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
Recent years have seen the proliferation of discourses surrounding extremism and related terms. Encountering Extremism offers readers the opportunity to interrogate extremism through a plethora of theoretical perspectives, and to explore counter-extremism as it has materialised in plural local contexts. Through offering a critical interrogation along these two planes – the theoretical and the local – Encountering Extremism presents a unique, in-depth and critical analysis of a profoundly important subject. This book seeks to understand, and expose the implications of, a fundamental problematic: how should scholars and strategists alike understand the contemporary shift from counter-terrorism to counter-extremism? Starting with a genealogical reflection on the discourse and practices of extremism, the book brings together authors examining the topic of extremism, countering extremism and preventing extremism from different theoretical perspectives, such as critical terrorism studies, postcolonialism and gender studies. It then turns to analyses of the specific consequences of this new discourse in international and local contexts such as the United Nations, Nigeria, Tunisia, Bosnia and Herzegovina and Spain.
Corporations, Celebrities and the Construction of the Entrepreneurial
Annika Bergman Rosamond
( 2014 ), Governing Refugees through Gender Equality:
Care, Control and Emancipation , PhD dissertation,
Department of Political Science and Umeå Center for GenderStudies,
Graduate School of GenderStudies, Umeå
( 2015 ), ‘ Governing Refugees through
Gender Equality: Rationalities of
Expanding Gender Norms to Marriage Drivers Facing Boys and Men in South Sudan
Journeys, Nuer Lives: Sudanese Refugees in Minnesota ( Boston, MA : Allyn & Bacon ).
( 2017 ), ‘ Women’s Rights in Jeopardy: The Case of War-Torn South Sudan ’, SAGE Open ,
1 – 13 , doi: 10.1177/2158244017737355 .
V. M. and
( 2017 ), ‘ In Plain Sight: The Neglected Linkage between Brideprice and Violent Conflict ’, International Security , 42 : 1 , 7 – 40 .
( 2018 ), Conflict and GenderStudy – South Sudan: Addressing Root Causes Programme , www.acordinternational.org/silo/files/conflict-and-gender-study
( 2016 ), ‘ Feminism, Masculinity and Male
Rape: Bringing Male Rape “Out of the
Closet” ’, Journal of GenderStudies , 25 : 3 ,
283 – 93 .
very, very useful to have a much better sense of what it was like to be on the
receiving end of this aid. Related to this, I also think we need to do a lot more to
recover the gender dynamics of the Biafran crisis. On the one hand, we know that
this was quite a brutal conflict, in which violence against women was a prominent
tactic. On the other, reading the crisis through a genderstudies/gender history
lens might also help to recover the role played by nuns
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.
Painful pleasures organises its investigations into two sections, based on distinctions between religious and secular (con)texts. Part I explores the sadomasochistic pleasures of medieval monastic and mystical life, highlighting religious devotion, bodily renunciation, humility, and submission. Investigations into religious discourses expose the libidinal possibilities within penitential and correctional activities such as fasting and whipping. Within a swathe of early medieval hagiography, antique narratives provided eroticised examples of the will (and failure) of Roman magistrates to dominate the Christian martyr. Part II traces instances of dominance and submission within secular discourses, those more appertaining to life at court, in the marriage bed, and on the battlefield. Behaviours in this sphere might be in tension with the Church, evolving from more regionalised or even familial-kinship patterns. Chivalric romances told at court recount pleasures that resonate with those of the S/M world today and describe scenarios that fuel sadomasochistic fantasies. Painful pleasures compiles evidence of the ways in which power and control were eroticised in the Middle Ages, how sexuality was then, as today, imbued to varying degrees with a thrill of the chase and the capture, and how pain and humiliation could not only be pleasurable but central to formations of gendered identities and to spiritual advancement. It makes substantial gains in exploring the medieval terrain of eroticised power and pain and asks how looking at sadomasochism historically might affect our conception of the Middle Ages, and – preposterously – of ourselves.
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