z punktu widzenia kulturoznawstwa, filozofii, historii sztuki, teatrologii i muzykologii. Autorki i autorzy przyglądają się rzeczywistości fabryki i ulicy jako miejscom kształtowania się tożsamości proletariatu przemysłowego, figurom robotnicy i robotnika w projektach awangardy teatralnej i artystycznej. Analizują przy tym wielostronne praktyki kulturowe: od strajków i demonstracji przez film awangardowy, teatr polityczny, scenę kabaretową i socrealistyczne przedsięwzięcia kulturalne po projekty kuchni modernistycznej, sport robotniczy i sztukę proletariacki.

W ten sposób powstaje wielostronna, a zarazem fragmentaryczna i rozproszona perspektywa, która pozwala spod dokumentów, narracji i wizualnych przedstawień wyjrzeć wciąż problematycznej i nie dość rozpoznanej w kulturze polskiej figurze robotnika. Zamieszczone w tomie teksty same stają się swoistymi performansami pamięci, w ramach których autorzy starają się odtworzyć historię, której podstawowym medium pozostają ciało i gesty – uchwycone we fragmentarycznych relacjach, migawkowych obrazach, pojedynczych scenach.

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