Health & Lifestyle

Bodies in Protest. Hunger Strikes and Angry Music. Amsterdam University Press, 2016.

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Research on social movements has historically focused on the traditional weapons of the working class, especially labour strikes and street demonstrations-but everyday actions, such as eating or singing, which can also be turned into a means of
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  Bodies in Protest PROTEST AND SOCIAL MOVEMENTS  Johanna Siméant and Christophe Traïni Hunger Strikes and Angry Music  Cover illustration: Rage Against the Machine guitarist Tom Morello playing Occupy Wall Street in New York, October 2011 (Wikimedia Commons, David Shankbone)Cover design: Coördesign, LeidenLay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press.󰁩󰁳󰁢󰁮 978 90 8964 933 1e-󰁩󰁳󰁢󰁮 978 90 4852 826 4 (pdf)󰁤󰁯󰁩 10.5117/9789089649331󰁮󰁵󰁲 764© Johanna Siméant and Christophe Traïni / Amsterdam University Press B.V., Amsterdam 2016 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise)  without the written permission of both the copyright owner and the author of the book.   Table of contents Preface 󰀹  James M. Jasper  Hunger strikes  Johanna Siméant  Introduction 󰀱󰀵 1 From fast to hunger strike 󰀱󰀷 Fasting and protest in history 󰀱󰀷  A 20th-century political form of action 󰀱󰀹 Gandhi and fasting 󰀲󰀱 From the Algerian War to the banalisation of the 1960s-1970s 󰀲󰀲 2 An atypical and irrational method? 󰀲󰀵  An ‘individual’ method of action? 󰀲󰀶  An irrational method of action? 󰀲󰀸  A residual method of action? 󰀳󰀰 3 The meaning of bodily violence 󰀳󰀵 The limits of the culturalist hypothesis 󰀳󰀵  Violence, non-violence and militant traditions 󰀳󰀶 Testify and denounce 󰀳󰀸Public denunciation of injustice 󰀳󰀸The authorities as responsible 󰀳󰀹Challenges to the authenticity of engagement 󰀴󰀰 Refusing the grip of power 󰀴󰀱 The body in struggles over status and recognition 󰀴󰀲 4 Hunger strikes, media and politics 󰀴󰀷 Hunger strike, political regimes and the state 󰀴󰀷Faced with the state, public opinion and humanity 󰀴󰀷Di􀁦ferent tolerance of protest by di􀁦ferent states 󰀴󰀸  In the media spotlight 󰀵󰀰Mobilising media: Spectacular and humanitarian 󰀵󰀰Reticence or engagement by journalists 󰀵󰀲Media coverage and reception of hunger strikes 󰀵󰀲 Hunger strikes in repertoires of protest action 󰀵󰀳Repertoires and ‘comparative advantages’? 󰀵󰀳Criticism of the legitimacy of the use of hunger strikes 󰀵󰀴Temporality of the use of hunger strikes and protest cycles 󰀵󰀶 5 Hunger strikers and injustice 󰀵󰀹 ‘Little people’ confronting the machine 󰀵󰀹 Victims 󰀵󰀹Struggles for status and the world of work 󰀶󰀱‘Institutional dissidents’ 󰀶󰀳 Faced with political repression 󰀶󰀶Pursuing the struggle: Politicising everyday life in prison 󰀶󰀷Disarmed opponents, exemplary opponents 󰀷󰀰 Becoming fully recognised citizens:  Harkis , refugees, sans papiers 󰀷󰀲 In the name of peace and non-violence 󰀷󰀴 6 When hunger strikes arise 󰀷󰀷 Beginning a hunger strike 󰀷󰀷Choosing a site 󰀷󰀷Burning bridges 󰀷󰀹 The time of the strike 󰀸󰀰Running risks, holding on 󰀸󰀰Being credible 󰀸󰀱The escalation process and preventing defection 󰀸󰀳 Repressing the strike 󰀸󰀴Force-feeding in prison and the role of the media 󰀸󰀴Divide, accuse and sap the credibility of supporters 󰀸󰀹Police and military intervention 󰀹󰀱Letting them die, making them martyrs 󰀹󰀲 Ending the strike 󰀹󰀳Negotiate or persist? 󰀹󰀳Management of feeding and life after the strike 󰀹󰀵 Conclusion 󰀹󰀷 Select bibliography 󰀹󰀹  Angry music Christophe Traïni  Introduction 󰀱󰀰󰀳  Well-orchestrated protest 1 Protest put to music 󰀱󰀰󰀵 The weapons of musical polysemy 󰀱󰀰󰀵 Between contemplation, contestation and legitimization 󰀱󰀰󰀸 2 Amplifying protest 󰀱󰀱󰀱 Dictating adequate emotions 󰀱󰀱󰀱 Exalting a ‘we’ in movement 󰀱󰀱󰀳 Criticising the authorities, avoiding censorship 󰀱󰀲󰀱 Promoting moral values 󰀱󰀲󰀷  Attracting support and mobilising resources 󰀱󰀳󰀲 3 Music and political tactics 󰀱󰀳󰀷 Subversion and modi󰁦􀁩cation of musical conventions 󰀱󰀳󰀷 From repression to political instrumentalisation 󰀱󰀴󰀳 From the stage to the political arena 󰀱󰀴󰀸 4 Protest, art and commerce 󰀱󰀵󰀷 Musical outlets and youth ‘moratoriums’ 󰀱󰀵󰀷 Competing artistic vocations 󰀱󰀶󰀳Bohemian art 󰀱󰀶󰀴The ‘Parnassian’ position 󰀱󰀶󰀶Commerce and pro󰁦􀁩t 󰀱󰀶󰀷 Conclusion 󰀱󰀷󰀱 Harmonies and cacophonies 󰀱󰀷󰀱 Select bibliography 󰀱󰀷󰀵 Index 󰀱󰀷󰀷
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