In this participatory action research project, we sought to develop a framework for higher education based on an existing alternative institutional form of co-operative association that attempts to address issues of ownership and control over
Elizabeth C. Macknight
This article presents two case studies, from Scotland and the Scottish Islands, of communities' engagement with archives and their attitudes toward heritage. The case studies arise out of knowledge transfer between an historian employed in an academic role at a Scottish university and two “third sector“ organizations. By comparing the perspectives of historians, archivists, and community organizations the article shows the different ways in which these separate interest groups perceive the value of archives. It then points to some of the possibilities and challenges of working collaboratively to deepen understanding about the past and to create wider opportunities, now and in the future, for historical interpretation, teaching, learning, and research. In the era of digital technologies, it is recommended that undergraduate students be taught the key concepts of archival theory and practice, while also being encouraged to experience working with original archival documents.
Susan Wright, Davydd Greenwood, and Rebecca Boden
We have been investigating universities in our own countries for many years and are now turning our attention to exploring alternatives to current reforms. As part of these investigations, we spent two days of interviews and meetings at Mondragón, a town in Gipúzkoa in the Spanish Basque Country.
Mondragón is at the centre of one of the largest groups of co-operatives in the world and in 1997 set up what is probably the only co-operative university in existence. This highly successful university has a solidary economy, effective methods of knowledge generation and transfer, and is expanding. Among its unique features are flat hierarchies and forms of self-management, community engagement and student participation built on an overall concept of the solidarity of the stakeholders.
Leonid M. Goryushkin
Many earlier studies of the economic development of Siberia at the turn of the nineteenth and twentieth centuries presented an oversimplified view of the reality, and did not take account of the multifarious types of economic relationships or modes of production. Two collective works on the history of the Siberian peasantry and working class, published in the 1980s, demonstrate the complex and highly varied nature of the Siberian economy during the period studied. This included both small- and large-scale enterprises, concentration of capital, rapid expansion of the agricultural sector, huge population growth, significant foreign investment, co-operative associations and private artisan workshops, and the construction of the Trans-Siberian railway. Economic relationships comprised not only capitalist, but also small-scale commodity and even feudal structures. These were to some extent inter-active and inter-dependent, but the basic direction of development was towards capitalism, though at a slower pace than in European Russia.
Michael D. Picone
Initially, being mass produced and sequential, comic art was excluded from fine art museums. Some comics artists themselves have expressed ambivalence about the value of inclusion (but counter-arguments are proposed, challenging the perception of incompatibility). However, a pivotal element in the break from the ranks of artistic modernism has been the appropriation of comic art motifs for use in museum-grade pop art, figuration narrative and their successors. In counterpoint, comic art is replete with examples of museum art being appropriated in order to obtain diegetic enrichment of various sorts, either for the purpose of parody or in relation to plot construction. Against this backdrop, and abetted by the twin challenge that art museums are facing to remain relevant and to increase revenue, a game-changing development is afoot, leading to a co-operative re-positioning of art museums and comics artists. With the Louvre taking the lead, many art museums in France and Italy are now commissioning works of comic art based on the museum's own collections, often launched with companion exhibits. The resultant 'art within art' lends itself readily to rich experimentation with themes incorporating intertextuality and parallel narrative.
Regulations, ‘Mistakes’ and Personhood amongst Kigali’s Motari
motorcycle taxi business is heavily regulated in Rwanda ( Goodfellow 2015 ). In 2006, the government of Rwanda began to require all workers in informal occupations, apart from peasants, to organise themselves into co-operatives ( Sommers 2012 ). Co-operatives
Susan Wright and Davydd J. Greenwood
education institutions. Mike Neary and Joss Winn report on a U.K. project to develop a framework for co-operative higher education. Through workshops, on-line focus groups and individual interviews, they engaged researchers, worker-members of cooperatives
two English cities), which offers co-operatively run courses in interdisciplinary social science, was inspired by the international co-operative movement, the Transition Town Movement, the European social centres movement and ‘many past and present
The Status of Cycling in the Youth Hostels Association of England and Wales in the 1930s
reflected an antimodernist tendency often found in the walking movement. 40 Additionally, the pace of walking was to be valued. Both Trentmann and Robert Snape emphasize this, and the Snape example is pertinent because his article concerns the Co-operative
Introducing a New Co-Editor
to 2014. I continue to be an active member of the UK Society for Co-operative Studies and currently sit on the editorial board of their quarterly journal in addition to being on the advisory boards for other internationally circulated journals: Home