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Saskia Sassen: Interviewed by Shamus Khan
Public Culture, 2016Shamus Khan talks with Saskia Sassen about some of her most influential book projects, from The Mobility of Labor and Capital and The Global City to her recent publication, Expulsions: Brutality and Complexity in the Global Economy. Reading these texts together and in light of current issues, their conversation touches on topics such as how migration ...
Saskia Sassen, Shamus Khan
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Saskia Sassen: The Global City
2016Der Text »The Global City« stellt den wohl prominentesten Versuch dar, ein Verstandnis von der sich im Zuge der Globalisierung verandernden Rolle von Stadten zu entwickeln. Gegenuber Arbeiten zu Stadtforschung und Urbanisierung die sich mit stadtischen oder regionalen Kontexten beschaftigten, lag ein wesentlicher Ertrag von »The Global City« darin, die
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S. Sassen (2007). A sociology of globalization
International Review of Psychiatry, 2010S. Sassen (2007). A sociology of globalization. New York: W. W. Norton & Co. ISBN 0-393-9272-6, 316 pp.
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Saskia Sassen's De-Urbanisation Theory
SSRN Electronic Journal, 2017In 2015 Saskia Sassen published an article in ‘The Guardian’ pointing on the direct relationship between the implementation of large – or gigantic – urban regeneration projects and the de-urbanisation of city. This lecture note questions the empirical relevance of discussing the dynamics of cities’ degree of ‘urbanity’ under the caeteris paribus ...
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Saskia Sassen. Città e popolazioni nell'epoca della globalizzazione
Sociologia urbana e rurale, 2000In Sassen’s analysis the city was becoming very important during last twenty years, for economic, political and cultural life of people. The article presented points in evidence some causes of this new central dimension, relating with globalization’s mechanisms.
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Shadow, Skin, and Surface; Examining the Work of Viviane Sassen
2014Viviane Sassen is a Dutch fashion photographer, whose personal work feature people from African descent. Through the employment of the equatorial light, her models’ personal identities and faces are left in the shadow, their dark skin rendered “just” black, depicting the sitters invisible and without personal recognition.
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