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Beyond Policing: The Problem of Crime in America 超越警察:美国的犯罪问题
Q3 Social Sciences Pub Date : 2022-12-29 DOI: 10.1177/10957960221143526
J. Morín
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引用次数: 0
Mexican Labor’s New Deal and the Promise of North American Worker Solidarity 墨西哥劳工新政和北美工人团结的承诺
Q3 Social Sciences Pub Date : 2022-12-29 DOI: 10.1177/10957960221144973
Jeff Hermanson
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引用次数: 1
The Trump Supreme Court Is Nothing New: A History of the Tyranny of the Supremes 特朗普的最高法院并不新鲜:最高法院暴政的历史
Q3 Social Sciences Pub Date : 2022-12-29 DOI: 10.1177/10957960221145071
Steve Fraser
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引用次数: 0
Travels with Chris: The Evolution of an Internship 与克里斯同行:实习的演变
Q3 Social Sciences Pub Date : 2022-12-29 DOI: 10.1177/10957960221144968
K. Krupat
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引用次数: 0
A Model for Labor’s Renewal? The Starbucks Campaign 劳工复兴的模式?星巴克运动
Q3 Social Sciences Pub Date : 2022-12-29 DOI: 10.1177/10957960221144972
J. Logan
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引用次数: 0
Why We Need Debtors’ Unions 为什么我们需要债务人联盟
Q3 Social Sciences Pub Date : 2022-12-29 DOI: 10.1177/10957960221144963
A. Ross
afloat in an economy where they are forced to debt-finance basic social goods such as housing, education, health care, and transportation. Indeed, under these circumstances, increased wages might simply translate into more efficient repayment to the creditor class. In response to the financialization of our daily needs, borrowers need a new kind of bargaining power, rooted in collective organization and action. The time is ripe for debtors’ unions to step into this gap that the labor movement (even the most innovative alt-labor initiatives) cannot fill on its own.
在一个经济中,他们被迫为住房、教育、医疗保健和交通等基本社会产品提供债务融资。事实上,在这种情况下,提高工资可能只是转化为对债权人阶级更有效的偿还。为了应对我们日常需求的金融化,借款人需要一种植根于集体组织和行动的新型议价能力。债务人工会填补劳工运动(即使是最具创新性的替代劳工倡议)自身无法填补的空白的时机已经成熟。
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引用次数: 0
Making Hope and History Rhyme: A New Worker Movement from the Shell of the Old 创造希望与历史的韵律:旧工人运动外壳下的新工人运动
Q3 Social Sciences Pub Date : 2022-12-29 DOI: 10.1177/10957960221144966
Marilyn Sneiderman, S. Lerner
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引用次数: 0
The Case for Linking Green Industrial Policy and Inclusionary Immigration 将绿色产业政策与包容性移民联系起来的案例
Q3 Social Sciences Pub Date : 2022-12-27 DOI: 10.1177/10957960221143511
Andrew Pezzullo
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引用次数: 0
Out of the Mainstream: Books and Films You May Have Missed 脱离主流:你可能错过的书和电影
Q3 Social Sciences Pub Date : 2022-12-26 DOI: 10.1177/10957960221143510
M. Witt
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引用次数: 0
“The Soul of This Place”: Dominique Morisseau’s Detroit “这个地方的灵魂”:多米尼克·莫里索的底特律
Q3 Social Sciences Pub Date : 2022-09-01 DOI: 10.1177/10957960221118077
Tyler Grand Pre
From bop performances in a renowned jazz club and illicit parties hosted in a basement on 12th street, to card games behind the boss’ back in the breakroom of an auto-stamping plant, playwright Dominique Morisseau tells the story of Detroit across three plays that comprise The Detroit Project. Morisseau, the recipient of a MacArthur Genius Grant, describes a social history of rising “the hell up” while going underground. The trilogy has rightfully been compared to August Wilson’s ten-play Pittsburgh Cycle in the way the plays ambitiously set out to tell the intergenerational story of each playwright’s hometown.1 However, unlike Wilson