shirin m. rai
In order to explore feminist perspectives on democratization we need to understand both feminist frameworks and
methodologies. This chapter outlines what a feminist framework might be and then uses this perspective to analyse
feminist engagements with the theory and practice of
Democratization can be defined as the process of ‘making democratic’ regimes, practices and discourses of public
power. Luckham and White (1996b: 2–8) have identified
four areas of inquiry for democratization analysts: (1
This book discusses Catherine Breillat's films in thematic groupings. It examines Breillat's relation to some of the most important women in her life, including her mother, her sister, and fellow director Christine Pascal, whom she considered to be a kind of second sister. It explains the impact of a gender-conservative family environment and a strict religious upbringing, and then the countervailing influence of the Women's Liberation Movement on Breillat when she moved from the provinces to Paris. The discussion of Breillat's films connects them to feminist writings as well as to male gender studies. The book also explores the extraordinarily varied cultural context of Breillat's work, including the literature, films, paintings, photos and pop music that have influenced her films. Special attention is devoted to discussion of the complex relation between Breillat's films and patriarchal pornography. The book first considers her three female coming-of-age films including Une vraie jeune fille, 36 fillette and A ma soeur!, with Sex is Comedy, a movie about the making of A ma soeur!. Then, the book examines Breillat's three movies about masculinity in crisis, including Sale comme un ange (with a look at its early avatar, Police), Parfait amour! and Breve traversee. The book also examines Tapage nocturne, Romance and Anatomie de l'enfer, the three films that Breillat has made about the sexual odysseys of adult women. Finally, the book looks at Breillat's relation to and influence on other contemporary directors before turning to a discussion of her latest film, Une vieille maitresse.
This monograph takes as its subject the dynamic new range of performance practices that have been developed since the demise of communism in the flourishing theatrical landscape of Poland. After 1989, Lease argues, the theatre has retained its historical role as the crucial space for debating and interrogating cultural and political identities. Providing access to scholarship and criticism not readily accessible to an English-speaking readership, this study surveys the rebirth of the theatre as a site of public intervention and social criticism since the establishment of democracy and the proliferation of theatre makers that have flaunted cultural commonplaces and begged new questions of Polish culture. Lease suggests that a radical democratic pluralism is only tenable through the destabilization of attempts to essentialize Polish national identity, focusing on the development of new theatre practices that interrogate the rise of nationalism, alternative sexual identities and forms of kinship, gender equality, contested histories of antisemitism, and postcolonial encounters. Lease elaborates a new theory of political theatre as part of the public sphere. The main contention is that the most significant change in performance practice after 1989 has been from opposition to the state to a more pluralistic practice that engages with marginalized identities purposefully left out of the rhetoric of freedom and independence.
detective narratives. Critics have ignored the complex ways tattoos offer insights into reading place, gender, animal ethics, law, violence, trauma, art, race and narrative. By responding to the sheer diversity of critical approaches that focus on the body and narrative, including, but not limited to, posthumanism, spatiality, post-colonialism, embodiment and genderstudies, culminating in interdisciplinary skin studies (Ahmed and Stacey 2001 ), we show how the tattoo speaks. It is a complex story.
WHAT IS A TATTOO
The Mediterranean movida and the passing away of Francoist Barcelona
country where one can breathe most
tangibly a post-Francoist atmosphere]. Less precisely articulated at the
time were the issues of sexual identity the film raises, and that can only
be accounted for theoretically from the standpoint of queer theory. This
chapter will provide contexts and frameworks for the understanding of the
film both in historical terms and in the way it engages with issues later
developed by genderstudies
Democratization is a major political phenomenon of the age and has been the focus of a burgeoning political science literature. This book considers democratization across a range of disciplines, from anthropology and economics, to sociology, law and area studies. The construction of democratization as a unit of study reflects the intellectual standpoint of the inquirer. The book highlights the use of normative argument to legitimize the exercise of power. From the 1950s to the 1980s, economic success enabled the authoritarian governments of South Korea and Taiwan to achieve a large measure of popular support despite the absence of democracy. The book outlines what a feminist framework might be and analyses feminist engagements with the theory and practice of democratization. It also shows how historians have contributed to the understanding of the processes of democratization. International Political Economy (IPE) has always had the potential to cut across the levels-of-analysis distinction. A legal perspective on democratization is presented by focusing on a tightly linked set of issues straddling the border between political and judicial power as they have arisen. Classic and contemporary sociological approaches to understanding democracy and democratization are highlighted, with particular attention being accorded to the post-1989 period. The book displays particularities within a common concern for institutional structures and their performance, ranging over the representation of women, electoral systems and constitutions (in Africa) and presidentialism (in Latin America). Both Europe and North America present in their different ways a kind of bridge between domestic and international dimensions of democratization.
