The Art Of Moral Protest

In The Art of Moral Protest, James Jasper integrates diverse examples of protest—from nineteenth-century boycotts to recent movements—into a distinctive new understanding of how social movements work. Jasper highlights their creativity, not only in forging new morals but in adopting courses of action and inventing organizational forms. "A provocative perspective on the cultural implications of political and social protest."—Library Journal

Every day around the world there are dozens of protests both large and small. Most groups engage the local police, some get media attention, and a few are successful. Who are these people? What do they want? What do they do to get it? What effects do they ultimately have on our world? In this lively and compelling book, James Jasper, an international expert on the cultural and emotional dimensions of social movements, shows that we cannot answer these questions until we bring culture squarely into the frame. Drawing on a broad range of examples, from the Women's Movement to Occupy and the Arab Spring, Jasper makes clear that we need to appreciate fully the protestors' points of view - in other words their cultural meanings and feelings - as well as the meanings held by other strategic players, such as the police, media, politicians, and intellectuals. In fact, we can't understand our world at all without grasping the profound impact of protest. Protest: A Cultural Introduction to Social Movements is an invaluable and insightful contribution to understanding social movements for beginners and experts alike.

In Donald Trump’s America, protesting has roared back into fashion. The Women’s March, held the day after Trump’s inauguration, may have been the largest in American history, and resonated around the world. Between Trump’s tweets and the march’s popularity, it is clear that displays of anger dominate American politics once again. There is an extensive body of research on protest, but the focus has mostly been on the calculating brain—a byproduct of structuralism and cognitive studies—and less on the feeling brain. James M. Jasper’s work changes that, as he pushes the boundaries of our present understanding of the social world. In The Emotions of Protest, Jasper lays out his argument, showing that it is impossible to separate cognition and emotion. At a minimum, he says, we cannot understand the Tea Party or Occupy Wall Street or pro- and anti-Trump rallies without first studying the fears and anger, moral outrage, and patterns of hate and love that their members feel. This is a book centered on protest, but Jasper also points toward broader paths of inquiry that have the power to transform the way social scientists picture social life and action. Through emotions, he says, we are embedded in a variety of environmental, bodily, social, moral, and temporal contexts, as we feel our way both consciously and unconsciously toward some things and away from others. Politics and collective action have always been a kind of laboratory for working out models of human action more generally, and emotions are no exception. Both hearts and minds rely on the same feelings racing through our central nervous systems. Protestors have emotions, like everyone else, but theirs are thinking hearts, not bleeding hearts. Brains can feel, and hearts can think.

An extraordinarily visceral collection of posters that represent the progressive protest movements of the twentieth Century. Two of the most recognizable images of twentieth-century art are Pablo Picasso’s “Guernica” and the rather modest mass-produced poster by an unassuming illustrator, Lorraine Schneider “War is Not Healthy for Children and Other Living Things.” From Picasso’s masterpiece to a humble piece of poster art, artists have used their talents to express dissent and to protest against injustice and immorality. As the face of many political movements, posters are essential for fueling recruitment, spreading propaganda, and sustaining morale. Disseminated by governments, political parties, labor unions and other organizations, political posters transcend time and span the entire spectrum of political affiliations and philosophies. Drawing on the celebrated collection in the Tamiment Library’s Poster and Broadside Collection at New York University, Ralph Young has compiled an extraordinarily visceral collection of posters that represent the progressive protest movements of the twentieth Century: labor, civil rights, the Vietnam War, LGBT rights, feminism and other minority rights. Make Art Not War can be enjoyed on aesthetic grounds alone, and also offers fascinating and revealing insights into twentieth century cultural, social and political history.

Examines embodiment and emotions in long-term solidarity activism among three communities contesting US torture, militarism and immigration policies.

Emotions are back. Once at the center of the study of politics, emotions have receded into the shadows during the past three decades, with no place in the rationalistic, structural, and organizational models that dominate academic political analysis. With this new collection of essays, Jeff Goodwin, James M. Jasper, and Francesca Polletta reverse this trend, reincorporating emotions such as anger, indignation, fear, disgust, joy, and love into research on politics and social protest. The tools of cultural analysis are especially useful for probing the role of emotions in politics, the editors and contributors to Passionate Politics argue. Moral outrage, the shame of spoiled collective identities, or the joy of imagining a new and better society, are not automatic responses to events. Rather, they are related to moral institutions, felt obligations and rights, and information about expected effects, all of which are culturally and historically variable. With its look at the history of emotions in social thought, examination of the internal dynamics of protest groups, and exploration of the emotional dynamics that arise from interactions and conflicts among political factions and individuals, Passionate Politics will lead the way toward an overdue reconsideration of the role of emotions in social movements and politics generally. Contributors: Rebecca Anne Allahyari Edwin Amenta Collin Barker Mabel Berezin Craig Calhoun Randall Collins Frank Dobbin Jeff Goodwin Deborah B. Gould Julian McAllister Groves James M. Jasper Anne Kane Theodore D. Kemper Sharon Erickson Nepstad Steven Pfaff Francesca Polletta Christian Smith Arlene Stein Nancy Whittier Elisabeth Jean Wood Michael P. Young

This issue of Matatu offers cutting-edge studies of contemporary Nigerian literature, a selection of short fiction and poetry, and a range of essays on various themes of political, artistic, socio-linguistic, and sociological interest. Contributions on theatre focus on the fool as dramatic character and on the feminist theatre of exclusion (Tracie Uto-Ezeajugh). Several essays examine the poetry of Hope Eghagha and the Delta writer Tanure Ojaide. Studies of the prose fiction of Chinua Achebe, Tayo Olafioye, Uwem Akpan, and Chimamanda Adichie are complemented by a searching exposé of the exploitation of Ayi Kwei Armah on the part of the metropolitan publishing world and by a recent interview with the poet Jumoko Verissimo. Traditional culture is considered in articles on historical sites in Ile-Ife, witchcraft in Etsako warfare, and the Awonmili women’s collective in Awka. Linguistically oriented studies consider political speeches, drug advertising, and Yoruba anthroponyms. Performance-focused essays focus on Emirate court spectacle (durbar), Yoruba drum poetry in contemporary media, gospel music, indigenization and islamization of military music, and the role of the filmmaker. Contributions of broader relevance deal with Islamic components of Nigerian culture, the decline of the educational system, and the socio-economic impact of acquisitive culture.

The sociology of art is now an established sub-discipline of sociology. But little work has been done to explore the implications not of society on art, but of art on the nature and principles of sociology itself. Vision and Society explores the ways in which art (here mainly understood as visual art) structures in fundamental ways the constitution of society, the relations between societies and the ways in which society and culture should be theorized. Building initially on an unfulfilled project by the French sociologist of art Nathalie Heinich to derive a sociology from art, this book pushes this idea in unconventional directions. Rethinking the relationships between the study of art and the study of sociology and anthropology, this book explores how this rethinking might impact sociological theory in general, and certain aspects of it in particular – especially the study of social movements, social change, the urban, the constitution of space and the ways in which human social relationships are mediated and expressed.