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Democracy betrayed?

This book builds a theoretical framework through which previously neglected international factors are brought into the analyses of transitions to democracy. It then explores the case of Algeria. It contributes to the literature on democratisation and provides an analysis of Algerian politics during the last two decades. More specifically, it examines how international variables influence the behaviour and activities of Algerian political actors. By bridging the comparative politics and international relations literature, the book offers a new understanding of the initiation, development and outcome of transitions to democracy. International factors, far from being marginal and secondary, are treated as central explanatory variables. Such external factors were crucial in the failed Algerian transition to democracy, when the attitudes and actions of key international actors shaped the domestic game and its final outcome. In particular, the book looks at the controversial role of the Islamic Salvation Front and how its part was perceived abroad. In addition, it argues that international factors significantly contribute to explaining the persistence of authoritarian rule in Algeria, to its integration into the global economy and its co-optation into the war on terror.

Marco Aurelio Guimarães, Raffaela Arrabaça Francisco, Sergio Britto Garcia, Martin Evison, Maria Eliana Castro Pinheiro, Iara Xavier Pereira, Diva Santana, and Julie Alvina Guss Patrício

Truth commissions are widely recognised tools used in negotiation following political repression. Their work may be underpinned by formal scientific investigation of human remains. This paper presents an analysis of the role of forensic investigations in the transition to democracy following the Brazilian military governments of 1964–85. It considers practices during the dictatorship and in the period following, making reference to analyses of truth commission work in jurisdictions other than Brazil, including those in which the investigation of clandestine burials has taken place. Attempts to conceal the fate of victims during the dictatorship, and the attempts of democratic governments to investigate them are described. Despite various initiatives since the end of the military government, many victims remain unidentified. In Brazil, as elsewhere, forensic investigations are susceptible to political and social influences, leading to a situation in which relatives struggle to obtain meaningful restitution and have little trust in the transitional justice process.

Human Remains and Violence: An Interdisciplinary Journal
Open Access (free)
Geoffrey K. Roberts and Patricia Hogwood

) passes Political Reform Law to establish democratic elections and a bicameral legislature. 15 December 1976 Referendum approves Political Reform Law, allowing transition to democracy. 9 April 1977 Communist party legalised. 23 February 1981 Attempted military coup; armed officers hold Members of the Cortes hostage. 24 February 1981 King Juan Carlos condemns

in The politics today companion to West European Politics
Tom Whittaker

Pilar Miró’s Gary Cooper, que estás en los cielos ( Gary Cooper Who Art in Heaven , 1980) has long been regarded as one of the key films of Spain’s transition to democracy. Unlike her previous films, the period drama La petición ( The Request , 1976) and the tremendista polemical drama El crimen de Cuenca ( The Cuenca Crilme , 1980), Gary Cooper is firmly

in Hispanic and Lusophone women filmmakers
Diana Cullell

Desarrollo designed to support and encourage Spanish economic resources,2 as well as the vast social effects that the events of May 1968 had across Europe,3 were reflected in an obvious renovation of and transformation in the literature of Spain. At the start of the transition to democracy, known as La Transición and generally understood as the period following the death of Franco in 1975 (or even earlier), to the victory of the Partido Socialista Obrero Español (PSOE) in the general elections of 1982, Spain underwent major development: In a very short space of time, and

in Spanish contemporary poetry
Abstract only
Transgender performance and the national imaginary in the Spanish cinema of the democratic era
Ian Biddle and Santiago Fouz-Hernández

elaborate some of the specific mechanisms of what might be termed ‘song work’ in these films and to re-examine the oft-made assertion that, in Spanish culture after Franco, transgender performative camp comes to stand for the Spanish Transition to democracy itself. 1 Inevitably, one approach will follow the other in that they both question the nature of the performative. Hence, this chapter seeks to place the figure and acousmêtre

in Screening songs in Hispanic and Lusophone cinema
Tom Whittaker

A number of films made during Spain’s Transition to democracy centred on the experience of the juvenile delinquent living on the margins of the city. Known as cine quinqui , 1 the key films of the cycle included Perros callejeros (Stray Dogs, 1977), Perros callejeros 2: busca y captura (Stray Dogs 2: Arrest Warrant, 1979), Los últimos golpes del Torete (El Torete’s Final Blows

in Screening songs in Hispanic and Lusophone cinema
Pedro Ramos Pinto

April 1976 general election.23 Despite the fact that scores of residents’ commissions continued to exist, by the end of 1976 the urban movement, so strong a year and a half earlier, was finished as a political force. Revolution, democratisation and the urban social movement Exploring the origins, trajectory and demise of the urban movement in Lisbon has been a way to question and revisit the role of popular collective actors in Portugal’s revolution and transition to democracy. The aim of this book was to reconstruct and analyse the process of mobilisation of one of

in Lisbon rising
Diana Cullell

‘Condesa Morfina’ is a long poem with a complex and challenging structure, a very apt example of the poetry written during the cultural transition to democracy and the disenchantment that emerged during those years. The composition, combining a strong culturalism, mainly through intertextual references, with the world of drugs, re-creates a nocturnal atmosphere where cold and extreme misery prevail, with only the beauty 57 Cullell_ContempPoetry_02_Poems.indd 57 28/04/2014 17:24 of a woman (the dama) offering some respite to the poetic voice. This woman, a character

in Spanish contemporary poetry
Abstract only
Ann Davies

in fact so substantial that it is possible here only to highlight its trends. The ability of Spanish cinema to make convincing noir films, has, however, been overshadowed by the success of Spain’s flourishing novela negra, or noir novel, an integral part of the boom in Spanish detective fiction that emerged in the wake of Spain’s transition to democracy. Film noir has not gained anything like the same success as the

in European film noir