The Moderating Effect of Debates on Political Attitudes

In theory, candidate debates can influence voters by providing information about candidates' quality and policy positions. However, there is limited evidence about whether and why debates influence voters in new democracies. We use a field experiment on parliamentary debates during Ghana's 2016 elections to show that debates improve voters' evaluations of candidates. Debates have the strongest effect on partisan voters, who become more favorable toward and more likely to vote for opponent-party candidates and less likely to vote for co-partisans. Experimental and unique observational data capturing participants' second-by-second reactions to the debates show that policy information was the most important causal mechanism driving partisan moderation, especially among strong partisans. A follow-up survey shows that these effects persist in electorally competitive communities, whereas they dissipate in party strongholds. Policy-centered debates have the potential to reduce partisan polarization in new democracies, but the local political context conditions the persistence of these effects.     

Geographical versus social displacement: the politics of return and post-war recovery in Northern Uganda

The civil war in Northern Uganda in the period 1986–2006 fundamentally altered former ways of life and created diverse and complex needs. Protracted conflict and displacement create, reveal, and enforce vulnerability, which can undermine resilience. Based on in-depth interviews with internally displaced persons and returnees, both before and after their return to Amuru District and Gulu District, this article argues that war and displacement constitute more than a temporary disruption. The physical and social wounds of war are engraved and embedded in people’s lives. Therefore, recovery interventions must take these effects into account to forge a new post-war future.     

feminist disavowal or return to immanence? the problem of poststructuralism and the naked female form in Nic Green’s <Emphasis Type="Italic">Trilogy</Emphasis> and Ursula Martinez’ <Emphasis Type="Italic">My Stories,Your Emails</Emphasis>

This essay discusses the work of two female theatre-makers, and their strategic use of nudity on stage. The author appropriates signs of indignation in this work in order to re-visit the ‘problem’ of the female form being traditionally associated with bodily immanence rather than transcendence. Both Nic Green’s Trilogy (2009–2010) and Ursula Martinez’ My Stories, Your Emails (2010) use the naked female form to proffer statements about the experience of being a woman in the 2000s. Their use of nudity breaks with feminist theories popular in the 1990s, which argued that because the female form could never escape the symbolic logic of phallocentrism, it could never escape sexual objectification, and thus should operate on the margins of mainstream culture, cultivate agency by appropriating the means of production and be removed from view (radical negativity). By identifying as ‘artists’ and by insisting on their right to put their experience centre stage, Green and Martinez break with the anti-humanist theories of the 1990s and proffer a more individualistic strain of feminist performance. The author celebrates this work as a break away from the deadlock offered by theories of radical negativity.