Suchergebnisse

What does duress mean in the lives of those who are not by definition
understood to be living in duress—namely, upwardly mobile young people in a relatively
peaceful city in southeast Nigeria? In this article, I try to answer that question
by presenting the life story of Azu, a young designer in Enugu who has made his way
out of a poverty-stricken background through a relatively successful entrepreneurship.
His biography, based on interviews and observations, and partially through a shared
experience of constraint in Nigeria, serves as an example of duress in the lives of those
who—by family, educational background, or career success—are considered "well-off" compared with most youths in the country. I argue that duress for these youths is
informed by social expectations due to their acquired status as much as by the sociopolitical
uncertainties that they have been confronted with throughout their lives.

Politics: Made Simple covers the historical ideas, modern political ideas and assumptions, political activities, and international issues that encompass the overall study of politics. The book describes the practicalities of political theories within capitalist and communist states, the theoretical analysis of international relations (anarchism, extremism and fascism); contemporary ideological panaceas; and ideas unique to the contemporary world. The text also discusses the theory of comparative and representative government. Students with degree courses in politics will find the book useful.

The new work, Mad Mother, was exhibited in Liberties, an exhibition of contemporary art reflecting on 40 years since the sex discrimination act, curated by Day + Gluckman. The exhibition toured to The Exchange, Penzance, 22 October 2016 – 7 January 2017. Liberties includes the work of 24 women artists including Helen Chadwick, Jo Spence, Joy Gregory and Rose Finn-Kelcey. The works reflected the changes in art practice within the context of sexual and gender equality since the introduction of the Sex Discrimination Act (1975) in the UK. Some artists confronted issues that galvanised the change in law whilst others carved their own place in a complex and male dominated art world. From the radical movements of the 1960s and 70s, the politics of the 80s, the boom of lad culture in the 1990s to the current fourth wave of feminism, encouraged largely through and because of social media, all of the artists question equality and identity in very different ways. The exhibition presented a snapshot of the evolving conversations that continue to contribute to the mapping of a woman's place in British society. Body, femininity, sex, motherhood, economic and political status were explored through film, photography, sculpture, performance and painting. The curatorial partnership, Day + Gluckman. have been exploring the above themes for their research project, A Woman's Place, which questions and addresses the contemporary position of women in our creative, historical and cultural landscape through contemporary art. The project embraces contemporary art and discussion; commissions, conversations and action. To date, Robins has been part of the initial project discussion group (July 2013) and first symposium, CoHabiting: Contemporary Art, History and Feminism (January 2015) as well as this initial exhibition. Project partners are Ham House & Gardens, Knole House and Mottisfont, National Trust and Danson House, Bexley Heritage Trust. The research and development of the project were funded by the Arts Council.The exhibition presents a snapshot of the evolving conversations that continue to contribute to the mapping of a woman's place in British society. Body, femininity, sex, motherhood, economic and political status are explored through film, photography, sculpture, performance and painting. The curatorial partnership, Day + Gluckman. have been exploring the above themes for their research project, A Woman's Place, which questions and addresses the contemporary position of women in our creative, historical and cultural landscape through contemporary art. The project embraces contemporary art and discussion; commissions, conversations and action. To date I have been part of the initial project discussion group (July 2013) and first symposium, CoHabiting: Contemporary Art, History and Feminism (January 2015) as well as this initial exhibition. Project partners are Ham House & Gardens, Knole House and Mottisfont, National Trust and Danson House, Bexley Heritage Trust. The research and development of the project is funded by the Arts Council.

Notes on American life from American history.