Between ‘two worlds’ of father politics represents the USA and Sweden as two ends on an international continuum in ways of thinking about fatherhood. The ‘two worlds’ model locates the decline of patriarchal male-breadwinning fatherhood as a core concern of comparative welfare state and gender studies. It offers historical accounts of the development of ‘father-friendly’ parental leave policies in Sweden and child support enforcement policies in the USA. The book brings together, major debates from child development psychology, ethology, sociology, gender studies and comparative social policy. In this way, the book synthesizes a wide breadth of comparative and inter-disciplinary analysis into a new typology or model for interpreting welfare regime approaches to contemporary fatherhood. It provides comparative analysis for students, scholars and social policy makers in the United States and Nordic countries, the UK, Ireland, Japan, China and the European Union. Overall, the book locates concepts of fatherhood, the decline of patriarchy, shared parenting and the de-commodification of parents as critical to ongoing debates about individualisation, internationalisation and the dawn of post-patriarchal welfare arrangements for the 21st century.
Reforming food in post-Famine Ireland: Medicine, science and improvement, 1845-1922 is the first dedicated study of how and why Irish eating habits dramatically transformed between the Famine and independence. It also investigates the simultaneous reshaping of Irish food production after the Famine. Adopting an interdisciplinary approach, the book draws from the diverse methodological disciplines of medical history, history of science, cultural studies, Irish studies, gender studies and food studies. Making use of an impressive range of sources, it maps the pivotal role of food in the reshaping of Irish society onto a political and social backdrop of famine, Land Wars, political turbulence, the First World War and the struggle for independence. It is of interest to historians of medicine and science as well as historians of modern Irish social, economic, political and cultural history.
Tattoos in crime and detective narratives: Marking and remarking examines
representations of the tattoo and tattooing in literature, television and film,
from two periods of tattoo renaissance (1851–1914, and around 1955 to the
present). The collection reads tattoos and associated scarification, such as
branding, as mimetic devices that mark and remark crime and detective narratives
in complex ways. The chapters utilise a variety of critical perspectives drawn
from posthumanism, spatiality, postcolonialism, embodiment and gender studies to
read the tattoo as individual and community bodily narratives. The collection
develops its focus from the first tattoo renaissance and considers the rebirth
of the tattoo in contemporary culture through literature, children's
literature, film and television. This book has a broad appeal and will be of
interest to all literature and media scholars and, in particular, those with an
interest in crime and detective narratives and skin studies.
Writing Otherwise is a collection of essays by established feminist and cultural critics interested in experimenting with new styles of expression. Leading figures in their field, such as Marianne Hirsch, Lynne Pearce, Griselda Pollock, Carol Smart, Jackie Stacey and Janet Wolff, all risk new ways of writing about themselves and their subjects. Contributions move beyond conventional academic writing and into more exploratory registers to consider subjects such as: feminist collaborations, memories of dislocation, movement and belonging, intimacy and affect, encountering difference, passionate connections to art and opera. Some chapters use personal writing to interrogate theoretical issues; others put conceptual questions next to therapeutic ones; all of them offer the reader new ways of thinking about how and why we write, and how we might do it differently. Discovering the creative spaces in between traditional genres, many of the chapters show how new styles of writing open up new ways of doing cultural criticism. Aimed at both general and academic readers interested in how scholarly writing might be more innovative and creative, this collection introduces the personal, the poetic and the experimental into the frame of cultural criticism. This collection of essays is highly interdisciplinary and contributes to debates in sociology, history, anthropology, art history, cultural and media studies and gender studies.