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The MOBILISE project examines why some people respond to discontent by protesting, others by migrating while yet others stay immobile. It focuses on four countries that have seen outmigration and protest in recent year (Ukraine, Poland, Morocco and Argentina) and migrants from these countries who live in Germany, the United Kingdom and Spain. The main body of MOBILISE survey data are nationally representative face-to-face surveys in Ukraine, Poland, Morocco and Argentina. As these surveys are unable to capture (current) migrants from these countries – a group that is crucial to answering the MOBILISE research question – MOBILISE employs a migrant survey targeted at three destination countries; Germany, the UK and Spain. MOBILISE migrant surveys were closely oriented to the national surveys in order to achieve the longitudinal nature of the data. All of the surveys thoroughly ask for political views and beliefs as well as socio economic background, the reasons and motivations to (or not) migrate and the reason to (or not) protest. The migrant survey was run online. We also ran two supplementary online national surveys targeting the general population in Ukraine and Argentina. All MOBILISE national and migrant surveys are set-up as a two wave panel. The first wave of data collection for the migrant and national survey started in September 2019 and finished in March 2020. The second wave started between December 2020 and December 2021. This data deposit contains wave one and two of the migrant and national online surveys (the nationally representative surveys are deposited separately).

Migratory trajectory and oral history of English-speakers in the city of Pau

Citoyenne canadienne née dans une petite ville relativement rurale du nord du Canada. Au cours de sa vie d'adulte, elle a beaucoup voyagé à travers le monde. Elle a vécu à Pau à deux reprises et s'y est rendue à chaque fois pour suivre son mari qui travaille dans l'industrie pétrolière. Elle pense avoir eu une vie très différente de celle de ses enfants, principalement en raison des voyages qu'ils ont effectués dès leur plus jeune âge. Elle évoque toutefois les inconvénients de cette situation et la notion d'appartenance. Elle parle également de l'apprentissage d'une langue étrangère et de la façon dont cela affecte les traits de personnalité, en raison de l'incapacité à s'exprimer correctement en français. Elle note qu'il y a eu des moments difficiles dans sa vie en raison des déménagements et du fait qu'elle n'avait pas d'amis sur lesquels compter, ni de famille autour d'elle. Pour y faire face, elle a créé une entreprise florissante qui fournit de l'aide et des opportunités aux femmes qui sont dans la même situation qu'elle. Elle parle également des problèmes de santé mentale et de la manière dont elle les a surmontés grâce à la thérapie. Female Canadian citizen born in a relatively rural small northern town in Canada. She has travelled extensively during her adult life around the world. She has lived in Pau on two different occasions, and each time travelled to follow her husband her works in the petrol industry. She believes that she had a very different life to that of her children, mainly due to the travelling that they have experienced from an early age. However, she speaks of the downside of that and the notion of belonging. She also speaks of learning a foreign language and how this affects personality traits, due to inability to express herself correctly in French. She notes that there have been hard times in her life due to moving around, and not having friends to count on, or family around her. In order to deal with this, she set up a thriving business that provides assistance and opportunities to women who are in the same position as her. She also speaks about mental health issues and how she overcame these through therapy. Migratory trajectory and oral history of English-speakers in the city of Pau Temporal: 20th and 21st century Temporal: 1980-2023

This chapter explores the dynamic between truth and deceit in twenty-first-century transnational capitalism, emerging neo-fascist movements, and post-truth media landscapes marked by the Covid-19 pandemic and the anthropogenic bioinformational challenge. It establishes the centrality of the concept of truth in revolutionary critical pedagogy and underscores the importance of linking true words with true actions in the formation of critical praxis. Revolutionary praxis consists of the dialectical process of self and social formation, while critical educators are situated as protagonistic agents who work in and through history. Truth is therefore not about a timeless or objective state we name history. Action creates history, humans are historical beings, and truth is firmly situated within the dialectic of history. Using the work of Walter Benjamin, we show that aesthetic entertainment provided by fascist national leaders such as Donald Trump distracts the oppressed from the economic and social forms of oppression, supporting asymmetrical relations of power and privilege that repurposes the dominion of the ruling class. In response, we develop the concept of scallywag pedagogy: postdigital, ontological, epistemological, historical, and revolutionary praxis aimed at ambushing oppressive power relations and transforming the world in the interests of social justice through speaking a true word. ; https://digitalcommons.chapman.edu/education_books/1139/thumbnail.jpg

Phoebe Apperson Hearst měla velmi úspěšného vlastního syna Williama, který byl ale více jako jeho otec: tvrdý obchodník. Našla však jemnou, uměleckou duši v malíři Orrinu Peckovi (1860–1921), který byl údajně gay a který ji, ještě za života své vlastní matky, začal oslovovat „má druhá mámo.“ Na základě podrobného výzkumu jejich vzájemné korespondence v Peckově pozůstalosti se můžeme ptát, jak moc si byla progresivní, bohatá žena 19. století, jakou byla Phoebe Hearst, vědoma Peckovy sexuality a pokud ano, jestli s tím neměla problém, nebo šlo o nevyřčené tajemství mezi nimi? Jejich příběh představí historik umění Ladislav Zikmund-Lender. Phoebe Apperson Hearst had a very successful son of William, but he was more like his father: a tough businessman. However, she found a delicate, artistic soul in the painter Orrin Peck (1860–1921), who was allegedly gay and who, while still his own mother's life, began to address her as “my second mother.” Based on a detailed study of their correspondence in Peck's estate, we may ask how much a progressive, rich 19th-century woman like Phoebe Hearst was aware of Peck's sexuality, and if so, if she had no problem with it, or was it an unspoken secret between them? Their story will be presented by art historian Ladislav Zikmund-Lender.

Published in New Orleans in 1845 by a group of free men of color, Les Cenelles: Choix de poésies indigènes is now commonly recognized as the first collection of African American poetry. As a testament to and expression of the intellectual prowess of New Orleans's francophone free Black community, Les Cenelles deserves to be read as a formally integrated volume, a collection of poetry that was assembled with purpose and organized with a keen eye for the complexity and precariousness of the free Black experience in the 1840s. This essay reads Les Cenelles in conjunction with one specific aspect of this experience, namely, free Black efforts to gain access to formal education and institutions of learning. Examining Les Cenelles alongside debates surrounding the establishment of the Institution Catholique des Orphelins Indigents (Catholic Institution for Indigent Orphans), New Orleans's first school run by and for free people of color, this essay traces the emergence of a poetics of education, a theory of free Black community engagement that relied on the persuasive and instructive powers of poetry. In the absence of formal curricula or instruction manuals, I analyze Les Cenelles as a textbook of sorts, an exercise in writing and reading, designed to train both its contributors and its readers in the form, function, and tradition of French letters while simultaneously educating them about the very real threats the free Black community faced in New Orleans during the 1840s. By reading Les Cenelles as a collective, deliberate, and cohesive work rather than a collection of individual poems compiled at random, this essay reveals not only how the contributors and their editor created webs of meaning through intertextual reference and by communicating to each other through their poems, but also how they engaged in a collective effort to consolidate, protect, and invigorate the free Black community through education.

A detailed review and discussion of Marcello Carmagnani's 2018 book on the Atlantic economy in the early modern age