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deconstruct the predominant humanitarian security discourse’ and suggest feminist practice frameworks may offer useful ways forward in this deconstruction effort. Humanitarian security is not the only theme from earlier issues which is revisited in this special issue. Catia Gregoratti and Annika Bergman Rosamond’s research article picks up on conversations about innovation and liberal order explored in our first and third issues ( JHA , 1:1; 1:3). The authors show what a feminist analysis can

Journal of Humanitarian Affairs
A feminist analysis, with a new introduction

Representing the first book-length treatment of the application of feminist theories of international law, The boundaries of international law argues that the absence of women in the development of international law has produced a narrow and inadequate jurisprudence that has legitimated the unequal position of women worldwide rather than confronted it.

With a new introduction that reflects on the profound changes in international law since the book’s first publication in 2000, this volume is essential reading for scholars, practitioners and students alike.

A feminist analysis of the Neary and Halappanavar cases
Joan McCarthy

1 Reproductive justice in Ireland: a feminist analysis of the Neary and Halappanavar cases Joan McCarthy Introduction This chapter analyses two Irish case studies concerning reproductive justice and maternal health that raise serious ethical and legal concerns. These are, first, unnecessary hysterectomies that were carried out at Our Lady of Lourdes Hospital, Drogheda; and second, the case of Savita Halappanavar whose 17-­ week pregnancy ended in miscarriage and her death in University College Hospital Galway (UCHG) on the 28 October 2012. Even though these

in Ethical and legal debates in Irish healthcare
Applying intersectionality to understand statelessness in Europe
Deirdre Brennan
Nina Murray
, and
Allison J. Petrozziello

doing feminist analysis ( 2008 : 68). She says the term’s lack of specific parameters has been interpreted optimistically by scholars in the field, since it enables the term to be drawn upon in nearly any context of inquiry. This provides exciting opportunities for statelessness research; as Davis notes, the ambiguity with the term’s definition allows ‘endless constellations

in Statelessness, governance, and the problem of citizenship
Hilary Charlesworth
Christine Chinkin

emphasis on sexual and reproductive health, or the 1995 Beijing Platform for Action being adopted today. Indeed, fears that the Beijing Platform’s normative standards would be weakened meant that there was little appetite within the UN or civil society to hold a ‘Beijing plus 25’ conference in 2020. 20 In this new introduction, we begin by reflecting on how we use the term feminist analysis. We then review

in The boundaries of international law
Michael Rush

Chapter one links the decline of patriarchal legitimacy over the course of the 20th century to welfare state expansion. It highlights that chapter one shows that the renaissance of the ‘welfare modelling business’, was in a large part, driven by the growth of gender and feminist analysis in welfare state debates. Chapter one also shows that Nordic feminism historically promoted critical thinking about men’s social-citizenship roles as fathers.

in Between two worlds of father politics
Place, space and discourse
Editors: and

Identity is often regarded as something that is possessed by individuals, states, and other agents. In this edited collection, identity is explored across a range of approaches and under-explored case studies with a view to making visible its fractured, contingent, and dynamic features. The book brings together themes of belonging and exclusion, identity formation and fragmentation. It also examines how identity functions in discourse, and the effects it produces, both materially and in ideational terms. Taking in case studies from Asia-Pacific, Europe, the Middle East and Latin America, the various chapters interrogate identity through formal governing mechanisms, popular culture and place. These studies demonstrate the complex and fluid nature of identity and identity practices, as well as implications for theorising identity.


The book explores the relationship between violence against women on one hand, and the rights to health and reproductive health on the other. It argues that violation of the right to health is a consequence of violence, and that (state) health policies might be a cause of – or create the conditions for – violence against women. It significantly contributes to feminist and international human rights legal scholarship by conceptualising a new ground-breaking idea, violence against women’s health (VAWH), using the Hippocratic paradigm as the backbone of the analysis. The two dimensions of violence at the core of the book – the horizontal, ‘interpersonal’ dimension and the vertical ‘state policies’ dimension – are investigated through around 70 decisions of domestic, regional and international judicial or quasi-judicial bodies (the anamnesis). The concept of VAWH, drawn from the anamnesis, enriches the traditional concept of violence against women with a human rights-based approach to autonomy and a reflection on the pervasiveness of patterns of discrimination (diagnosis). VAWH as theorised in the book allows the reconceptualisation of states’ obligations in an innovative way, by identifying for both dimensions obligations of result, due diligence obligations, and obligations to progressively take steps (treatment). The book eventually asks whether it is not international law itself that is the ultimate cause of VAWH (prognosis).

Rethinking art, media, and the audio-visual contract

There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.


Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.