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Elana Wilson Rowe

2 The power politics of representation Saami poet Nils-​Aslak Valkeapää called for a vision of the Arctic as a horizontal highway of movement and conversation, with its treeless expanses providing opportunity to roam and the long polar nights providing opportunity to talk and listen (1998). This evocative image of a highway of interconnection is a counterpoint to the typical ways in which the Arctic is divided by standard maps and globes, with North–​South political lines transecting the Saami homeland in the European North. Maps, films, poetry and policy

in Arctic governance
Maja Zehfuss

, The Politics of Representation. Writing Practices in Biography, Photography, and Policy Analysis (Madison, WI, University of Wisconsin Press, 1988), p. 91, and Roxanne Lynn Doty, Imperial Encounters. The Politics of Representation in North–South Relations (Minneapolis and London, University of Minnesota Press, 1996), pp. 175f

in Mapping European security after Kosovo
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Transcultural identities and art-making in a globalised world

Migration, understood as the movement of people and cultures, gives impetus to globalisation and the transculturation processes that the interaction between people and cultures entails. This book addresses migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art's critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The book also explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, and its representations of forced migration. Transculturality indicates a certain quality (of an idea, an object, a self-perception or way of living) which joins a variety of elements indistinguishable as separate sources. The topic of migration is permeated not only with political but also with ethical urgencies. The most telling sign of how profoundly the mobility turn has affected the visual arts is perhaps the spread of the term global art in the discourses on art, where it is often used as a synonym for internationally circulating contemporary art. The book examines interventions by three artists who take a critical de- and postcolonial approach to the institutional structures and spaces of Western museums. The book also looks at the politics of representation, and particularly the question of how aesthetics, politics and ethics can be triangulated and balanced when artists seek to make visible the conditions of irregular migration.

Open Access (free)
Jeffrey Flynn

through its impact on the revival of ‘humanitarian intervention’ among international lawyers in the United States and the rise of sans-frontiérisme in France. The Ethics (and Politics) of Representation The practice of capturing suffering in photos and disseminating them for humanitarian purposes raises numerous by now familiar ethical questions. The historical essays in Humanitarian Photography (particularly Curtis and Grant on

Journal of Humanitarian Affairs
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Religion, Jacobitism, and the politics of representation in Lady Gregory’s The White Cockade
Anna Pilz

8 ‘A bad master’: religion, Jacobitism, and the politics of representation in Lady Gregory’s The White Cockade Anna Pilz The weakness of your position is that nearly all your writers are protestants &, so, liable to get into religious difficulties, partly through not understanding exactly what will + what will not give offence, partly because the Catholic will never quite trust your being really in sympathy with them.1 I n answer to their invitation for subscriptions to the proposed Irish  Literary Theatre in 1897, Lady Augusta Gregory and W. B. Yeats received

in Irish women’s writing, 1878–1922
Constance Duncombe

recognise one another has implications for how they behave: this can trigger political crises or open potential avenues for peace. As I will demonstrate, such a focus allows us to understand how the politics of representation influences foreign policy, and vice versa, creating a deeper comprehension of how and why shifts in policymaking evolve. In doing so I stake a claim that recognition as a relational process goes beyond the juridical and legal determinants of state sovereignty, as has been the focus of recent scholarly work. For a state to be

in Representation, recognition and respect in world politics
Constance Duncombe

representation and recognition. Consideration of these links will, in turn, facilitate the understanding of how the politics of representation impact on the creation of foreign policy, and vice versa. To begin the study, I examine US representations of itself and of Iran and its nuclear program. The representations are not specific to official state discourse; rather, they are shared between the levels of high and low politics and seemingly reflect the broad categories outlined in Chapter 1 of Self–Other, and historical narrative and metaphor. Overall

in Representation, recognition and respect in world politics
Tracey Nicholls

A decade ago, just out of graduate school, I published an article exploring questions of the politics of representation in jazz criticism in which I argued that, in some contexts, ‘the death of the author’ actually promotes the abuse of cultural power that Michel Foucault objected to in his 1969 lecture Qu’est-ce qu’un auteur? , later published

in Foucault’s theatres
Fiona Robinson

attention to the politics of representation. By this I do not mean representation in the formal political sense, centred on issues of membership and procedure (Fraser 1995 ). Rather, I mean the political act of discursive framing and construction of subjects in order to serve specific ends – in this case, to serve the ends of ‘development’, ‘humanitarianism’ or ‘care

in Recognition and Global Politics
Simplicity and complexity in Father Ted
Karen Quigley

one hand, its (sometimes deceptive) simplicity of sitcom format, plot structure and comedy performances, and, on the other, its (sometimes obscured) complexity, particularly in relation to the intertextual, social, political and cultural references woven through the series’ structure and content. The chapter closes with a consideration of Father Ted 's more contemporary complexity, specifically in relation to gender performativity, and examines how a series purporting to be almost entirely about men can develop a wider resonance in terms of the politics of

in Complexity / simplicity