WTO Dispute Settlement and the Missing Developing Country Cases: Engaging the Private Sector

The poorest WTO member countries almost universally fail toengage as either complainants or interested third parties informal dispute settlement activity related to their market accessinterests. This paper focuses on costs of the WTO’s extendedlitigation process as an explanation for the potential but ‘missing’developing country engagement. We provide a positive examinationof the current system, and we catalogue and analyze a set ofproposals encouraging the private sector to provide DSU-specificlegal assistance to poor countries. We investigate the roleof legal service centres, non-governmental organizations, developmentorganizations, international trade litigators, economists, consumerorganizations, and law schools to provide poor countries withthe services needed at critical stages of the WTO’s extendedlitigation process. In the absence of systemic rules reform,the public-private partnership model imposes a substantial cooperationburden on such groups as they organize export interests, estimatethe size of improved market access payoffs, prioritize acrosspotential cases, engage domestic governments, prepare legalbriefs, assist in evidentiary discovery, and pursue the publicrelations effort required to induce foreign political compliance.     

The sacred may not be the same as the religious: Angela Carter's ‘Impressions: The Wrightsman Magdalene’ and ‘Black Venus’

John Everett Millais's painting The Bridesmaid (1851) depicts a young woman, on the evening of a wedding, attempting to conjure up a vision of her own future husband. This work has been linked to a number of others by Millais dealing with marriage, and has been seen as an articulation of 'matrimonial ideology'. Brown sets the picture in the context of the widespread, though clandestine, practice of fortune-telling, through which women in particular attempted to foreknow, and thus control, the central event of their lives. One of the most frequent questions asked of fortune-tellers was 'whom shall I marry?', the question the girl in the painting has herself asked. However, drawing on recent critical work on 'proposal composition' pictures, Bown argues that men, too, faced great uncertainty on the brink of marriage, and that artists repeatedly explored this uncertainty through attempts to represent a complex female subjectivity in their works. In The Bridesmaid Millais (who was thinking about marriage in the early 1850s) depicts a woman telling her fortune, but he also seeks to represent her as full of thoughts and feelings. The artist, and the viewer of the painting, then, engages in an act of divination in which he tries to discover the mysterious secrets of female subjectivity.