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AcknowledgementsIntroduction: Rethinking Love through Arendtian EyesChapter 1: Feeling, Reading, Thinking, Writing LoveChapter 2: Portraits of Moments in BiosHistory EntanglementsChapter 3: Archival Agonism, Resistibility and Memory WorkChapter 4: Amor Mundi, or the Reality of Utopian LoveChapter 5: Epistolary Waves, Politics, Memory and the Force of LoveChapter 6: Nobody Knows what Love Can DoChapter 7: Even Workers Fall in Love: Eros in the Labour MovementConclusion: Epistolary Poethics and Agonistic PoliticsIndex

This edited volume explores how Stephen Ball's work has shaped the field of the sociology of education worldwide. Written by internationally based researchers who are Ball's former PhD students, it draws on different strands of his work to show what it means to think, write, and do research inspired by Ball's theory, methodology, and epistemology. The contributions revolve around a wide range of themes including: the ethics of doing educational research, disability studies, the bio-politics of the child's soul, lived experiences of marginalisation in education, educating migrant and refugee women in the borderlands, and post-Brexit reflections on the Bologna process. Chapters draw on different lines of thought from the corpus of a significant and influential figure in the sociology of education to present, explicate, and discuss a wide range of research projects, themes, theoretical directions, as well as methodological approaches in the field of the sociology of education today. More than celebrating Ball's scholarship, this volume shows new and innovative directions in the sociology of education. It will be highly relevant reading for researchers, scholars, and students in the sociology of education, educational policy, and politics and educational theory.

Introduction: charting lines of flight : the parisian seamstress -- Adventures in a culture of thought : genealogies, narratives, process -- Mapping the archive : mnemonic and imaginary technologies of the self -- "From my work you will know my name" : materialising utopias -- Feeling the world : love, gender and agonistic politics -- Living and writing the revolution -- Creativity as process : writing the self, rewriting history -- Conclusion: reassembling radical practices -- Bibliography

This book explores gendered aspects in the memory of work by looking at auto/biographical narratives and political writings of women workers in the garment industry. The author draws on cutting edge theoretical approaches and insights in memory studies, neo-materialism and discourse analysis, particularly looking at entanglements and intra-actions between places, bodies and objects. Tamboukou aims to enrich our appreciation of the role of women's labour history in the wider realm of cultural memory, as well as in the politics of women's work. The book addresses a significant gap in the literature by focusing on the memory of work from a gendered perspective. It also examines the relationship between workspaces and personal spaces: the intimate, intense and often invisible ways through which workers occupy workspaces and populate them with their ideas, emotions, beliefs, habits and everyday practices. The book will be a theoretical and methodological toolbox for students and researchers in the interface of the social sciences and the humanities, as well as a vital resource in women's labour history. It will be particularly relevant for sociologists, cultural theorists, feminist scholars and social historians.

This book explores entanglements of power relations and forces of desire in life narratives and visual images. The analysis draws on paintings and archival auto/biographical writings of six fin-de-siècle women artists, who are brought together as narrative personae in a genealogical exploration of the constitution of the female self in art. The author offers an innovative theoretical approach to narrative research by bringing together feminist theories with Foucauldian and DeleuzoGuattarian a

In this article I am thinking with Antigone, a political figuration that has been invested with many readings, interpretations and artistic expressions in feminist theory and beyond. The article draws on a research project of listening to migrant and refugee women's narratives of displacement and travelling. What connects these stories via the figure of Antigone is women's desire to tell their stories as an expression of their will to rewrite their exclusion from oppressive regimes, defend their choice of civil disobedience, grasp their passage, claim their right to have rights and affirm their determination for new beginnings. I argue that uprooted women's narratives follow the Arendtian tripartite schema of political action by intervening in the ethics and politics of forced choices, becoming spectators of impossible actions and inscribing mnemonic traces in emerging decolonial histories and feminist genealogies.

In this article I consider serendipity and chance in engaging with narratives in the archive. Why is it, I ask, that serendipity has become a sine qua non of archival research? Without downplaying the rarity and preciousness of chance, my argument is that we should not conflate the gift of the chance with the dim area of perceptive experience, which may or may not be conscious. In positing this argument I draw on Whitehead's philosophy: more particularly I consider the notion of prehensions in exploring a particular storyline from my own archival research with the papers of Jeanne Bouvier, a French trade unionist in the garment industry. In juxtaposing serendipity with the Whiteheadian lens of imaginative freedom, I chart storylines in the archive on a matrix of rhythmical vibrations and finally I consider narrative work through the synthetic activity of symbolic reference.

In this article, I look back in an art/research experiment of convening an exhibition of women artists and inviting them to a round-table discussion in the context of a sociological conference. The artists who took part in this event had been previously interviewed for a feminist research project, entitled "In the Fold Between Life and Art, a Genealogy of Women Artists". The conference exhibition gave the artists the opportunity to appear to an academic audience and present their work while the round-table discussion created a forum for a narrative event where all women were invited to recount stories of becoming an artist. In looking at this event I want to explore questions around the possibilities and limitations of narratives in microsociological inquiries. In following trails of ARENDT's theorisation of stories, I explore connections and tensions between social, political and cultural entanglements in narrative research.URN: http://nbn-resolving.de/urn:nbn:de:0114-fqs1501193 ; En este artículo, regreso a un experimento de arte/investigación al convocar a una exposición de mujeres artistas e invitarlas a una mesa redonda en el marco de una conferencia sociológica. Los artistas que participaron en este evento habían sido previamente entrevistados para un proyecto de investigación feminista, titulado "En el pliegue entre vida y arte, una genealogía de mujeres artistas". La exposición en la conferencia, brindó a las artistas la oportunidad de aparecer ante un público académico y presentar sus trabajos, mientras que la mesa redonda creó un foro para un evento narrativo donde todas las mujeres fueron invitadas a contar sus historias de convertirse en artista. Al mirar este evento quiero explorar preguntas acerca de las posibilidades y limitaciones de las narrativas en las investigaciones microsociológicas. Siguiendo los senderos de la teorización de historias de ARENDT, exploro las conexiones y tensiones entre los enredos sociales, políticos y culturales en la investigación narrativa.URN: ...