Kate Crehan – författare

In the last twenty years, the legacy of Italian theorist Antonio Gramsci has soared to new heights. His work has become one of the most cited sources on power and hegemony. He is often used by anthropologists working on issues of culture and power. This book explores Gramsci's understanding of culture and the links between culture and power in relation to anthropology. Extensive use is made of Gramsci's own writings, including his pre-prison journalism and prison letters as well as the prison notebooks. The book also provides an account of the intellectual and political contexts within which he was writing. The challenge Grasmci's approach presents to some common anthropological assumptions about the nature of 'culture' is examined as is the potential usefulness of Gramsci's writings for contemporary anthropologists.

Acknowledged as one of the classics of twentieth-century Marxism, Antonio Gramsci's Prison Notebooks contains a rich and nuanced theorization of class that provides insights that extend far beyond economic inequality. In Gramsci's Common Sense Kate Crehan offers new ways to understand the many forms that structural inequality can take, including in regards to race, gender, sexual orientation, and religion. Presupposing no previous knowledge of Gramsci on the part of the reader, she introduces the Prison Notebooks and provides an overview of Gramsci’s notions of subalternity, intellectuals, and common sense, putting them in relation to the work of thinkers such as Bourdieu, Arendt, Spivak, and Said. In the case studies of the Tea Party and Occupy Wall Street movements, Crehan theorizes the complex relationships between the experience of inequality, exploitation, and oppression, as well as the construction of political narratives. Gramsci's Common Sense is an accessible and concise introduction to a key Marxist thinker whose works illuminate the increasing inequality in the twenty-first century.

Acknowledged as one of the classics of twentieth-century Marxism, Antonio Gramsci's Prison Notebooks contains a rich and nuanced theorization of class that provides insights that extend far beyond economic inequality. In Gramsci's Common Sense Kate Crehan offers new ways to understand the many forms that structural inequality can take, including in regards to race, gender, sexual orientation, and religion. Presupposing no previous knowledge of Gramsci on the part of the reader, she introduces the Prison Notebooks and provides an overview of Gramsci’s notions of subalternity, intellectuals, and common sense, putting them in relation to the work of thinkers such as Bourdieu, Arendt, Spivak, and Said. In the case studies of the Tea Party and Occupy Wall Street movements, Crehan theorizes the complex relationships between the experience of inequality, exploitation, and oppression, as well as the construction of political narratives. Gramsci's Common Sense is an accessible and concise introduction to a key Marxist thinker whose works illuminate the increasing inequality in the twenty-first century.

Acknowledged as one of the classics of twentieth-century Marxism, Antonio Gramsci''s Prison Notebooks contains a rich and nuanced theorization of class that provides insights that extend far beyond economic inequality. In Gramsci''s Common Sense Kate Crehan offers new ways to understand the many forms that structural inequality can take, including in regards to race, gender, sexual orientation, and religion. Presupposing no previous knowledge of Gramsci on the part of the reader, she introduces the Prison Notebooks and provides an overview of Gramsci’s notions of subalternity, intellectuals, and common sense, putting them in relation to the work of thinkers such as Bourdieu, Arendt, Spivak, and Said. In the case studies of the Tea Party and Occupy Wall Street movements, Crehan theorizes the complex relationships between the experience of inequality, exploitation, and oppression, as well as the construction of political narratives. Gramsci''s Common Sense is an accessible and concise introduction to a key Marxist thinker whose works illuminate the increasing inequality in the twenty-first century.

Exploring key issues for the anthropology of art and art theory, this fascinating text provides the first in-depth study of community art from an anthropological perspective.The book focuses on the forty year history of Free Form Arts Trust, an arts group that played a major part in the 1970s struggle to carve out a space for community arts in Britain. Turning their back on the world of gallery art, the fine-artist founders of Free Form were determined to use their visual expertise to connect, through collaborative art projects, with the working-class people excluded by the established art world. In seeking to give the residents of poor communities a greater role in shaping their built environment, the artists'' aesthetic practice would be transformed.Community Art examines this process of aesthetic transformation and its rejection of the individualized practice of the gallery artist. The Free Form story calls into question common understandings of the categories of "art," "expertise," and "community," and makes this story relevant beyond late twentieth-century and early twenty-first-century Britain.

Exploring key issues for the anthropology of art and art theory, this fascinating text provides the first in-depth study of community art from an anthropological perspective.The book focuses on the forty year history of Free Form Arts Trust, an arts group that played a major part in the 1970s struggle to carve out a space for community arts in Britain. Turning their back on the world of gallery art, the fine-artist founders of Free Form were determined to use their visual expertise to connect, through collaborative art projects, with the working-class people excluded by the established art world. In seeking to give the residents of poor communities a greater role in shaping their built environment, the artists'' aesthetic practice would be transformed.Community Art examines this process of aesthetic transformation and its rejection of the individualized practice of the gallery artist. The Free Form story calls into question common understandings of the categories of "art," "expertise," and "community," and makes this story relevant beyond late twentieth-century and early twenty-first-century Britain.

