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4 Gendered identities in peacebuilding: an analysis of post-2006 Timor-Leste Sarah Smith Introduction The adoption of United Nations (UN) Security Council Resolution 1325 on Women, Peace and Security in 2000 was a landmark in affirming the important role of women in peace and security, as well as purporting the necessity of a ‘gender perspective’ throughout peace processes, peace operations and in post-conflict reconstruction. While it has been much praised, a number of problems have been identified by scholars and practitioners alike (Coomaraswamy 2015; Kirby
‘The Gothic Aesthetics of Eminem’ examines key videos, lyrics, and performances of the white hip-hop celebrity, noting the reoccurrence of such Gothic tropes and narrational strategies as self-replication, the spectacle of monstrous proliferation, the spread of fakery and the counterfeit, as well as the abjection of women. The authors compare Stoker‘s Dracula to Eminem, whose cultural menace similarly functions to proselytise white young men into clones, refracting the racial and sexual anxieties of Stoker‘s novel. The article moves from a consideration of the rapper‘s songs and videos ‘My Name Is’, ‘The Real Slim Shady,’ and ‘Stan’ to the film, 8 Mile.
Male servants in Ann Radcliffe‘s early Gothic novels are frequently underexplored in critical examinations of gender identity in Radcliffe‘s literary politics due to a long tradition of social and literary marginalisation. However, class-specific masculine identities built on a socio-moral and political ideologies and domestic anxieties are not only particularly evident in Radcliffe‘s The Romance of the Forest (1791), but also effectively problematise an already unstable masculine ideal therein. Servant masculine identity in Radcliffe‘s work is developed through the contrast between servant characters and their employers, through examples of potentially revolutionary active and narrative agency by male servants, and through the instance of the heroine and male servants joint flight from the Gothic space. This article will establish that the male servant character in the early Gothic novel is essential to understanding socio-gendered identity in Radcliffe‘s work, and that thisfi gure s incorporation in Gothic class and gender politics merits further examination.
Brewer argues that the feudal society presented in Matthew Lewis‘s The Monk (1796) is destabilised by reversals in gender roles. The disruptive power of Matilda, the protagonists chief tempter, derives from her unsettling ability to take on both masculine and feminine identities in her relationship with Ambrosio and even to become androgynous. Although Matilda‘s transgendering does not seriously undermine the prevailing social hierarchies, it does expose the arbitrary and contingent nature of gender identity. And while Matilda‘s repudiation of established value systems and her affirmation of the joys of sensual gratification are unlikely to become public policy in a partriarchal society, her critiques, both implicit and explicit, of the restrictions of prescribed gender roles and the mental limitations caused by faulty and incomplete educations cannot be easily dismissed.
itself can take on the form of sexual violence when, for example, queer and trans individuals are blackmailed into performing sexual acts to prevent their sexual orientation or gender identity being made public ( Myrttinen et al. , 2018 ). Sexual violence may also be a form of ‘entertainment’ for the perpetrators, through the staging of forced sexual acts and through sexual humiliation, including of queer or ‘effeminate’ men ( Grupo de Memoria Histórica
. In these spaces, the intersectional threats – that is, compounding and distinctive forms of marginalisation and risk 2 – faced by non-white (especially local) staff, those of diverse sexual orientations, gender identities and expressions and sex characteristics (SOGIESC) or those with disabilities are often not factored in. Conversely, threats to (white) women staff are cast as a kind of ‘stranger danger’ – emanating from non-white locals and militant actors rather than
), ‘patriarchy’ refers to a system of power relations based on gender norms, and which perpetuates the privileging of hegemonic masculinities, heteronormativity, cisgender-normativity and normative endosex bodies. Patriarchy is the foundation of gender inequalities, understood as the inequalities rooted in people’s sexual orientation, gender identity and expression, and sex characteristics (SOGIESC) and sex – and/or ‘the degree to which they conform with gender norms and the
(2016) uses memoirs to explore the ethical impulses that drive people to engage in humanitarian work and Róisín Read (2018) examines what humanitarian memoir can tell us about gender identity in humanitarianism. Emily Bauman analyses the growth in humanitarian memoir and argues it ‘generates an aura of authenticity much-needed by an industry reliant on public donations and on the perception of its status as a player outside the systems of state sovereignty and global capital’ ( Bauman, 2019 : 83). This small but growing body of research highlights the need to take
Reconciliation in Postgenocide Rwanda ( Madison : University of Wisconsin Press ). Thomson , S. M. and Nagy , R. ( 2010 ), ‘Law, Power and Justice: What Legalism Fails to Address in the Functioning of Rwanda’s gacaca Courts’ , International Journal of Transitional Justice , 5 : 1 , 11 – 30 . Truth and Reconciliation Commission of South Africa ( 1998 ), Report. Volume I ( London : Macmillan ). Villarreal , M. ( 1994 ), ‘Wielding and Yielding: Power, Subordination and Gender Identity in the Context of a Mexican Development Project’ ( PhD dissertation
; Tornhill, 2019 ). Yet, such promises rarely problematise the location of refugee women within intersecting categories of oppression. Whether participation in stratified and competitive labour markets can by itself challenge ‘existing power relations’, the ‘control over the sources of power’ ( Batliwala, 2007 ) and ingrained gendered identities can thus be questioned. A key feminist postcolonial undertaking then is to disrupt western knowledges and