This article analyzes the ideology and practice of multi-unit competition that pervades neoliberal subjectivities and produces the “ideal” flexible worker within contemporary global capitalism. It demonstrates how state and capitalist interests converge to influence the selection of the ideal transnational migrant worker, how prospective migrants adapt to these expectations, and the consequences of such enactments, particularly for migrants, but also for the societies in which they live and work. Multiple levels of actors—employers, state bureaucrats, and migrants themselves—collude in producing the flexible, subaltern citizen, which includes constructions and relations of class, race, gender, and nationality/citizenship. The case study focuses on Mexican and Jamaican participants in Canada's Seasonal Agricultural Workers Program, a managed migration program that legally employs circular migrant farmworkers from Mexico and several English-speaking Caribbean countries in Canadian agriculture.
Mexican and Jamaican transnational farmworkers in Canada
The Complexity and Ambiguity of Carnival in Guinea-Bissau, West Africa
colonial authority. In this article, carnival, crises, mimesis, and colonial representations constitute the ‘ingredients’ of an inquiry into how the colonial state engaged with the threats of mimetic carnival performances. The analysis focuses on two
Continuation or Reinvention?
article claimed that ‘Werner Krauss would be portraying a Shylock that broke with the performance traditions of the past 50 years’, that the director Lothar Müthel would transform the performance into a fairy-tale-like, enchanting comedy, and that Antonio
Performative Protest in the Scared City of Damascus
interest. Indeed, elements from the fields of theater and performance were not prominent during the tension of the moment, yet demonstrations and flying demonstrations extended aspects of my theatrical career in Syria between 2009 and 2011, when I was the
James K. Beggan
space that privileges men relative to women and reinforces a conventional gender hierarchy. Simultaneously, however, external ejaculation foregrounds performance dynamics that normalize unrealistic expectations for men's sexuality that can, in turn
Being “Boy,” Being “Filipino,” Being “Other”
In this article I draw on data gathered from focus groups hosted in the summer of 2012 and speak to the diverse literature within the field of masculinity studies. More specifically, I explore the role that race and place plays in the performance
during performances. Performing is a located phenomenon produced by the convergence of groups of people, artifacts, skills, and meanings as the event unfolds. My contention is that to understand the mobilities of social practice, it is crucial to examine
Lessons Learned from Teaching The Merchant of Venice in Israel
Esther B. Schupak
and crush individuals’. 3 While such arguments are seductive, new paradigms for teaching and encountering Shakespeare in performance have altered the field sufficiently as to render all such arguments obsolete. That is, because viewing performances of
Doing Ritual While Thinking about It?
reflexivity’ and the role they play in the formal economy of ritual performance have remained largely unexamined. In drawing on various empirical case studies to address these issues, this collection of articles proceeds from the idea that the reflexive
Beyond the Kuleshov Effect
theory, perhaps as a reflection of what first intrigued us about the medium, and even though editors and filmmakers most likely do not presuppose inexpressive performances when referring to the Kuleshov effect as “the single most important concept to