Many working women have to face a serious conflict between the demands of their work and the demands of family life. Changing perceptions about the role of women are making this conflict even more complicated. Innovative work patterns are needed to alleviate this conflict. Originally published in 1986, this book, based on extensive original research, examines how working women manage the ‘balancing act’ between family and work. It considers their attitudes to work, to their families and to their managers and fellow workers and it explores the role of trade unions, employers and the state. By drawing on data gathered in different countries and in different ‘styles’ of working environment it contrasts differing responses to the same basic conflict.

Many working women have to face a serious conflict between the demands of their work and the demands of family life. Changing perceptions about the role of women are making this conflict even more complicated. Innovative work patterns are needed to alleviate this conflict. Originally published in 1986, this book, based on extensive original research, examines how working women manage the ‘balancing act’ between family and work. It considers their attitudes to work, to their families and to their managers and fellow workers and it explores the role of trade unions, employers and the state. By drawing on data gathered in different countries and in different ‘styles’ of working environment it contrasts differing responses to the same basic conflict.

In the last twenty years, the legacy of Italian theorist Antonio Gramsci has soared to new heights. His work has become one of the most cited sources on power and hegemony. He is often used by anthropologists working on issues of culture and power. This book explores Gramsci''s understanding of culture and the links between culture and power in relation to anthropology. Extensive use is made of Gramsci''s own writings, including his pre-prison journalism and prison letters as well as the prison notebooks. The book also provides an account of the intellectual and political contexts within which he was writing. The challenge Grasmci''s approach presents to some common anthropological assumptions about the nature of ''culture'' is examined as is the potential usefulness of Gramsci''s writings for contemporary anthropologists.

Exploring key issues for the anthropology of art and art theory, this fascinating text provides the first in-depth study of community art from an anthropological perspective.The book focuses on the forty year history of Free Form Arts Trust, an arts group that played a major part in the 1970s struggle to carve out a space for community arts in Britain. Turning their back on the world of gallery art, the fine-artist founders of Free Form were determined to use their visual expertise to connect, through collaborative art projects, with the working-class people excluded by the established art world. In seeking to give the residents of poor communities a greater role in shaping their built environment, the artists' aesthetic practice would be transformed.Community Art examines this process of aesthetic transformation and its rejection of the individualized practice of the gallery artist. The Free Form story calls into question common understandings of the categories of "art," "expertise," and "community," and makes this story relevant beyond late twentieth-century and early twenty-first-century Britain.

Reconocido como uno de los clásicos del marxismo del siglo XX, el pensamiento de Antonio Gramsci es clave para entender la creciente desigualdad en el siglo XXI; su rica y matizada teorización del concepto de clase social proporciona una visión que va mucho más allá de las injusticias económicas y de los análisis economicistas. Gramsci reflexiona sobre las complejas raíces de los conocimientos colectivos, sus cambiantes y a menudo contradictorios componentes, las diversas formas en que estos resultan ser aceptados como incuestionables, quiénes los aceptan y cuándo y en qué forma mutan. En este libro se nos ofrecen nuevas formas de entender los distintos perfiles que la desigualdad estructural puede asumir a través de la raza, el género, la orientación sexual, la clase y la religión en nuestra sociedad neoliberal y globalizada; los diversos escenarios de poder que esta genera y las complejas formas en que tales contextos son experimentados por quienes habitan en ellos.Sin presuponer ningún conocimiento previo de Gramsci por parte de quienes lean esta obra, Kate Crehan nos facilita una visión general y rigurosa de nociones clave como subalternidad, intelectuales y sentido común, poniéndolas en relación con el trabajo de personalidades como Arendt, Bourdieu, Said y Spivak. Analiza movimientos sociales como el Tea Party, Occupy Wall Street, Indignadas e Indignados, en España, así como creaciones colectivas como "Somos el 99%". Teoriza las complejas relaciones entre la experiencia de la desigualdad, la explotación y la opresión, así como la construcción de narrativas políticas. Asimismo, recurre a Gramsci para iluminar cómo la dinámica de la opinión popular y los movimientos que genera pueden representar una amenaza para el orden político establecido. Básicamente, lo que interesa a Gramsci es aquel conocimiento que, encarnado en colectividades conscientes de sí mismas, tiene el poder de influir en el mundo y poner en marcha movimientos políticos capaces de ocasionar transformaciones radicales en nuestro mundo enormemente desigual del siglo XXI.Esta obra que fue reconocida en 2017 por la Fondazione Istituto Piemontese A. Gramsci con el Premio Internacional Giuseppe Sormani, debe ser leída por especialistas de todas las disciplinas, así como por activistas, artistas, cineastas y trabajadoras y trabajadores culturales comprometidos social y políticamente.