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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.
56 DISCIPLINES 4 Gender Studies 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. 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
, a group influenced by second-wave feminism. This discourse, which implies a belief in political agency, and is part of the film’s self-presentation, is again exceeded, in this case by thematic and aesthetic shifts towards the postmodern, which problematise notions of testimonial authenticity and agency supposed by the feminist framework. The film is also a meditation on, and a response to, debates on female spectatorship within
leisure, gender and sexuality’, Leisure Studies 18, 1: 19–39. Allen, J. (1993) ‘Motherhood, the annihilation of women’, in A. M. Jaggar and P. S. Rothenberg (eds), Feminist Frameworks. Third edition. New York: McGraw-Hill, pp. 380–5. Bavinton, N. (2007) ‘From obstacle to opportunity: leisure and the reinterpretation of constraints’, Annals of Leisure Research 10, 3/4: 391–412. Brey, E. T. and Lehto, X. Y. (2007) ‘The relationship between daily and vacation activities’, Annals of Tourism Research 34, 1: 160–80. Central Statistics Office (CSO) (2007) Tourism Trends
’ body parts as either oppressive for women or misrepresentative of ‘real’ women’s autonomous sexual desires and ‘real’ men’s corporeal experiences. In her study of women’s domestic consumption of erotica and porn, Juffer (1998) shifts her focus away from what she perceives to be this dominant oppressive and/or utopic feminist framework for interpreting porn. She argues that such a shift is warranted since feminist interpretations of porn as either oppressive or transgressive are rhetorical in the sense that they then require further academic intervention: The problem
patriarchy’ ( 1981 ), Black girls’ and women’s stories absolutely matter. As white women, we understand that these are not our stories; in this chapter, we use a Black intersectional feminist framework to address the complexities of race and gender with regard to trauma, dreams and nightmares. To ignore our positionality outright would be to ignore the ways in which we are shaped by white supremacist imperialist
feminist magazine Sorcières and in 1974 she published Les Parleuses, a series of talks with Xavière Gauthier about her novels and films, set in a feminist framework. Duras’s feminism thus exerted its influence through her ideas, expressed in her work, rather than through active political militancy. However, this ambivalent attitude to both Communist and feminist politics was by no means the only contradiction discernible in the
–1914 did. Within their ‘imperial feminist’ framework, as Antoinette Burton has pointed out, it was possible for campaigners to expose the oppression of women in the West while simultaneously representing Western women as liberated in comparison to their victimised sisters in Africa or India. British women would be the first women in the world to be emancipated; having won their own
a feminist framework. The dominant red colour of this scene recurs in Grandmother Moorhead's Aromatic Kitchen (1975), another kitchen picture, this time featuring a giant goose as the matriarchal authority figure, one that Warner reminds us represents the fairy-tale preparations, gossip, and yarn-telling long associated with groups of women. 89 Again, Carrington's uncompromising feminism becomes intrinsic to understanding her work and world-view that has, in turn, shaped so many others. To
feminists themselves began to publish and read more specifically Irish material. Nonetheless, Conroy’s assessment of the lack of available Irish publications contextualises the impact of ideas such as those of Adrienne Rich, along with a range of other international feminist writers and activists, on the thinking and praxis of Irish feminists during the period. The influence of international feminist frameworks at local level is apparent in the language and politics of early Irish lesbian activists. One example of this is the response of Mary Dorcey (one of the first