who wrote a play taking place in each decade of the twentieth century, Morisseau sets each play during one of three pivotal moments in the history of Detroit: the beginnings of urban renewal in the 1950s, the Detroit Riots of 1967, and the contemporary economic and infrastructural crisis that accompanies a major decline in the auto industry. Through her use of stage directions, set descriptions, and rhythmic banter that shifts between playful, romantic, and tragic, Morisseau writes in a continuum of spaces that resonates with the presence of Detroit’s Black community and the forces of state and industry that have historically shaped it. Paradise Blue, the award-winning play that opens the trilogy, is set in the same year as the notorious Housing Act of 1949 that would fuel the “urban renewal” campaign of slum clearance in major cities across the United States.2 The play centers on the fate of Paradise Club, owned by a trumpet player called Blue. The club is in the famous jazz town of Paradise Valley at the heart of Black Bottom, a neighborhood branded with the label “blighted,” bearing testimony to the line made famous by James Baldwin: urban renewal “means negro removal.”3 Paradise Blue follows members of a community on the verge of displacement and dispossession by “urban renewal” developers. Individuals in this community have very different plans for the future of the club and, by extension, all of the neighborhood. For Blue, the headstrong club owner and leading trumpet soloist, Paradise Valley and the community it sustains represents a legacy of frustrated ambitions, violence, and poverty that he desperately wants to leave behind. He is haunted by the memory and madness of his father, who killed his mother in a violent fit of anger over the glassceiling limitations of Black life. To escape his memories and his frustrations, Blue is more than happy to sell the place to private developers rather than to those within his own social group. The play thus ends on a note of desperation, betrayal, and violence as all the other businesses in Paradise Valley start selling out and the main characters start to turn on each other, leading to a tragic ending in which Blue is shot. The second play in the trilogy is Detroit ’67, winner of the 2014 Sky Cooper American Play Prize. It picks up eighteen years after Paradise Blue,
从著名爵士俱乐部里的bop表演,到12街地下室里的非法派对,再到汽车冲压厂休息室里老板背后的纸牌游戏,剧作家多米尼克·莫里索(Dominique Morisseau)通过三部戏剧讲述了底特律的故事,这些戏剧组成了《底特律计划》(Detroit Project)。莫里索是麦克阿瑟天才奖的获得者,他描述了一段在地下生活中“步步高升”的社会历史。这部三部曲与奥古斯特·威尔逊(August Wilson)的十部《匹兹堡循环》(Pittsburgh Cycle)相比较是理所当然的,因为两部剧都雄心勃勃地讲述了每位剧作家家乡的代际故事然而,与威尔逊不同的是,他的剧本发生在20世纪的每一个十年,莫里索将每部戏都设定在底特律历史上的三个关键时刻之一:20世纪50年代城市更新的开始,1967年的底特律骚乱,以及伴随着汽车工业严重衰退的当代经济和基础设施危机。通过她对舞台指导、场景描述和在俏皮、浪漫和悲剧之间转换的有节奏的玩笑的使用,莫里索在一个连续的空间中写作,与底特律黑人社区的存在以及历史上塑造它的国家和工业力量产生共鸣。作为三部曲开篇的获奖话剧《蓝色天堂》(Paradise Blue)发生在臭名昭著的1949年《住房法案》(Housing Act)颁布的同一年,该法案推动了美国各大城市贫民窟清理的“城市更新”运动。2该剧主要讲述了天堂俱乐部(Paradise Club)的命运,这家俱乐部的老板是一位名叫布鲁(Blue)的小号演奏家。这家俱乐部位于著名的爵士乐小镇天堂谷(Paradise Valley),位于黑底区(Black Bottom)的中心。黑底区被打上了“破败”的标签,印证了詹姆斯·鲍德温(James Baldwin)的名言:“城市更新”意味着驱逐黑人。《蓝色天堂3》讲述了一个社区的成员在“城市更新”开发商的拆迁和剥夺的边缘。这个社区的每个人对俱乐部的未来都有非常不同的计划,进而延伸到整个社区。对于布鲁这个任性的俱乐部老板和主要的小号独奏家来说,天堂谷和它所维持的社区代表了他迫切想要离开的雄心受挫、暴力和贫困的遗产。他被父亲的记忆和疯狂所困扰,他的父亲因为对黑人生活的玻璃天花板限制的愤怒而杀死了他的母亲。为了摆脱记忆和挫折,Blue非常乐意把这个地方卖给私人开发商,而不是卖给他自己的社会群体。因此,随着天堂谷所有其他企业开始售罄,主角们开始自相残杀,该剧以绝望、背叛和暴力的基调结束,最终以Blue被枪杀的悲剧收场。三部曲的第二部作品是《底特律67》,获得了2014年Sky Cooper美国戏剧奖。故事发生在天堂蓝之后的18年,地点是12街的一个地下室,而黑底已经被拆除很久了。这出戏的背景是1967年臭名昭著的底特律骚乱发生前的日子,这场骚乱使黑人工人阶级陷入困境
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引用次数: 0
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