Since 2015, the 'refugee crisis' is possibly the most photographed humanitarian crises in history. Photographs taken, for instance, in Lesvos, Greece, and Bodrum, Turkey, were instrumental in generating waves of public support for, and populist opposition to "welcoming refugees" in Europe. But photographs do not circulate in a vacuum; this book explores the visual economy of the 'refugee crisis,' showing how the reproduction of images is structured by, and secures hierarchies of gender, sexuality, and 'race,' essential to the functioning of bordered nation-states. Taking photography not only as the object of research, but innovating the method of photographia- the material trace of writing/grafi with light/phos- this book urges us to view images and their reproduction critically. Part theoretical text, part visual essay, Reproducing Refugees vividly shows how institutional violence underpins both the spectacularity and the banality of 'crisis.' This book goes about synthesising visual studies with queer, feminist, postcolonial, post-structuralist, and post-Marxist theories. Carastathis and Tsilimpounidi offer theoretical frameworks and methodological tools to critically analyse representations, both those circulated through hegemonic institutions, and those generated from 'below'. They carve a space between logos and praxis, ways of knowing and ways of doing, by offering a new visual language that problematises reified categories such as that of the 'refugee' and makes possible disruptive, alternative, resistant perceptions. The book contributes to the fields of migration and border studies, critically engaging visual narratives drawn from migration movements to question dominant categories and frameworks, from a decolonial, no-borders, queer feminist perspective.

The global financial crisis has demonstrated the impact and implications of late capitalism and its bedfellow, globalisation. In the European context, crisis is seen as a threat to the stability of the region, rather than a local or national concern. Post-2008, crisis is social and political, rather than merely financial, as Western countries witness the consequences of consumption, growth and profit. In this book, Tsilimpounidi demonstrates how sociologists must develop new approaches to examining rapid shifts in the social landscape, since crisis is not merely reflected in balance sheets, but is mediated through spectacular imagery of loss, deprivation and increased vectors of marginalisation. Providing focused and valuable insight into the pressing problems of those living in Greece in relation to the wider spheres of the nation and at the level of the European Union, Sociology of Crisis takes an approach that is firmly located within a critical sociological appeal to reflexivity. A timely engagement with the problem of crisis at a macro-level and in dialogue with the everyday experiences of crisis on a micro-level, this interdisciplinary title will appeal to both undergraduate and postgraduate students interested in sociology, social policy, geography, urban studies and research methods (social science).

Since 2015, the 'refugee crisis' is possibly the most photographed humanitarian crisis in history. Photographs taken, for instance, in Lesvos, Greece, and Bodrum, Turkey, were instrumental in generating waves of public support for, and populist opposition to "welcoming refugees" in Europe. But photographs do not circulate in a vacuum; this book explores the visual economy of the 'refugee crisis,' showing how the reproduction of images is structured by, and secures hierarchies of gender, sexuality, and 'race,' essential to the functioning of bordered nation-states. Taking photography not only as the object of research, but innovating the method of photographia- the material trace of writing/ grafi with light/ phos- this book urges us to view images and their reproduction critically. Part theoretical text, part visual essay, Reproducing Refugees vividly shows how institutional violence underpins both the spectacularity and the banality of 'crisis.' This book goes about synthesising visual studies with queer, feminist, postcolonial, post-structuralist, and post-Marxist theories: Reproducing Refugees: Photographia of a Crisis offers theoretical frameworks and methodological tools to critically analyse representations, both those circulated through hegemonic institutions, and those generated from 'below'. It carves a space between logos and praxis , ways of knowing and ways of doing, by offering a new visual language that problematises reified categories such as that of the 'refugee' and makes possible disruptive, alternative, resistant perceptions . The book contributes to the fields of migration and border studies, critically engaging visual narratives drawn from migration movements to question dominant categories and frameworks, from a decolonial, no-borders, queer feminist perspective.

Graffiti and street art images are ubiquitous, and they enjoy a very special place in collective imaginary due to their ambiguous nature. Sometimes enigmatic in meaning, often stylistically crude and aesthetically aggressive, yet always visually arresting, they fill our field of vision with texts and images that no one can escape. As they take place on surfaces and travel through various channels, they provide viewers an entry point to the subtext of the cities we live in, while questioning how we read, write and represent them. This book is structured around these three distinct, albeit by definition interwoven, key frames. The contributors of this volume critically investigate underexplored urban contexts in which graffiti and street art appear, shed light on previously unexamined aspects of these practices, and introduce innovative methodologies regarding the treatment of these images. Throughout, the focus is on the relationship of graffiti and street art with urban space, and the various manifestations of these idiosyncratic meetings. In this book, the emphasis is shifted from what the physical texts say to what these practices and their produced images do in different contexts. All chapters are original and come from experts in various fields, such as Architecture, Urban Studies, Sociology, Criminology, Anthropology and Visual Cultures, as well as scholars that transcend traditional disciplinary frameworks. This exciting new collection is essential reading for advanced undergraduates as well as postgraduates and academics interested in the subject matter. It is also accessible to a non-academic audience, such as art practitioners and policymakers alike, or anyone keen on deepening their knowledge on how graffiti and street art affect the ways urban environments are experienced, understood and envisioned.

In periods of intense crisis the pressing need to take sides comes to the surface and trumps neutrality. The claim to objectivity, always a little problematic, can no longer be sustained, and becomes itself a ground of confrontation as the conflicts amongst economists and constitutional lawyers show. As the world is moving towards a state of permanent crisis the engaged intellectual and the committed media are coming back (Costas Douzinas, Professor of Law and Contributor to The Guardian). This is a crucial collection that provides a new perspective on the social dimension of crisis - exemplified in the new wave of social mobilization gaining ground across the globe. The collection is an invigorating addition to the market of ideas circulating at this time of uncertainty, austerity and social change. It is an important and timely contribution to the study of social movements and the rise of direct civil action in pursuit of democracy. In this milieu of social change, Athens is its muse. This book is one of the first collections of chapters devoted to the specificities of Greece's crisis in English that does not focus solely on economics. Its scope and intention aligns it with other recently published books on the 'Arab Spring' and the 'Occupy' movements, although its register moves away from journalistic commentary to academic considerations of futurity and the potential of the city to reinvent itself. This makes it a unique interdisciplinary project with a broad appeal.