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.