Racialized Rescue Narratives in Public Discourses on Youth Prostitution and Sex Trafficking in the United States

This article presents an analysis of how activists, politicians, and the media framed youth involvement in the sex trade during the 1970s, the 1990s, and the 2000s in the United States. Across these periods of public concern about the issue, similar framing has recurred that has drawn upon gendered and racialized notions of victimization and perpetration. This frame has successfully brought attention to this issue by exploiting public anxieties at historical moments when social change was threatening white male dominance. Using intersectional feminist theory, I argue that mainstream rhetoric opposing the youth sex trade worked largely within neoliberal logics, ignoring histories of dispossession and structural violence and reinforcing individualistic notions of personhood and normative ideas about subjectivity and agency. As part of the ongoing project of racial and gender formation in US society, this discourse has shored up neoliberal governance, particularly the build-up of the prison industrial complex, and it has obscured the state\u27s failure to address the myriad social problems that make youth vulnerable to the sex trade

Century Productions records, undated, 1983-1987

The collection contains items related to the production of "Hannah Senesh: Portrait of a Woman Warrior." These include the script, photographs (both of Senesh and the stage production), props, stage and lighting plots, costumes, and promotional material. Types of material include blueprints, clippings, correspondence, newspaper articles, notes, photographs, playbills, posters, press reviews, programs, and scripts. A treatment for a film production of the play is also located in the records. The correspondence consists of a letter from Catherine Szenes to Lori Wilner and a letter from two classmates, Olga Patcai and Magda Somjen, to Lori Wilner. The records are valuable to researchers studying Jewish theater, idealism, theater arts, and Zionism. The documents are predominantly in English, with some Hungarian.Donated By Perry Bruskin of Century Productions,Century Productions produced the one-woman show, "Hannah Senesh: Portrait of a Woman Warrior," written and directed by David Schechter and starring Lori Wilner as Senesh. The script was based on the diaries and poems of the WWII Hungarian-Jewish paratrooper Hannah Senesh, with songs and music composed and arranged by Steven Lutvak with additional music by Schecter and Elizabeth Swados. “Hannah Senesh” ran at the Cherry Hill Theater in New York City from 1984-1985 and traveled throughout the U.S. and Israel until 1987

The house That Google built? power and progress under construction 4.0

Construction 4.0 is bringing digitization, innovation, and new technologies, and changing the way we design, plan, and construct our projects. Such change impacts ‘traditional’ ways of working as it actively seeks to disrupt the norm and so enhance the effectiveness and efficiency of construction project delivery. However, technology is not neutral, as it brings both intended and unintended consequences to practice, not least due to the fundamental asymmetries of power latent in the adaptation of new technologies, and the largely autonomous (and often unchallengeable) role granted to technology as the harbinger of ‘progress.’ Here we specifically explore how Construction 4.0 may impact power relationships within our industry, aiming to stimulate debate and discussion by presenting a challenge to the technocratic optimism and determinism that currently surrounds it in practice. For the construction industry, there are potentially dramatic consequences for clients, architects, engineers and site managers, and workers, as their roles shift and reshape to suit technological requirements. Indeed, a new role, the ‘technology owner’, may become more powerful than any traditional profession in the future, as they become dominant actors within the construction industry space. Here we draw on the industrial revolutions of the past, and the wider contexts of this technological change to consider how our industry may itself change in the future. By exploring Construction 4.0 in this way, changes in power, roles, identity, and practice can be unpacked, and generate findings able to inform future research agendas and the practical management of Construction 4.0 adoption within our industry