Criticalapproaches to public administration
This chapter provides an overview of some of the key approaches available to grasp critically contemporary public-management and governance
reforms. By ‘critical’ I am referring to an examination of the shifting ways
in which power is exercised over and through the public sector. My aim
is to identify the framework able to render intelligible how and why – by
what governing mechanisms, norms of conduct and modes of reasoning
– government started more or less systematically to fold back
This article uses Franco Moretti‘s interpretation of Frankenstein and Dracula (Signs Taken For Wonders, 1988) to interrogate Dennis Potter‘s final television play, Cold Lazarus (1996). The critical approach, following Moretti‘s example, is generic, Freudian and Marxist. By identifying the conventions of Gothic drama in Potter‘s play, it claims, firstly, that Cold Lazarus dramatizes deep-seated psychic neuroses; and secondly, alerts its viewers to contemporary cultural anxieties about individual autonomy and the exploitative nature of capitalist enterprise. The argument challenges the predominantly negative reception of Cold Lazarus when first screened in 1994 and aims to defend this play as a fine example of televisual Gothic drama.
Critical approaches to Gothic origins usually bear on theme and ideology rather than on textuality. This article argues both that by the side of thematic issues we must carefully examine the forms of Gothic and that, beyond the literary and philosophical, the folk sources of Gothic remain to be acknowledged. Making use of tools familiar to mythographer and folklorist, textual analysis of a passage from the 1831 edition of Mary Shelley‘s Frankenstein reveals this novel is built on the traditional narrative structure of the heroic quest; while Victor‘s tragic destiny is shown to result from a deliberate manipulation of traditional patterns.
Film studies is currently undergoing a needed and healthy expansion of methodologies
and critical approaches, including media, cultural and technology studies. This is
crucial not just for examining cinemas present but also its past. Using format
theory, this article opens up our understanding of what cinema has been, rather than
what it should have been. It does this by documenting the minor technological
footprint of movie theatres when compared to the expansive one consisting of 8mm and
16mm small-gauge projectors. In the United States by 1980, these portable
devices,outnumbered commercial theatres by an estimated factor of 1000:1.
While issues of ‘gender’, notably ‘gender programming’ and
‘gender mainstreaming’ have been prominent in the humanitarian sector for
some time, surprisingly little attention has been paid to the ways in which the sector
itself is gendered. Gender is often seen as an operational problem and much of the
humanitarian literature which deals with this is, thus, problem-solving in nature.
Criticalapproaches which interrogate and question the ways in which gendered logics
Cinema has been an object of study for the social sciences for some time now. The relationship between law and cinema has been the subject of a certain number of reflections by jurists who work essentially within a national legal framework, and from the true genre that courtroom movies have become. One can point also to studies linking cinema and international relations. In short, the relationship between international law and cinema has never been the subject of a specific book. The objective of the present book is to show what image of international law and its norms is conveyed in films and series. Beyond a strictly legal analysis, the ambition is to take into account, in a broader perspective marked by interdisciplinarity, the relations between international law, cinema and ideology. The volume is aimed at a readership made of scholars, researchers as well as practitioners, in the field of international law, and related fields, all of whom will benefit from being introduced to a variety of perspectives on core international legal questions present in movies and TV series. Further, the volume can also be used with advanced undergraduate and postgraduate students studying international law, politics and international relations because it will provide the possibility of introducing students to a variety of perspectives on key issues in international law present in movies and TV series.
The first part of this chapter offers an overview of some of the most significant trends in the criticalapproaches to the work of Caryl Phillips, David Dabydeen and Fred D’Aguiar. No author has as yet written a book-length study on all three writers, but Lars Eckstein’s Re-Membering the Black Atlantic (2006) examines Phillips’s Cambridge and Dabydeen’s A Harlot’s Progress alongside African American author Toni Morrison’s novel Beloved . Eckstein’s work seeks to demonstrate how each text performs a distinct form of remembrance
about what we are looking at and why, and what is excluded when we look at something in a particular way’ (Bellamy et al. 2010 : 20). A criticalapproach to UN peacekeeping would then question the values and representations that inform peacekeeping and the political order that peacekeeping interventions shape, promote, or sustain.
Critical security studies (CSS) can be narrowly defined as gathering post-positivist analysis focused on human security and emancipation (Buzan and Hansen 2009 : 36). However, in a broader sense, CSS refers to a
Making environmental security ‘critical’ in the Asia-Pacific
the immanent potential of a criticalapproach to environmental security in the East Asian context. He
the potential for
deconstructing the prevailing concept of security does not
really exist, especially since the region’s realist
security perception is hardly questioned or