Parallel Lines

Author(s):  
Max Hirsh

The first chapter of the book focuses on the construction of a railway corridor built in the 1990s to connect Hong Kong's airport to its downtown. It contrasts the normative projections that informed its design with the heterodox uses that characterizes its now day-to-day operations. The chapter discusses on how several sites along the corridor have been appropriated by budget air travelers, such as Mainland Chinese tourists, lower middle-class Hongkongers, and Filipino domestic helpers, as an informal means of traveling cheaply to the airport. Melvin Webber's concept of “channel capacity” is used to theorize the insertion of these passengers into the everyday spaces of a suburban new town and to critique the failures of transport designers to adequately plan for their needs.

2018 ◽  
Vol 1 ◽  
pp. 00010
Author(s):  
Ninik Tri Ambarwati

Beauty class is a place for a woman to share experiences in applying makeup. The participants in the beauty class obtain tips and trick or some specific ways of applying makeup. The participants in this class can directly practice the knowledge on how to apply makeup on their faces. The beauty class phenomenon has existed in Indonesia since 2000. Beauty class becomes a trend which attracts young women. Beauty class becomes a place where ideal beauty is constructed, for instance, white skin for body and face, thick eyebrows, long eyelashes, pointed nose, oval face, and pink lips. This research aims to see the consumption practice by lower-class young women at the beauty class in Yogyakarta. This research uses ethnography method by attending and observing the beauty class and having an interview with two active participants in the beauty class. This research shows that 1). Makeup has become a part of the everyday lifestyle of young women. 2). Beautification practice is determined by some beauty standards identified by the other party, in this case, cosmetics industry, and beauty blogger. 3). Beauty class opens an access for lower-middle-class women to use a wide range of cosmetics palette and tools that beyond what they can afford.


2021 ◽  
pp. 147447402110205
Author(s):  
Shruti Ragavan

Balconies, windows and terraces have come to be identified as spaces with newfound meaning over the past year due to the Covid-19 pandemic and concomitant lockdowns. There was not only a marked increase in the use of these spaces, but more importantly a difference in the very nature of this use since March 2020. It is keeping this latter point in mind, that I make an attempt to understand the spatial mobilities afforded by the balcony in the area of ethnographic research. The street overlooking my balcony, situated amidst an urban village in the city of Delhi – one of my field sites, is composed of middle and lower-middle class residents, dairy farms and farmers, bovines and other nonhumans. In this note, through ethnographic observations, I reflect upon the balcony as constituting that liminal space between ‘field’ and ‘home’, as well as, as a spatial framing device which conditions and affects our observations and interactions. This is explored by examining two elements – the gendered nature of the space, and the notion of ‘distance and proximity’, through personal narratives of engaging-with the field, and subjects-objects of study in the city.


2014 ◽  
Vol 10 (3) ◽  
pp. 323-346 ◽  
Author(s):  
Nelson K.F. Tsang ◽  
Louisa Yee-Sum Lee ◽  
Carrie K.L. Liu

2014 ◽  
Vol 94 (1) ◽  
pp. 35-75 ◽  
Author(s):  
Isabella Cosse

Abstract In this article I reconstruct the history of Mafalda, the famous comic strip by the Argentine cartoonist Quino that was read, discussed, and viewed as an emblematic representation of Argentina’s middle class. With the aim of contributing to discussions on the interpretation of the middle class in Argentina and Latin America, I examine the emergence, circulation, and sociopolitical significance of the comic from its first strips in 1964 until Quino stopped producing new installments in 1973, making use of two conceptual and methodological approaches: a perspective situated at the intersection of the everyday and the political, as well as a consideration of humor as a way of exploring social identities. I argue first that Mafalda’s ironic and conceptual humor worked with the contradictions of the middle class as it faced social modernization, cultural and political radicalization, and a weakening democracy. Second, I suggest that the strip contributed to a representation of a heterogeneous middle class marked by ideological differences but nonetheless conceived as one. Third, I claim that such a representation lost its relevance with the political polarization and violence of the 1970s, as portraying a middle class—or a society—united despite differences was no longer feasible in that context. To illustrate this, the article closes by noting that, shortly after Mafalda was discontinued, state terrorism would brutally demonstrate just how little space there was in Argentina for the young, antiestablishment generation depicted in the strip.


2021 ◽  
Vol 18 (1) ◽  
pp. 96-107
Author(s):  
Nida Alfi Nur Ilmi

ABSTRACT This paper tries to explain and describe the position of UMKM in the Kepuh, Boyolangu Village, Banyuwangi, as an effort to reduce the unemployment rate, especially in the lower middle class and to see how the strategy of the UMKM founders in maintaining their position in all conditions. So it is hoped that readers can find out and analyze UMKM within the scope of the region as an effort to minimize unemployment and increase living standards. This paper use qualitative research method with a qualitative descriptive approach. Establishing UMKM is certainly not an easy thing, because the large number of workers does not guarantee UMKM, who is determined by the appropriate expertise and strategy. In addition, the Government has not been maximally perfect in overcoming problems and financial assistance for community UMKM which in reality is able to absorb many new workers, and has an impact on reducing the unemployment rate.


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