‘Women are trouble,did you know that Fergus?’: Neil Jordan's <Emphasis Type="Italic">The Crying Game</Emphasis>

The subject of this article is Neil Jordan's film The Crying Game. Released in 1992, it was widely received as a film that challenged stereotypes in relation to both the IRA and questions of race, sexuality and desire. This article calls into question such a radical reading by analysing the way in which Jude the IRA woman is represented. Through a feminist deconstruction, the article proposes that the character of Jude can be seen to represent both national and international anxieties concerning contemporary masculine and feminine subject positions. The article plots this by investigating how the film deals with the specifics of gender and Irish nationalism. It then moves on to consider how these specifics can be seen to articulate international postmodern concerns about contemporary gender identities.     

Book reviews

Vernon Hewitt, The New International Politics of South Asia (Manchester University Press, Manchester and New York, 1997), xxxvi +305 pp., ISBN 0–7190–5121–5 (hb), 0–7190–5122–3 (pb)

Ruth Lister, Citizenship: Feminist Perspectives (Macmillan, London, 1997), 284 pp., ISBN 0–333–53488–3

Martin Bull and Martin Rhodes (eds), Crisis and Transition in Italian Politics (Frank Cass, London, 1997), 253 pp., ISBN 0–7146–4816–7 (hb), 0–7146–4366–1 (pb)

Linda McDougall, Westminster Women (Vintage, London, 1998), 215 pp., ISBN 0–09–927405–1     

Electoral Systems, Campaign Strategies, and Vote Choice in the Ukrainian Parliamentary and Presidential Elections of 1994

In the Ukrainian parliamentary elections of 1994 the Communist party gained the greatest number of seats, yet the presidential election of the same year was won by a liberal reformer, Leonid Kuchma. The question arises as to how within a period of only a few months the Ukrainian electorate could have brought about such divergent results. This article addresses the question with reference to the workings of the Ukrainian electoral systems. It argues firstly, that the systems governing the two types of election created distinctive incentive structures for campaign strategy which interacted with the structure of preferences of the electorate in different ways, and secondly, that majoritarian aggregative formulae had different effects in the two sets of elections.     

Art,Cold War Diplomacy and Commonwealth: Australian and Canadian Art at the Tate Gallery 1962–1964

This article analyses the formation, presentation and reception of two seminal exhibitions: Australian Painting: Colonial, Impressionist, Contemporary (1962–1963) and Canadian Painting 1939–1963 (1964). The presentation of these exhibitions at London’s Tate Gallery reflected the institution’s support for “old dominion” Commonwealth members. The exhibitions also highlight the differing visions of the Canadian and Australian governments concerning the relationship between art, diplomacy and politics during the Cold War. In Canada, Vincent Massey (Governor General 1952–1959) played a key role in ensuring that all forms of Canadian art were promoted internationally. Massey wanted to connect with the European and American avant-garde and to be part of a multiracial Commonwealth. This contrasted with the rather “old-fashioned” views of the Australian prime minister, Robert Menzies, and the Commonwealth Art Advisory Board. They supported a Commonwealth dominated by the “white dominions” and the initial exhibition plan for Australian Painting recalled previous British Empire art shows. The British response to the Canadian and Australian exhibitions is also discussed. British critics preferred the nationally identifiable “exotic” art found in Australian art to the transnational forms of international abstraction in Canadian art. Eventually, Australia “caught up” with Canadian cultural policy following the establishment of the Australia Council.     

Portraying Those We Condemn with Care: Extending the Ethics of Representation

The study of crime’s images is an increasingly important endeavour. In this paper I seek to understand the impact of an image of a criminal child (the outcomes and consequences that have stemmed from its display) by examining its affect (its capacity to engage its viewers). I demonstrate how the image’s meaning emerged from encounters with both the content and the format of the image, as well as from the context in which these encounters occurred. I will demonstrate that the impacts from this image went beyond what was necessary to punish, and propose that an ethics of representation is extended to include images of the condemned. For some population groups, this extension can mitigate the influence of fantasies about criminal ‘others’ that may come into play when pictures of them are viewed.     

“Corporatism With Adjectives”? Conceptualizing Civil Society Incorporation and Indigenous Participation in Latin America

Ethnodevelopment is a relatively new type of participatory policy that targets the poverty of marginalized ethnic groups with a focus on identity and self‐management. While observers have recognized the empirical significance of this new paradigm, little has been done to conceptualize ethnodevelopment. This article argues that national‐level ethnodevelopment implementation is a form of corporatism. Examining ethnodevelopment institutions in Ecuador, it shows that the state has structured, subsidized, and partially controlled the indigenous sector through ethnodevelopment policies and agencies. However, certain components of classical corporatism, such as monopolies of representation, do not characterize this paradigm. This article therefore classifies ethnodevelopment as a diminished subtype of corporatism. It challenges corporatism's long association with a particular historical period in the region and finds that Latin American states and social groups have called on historical institutional repertoires in responding to the newly salient ethnic cleavage in the region.     

The Female Student on Trial, 1910–1915: Dorothy M. Gladish versus University College Nottingham versus Oscar Wilde

This article examines the student career of Dorothy M. Gladish at University College Nottingham from 1910–1915. By drawing on little-studied archives, a range of narratives about Gladish's multiple embodiments of the female student are analysed. In particular, these narratives are situated within the representational contexts of the Gong student magazine, which are marked by re-writings of Victorian literary texts that re-invent the contemporary female student. In the case of Gladish, the symbolic and literal ‘trial’ was also a feature of her student career. A ‘Mock Trial’ of Gladish is read alongside accounts of the college council’s examination of Professor R. G. F. Dolley, following a complaint by the Gladish family, and their responses to the trial of Oscar Wilde in 1895, contained in a hitherto restricted archive. Consideration is given to how this case study extends our knowledge about women’s roles in civic universities at this period.