Yes / This article examines the key features of state failure that have adversely affected the goal of state-building and peace-building in South Sudan. Drawing on interviews with sections of local and international stakeholders in South Sudan, the article analyses the major areas of state reconstruction and peacebuilding that the Sudan Peoples’ Liberation Movement (SPLM) government has failed to address proactively, areas and issues that seem directly or indirectly linked to the political crisis that started in December 2013 and the relapse into armed conflict. The paper also analyses the recent political developments and ongoing peace process in South Sudan and proffers some complementary policy intervention measures that could be implemented to strengthen the peace process. / This article was made possible through support from the Social Science Research Council’s African Peacebuilding Network (APN) research grant, with funds provided by the Carnegie Corporation of New York.

<p>French Feminism has little to do with feminism in France. While in the U.S. this now canonical body of work designates almost exclusively the work of three theorists—Hélène Cixous, Luce Irigaray, and Julia Kristeva—in France, these same thinkers are actually associated with the rejection of feminism. If some scholars have on this basis passionately denounced French Feminism as an American invention, there exists to date no comprehensive analysis of that invention or of its effects. Why did theorists who were at best marginal to feminist thought and political practice in France galvanize feminist scholars working in the United States? Why does French Feminism provoke such an intense affective response in France to this date? Drawing on the fields of feminist and queer studies, literary studies, and history, “Inventing ‘French Feminism:’ A Critical History” offers a transnational account of the emergence and impact of one of U.S. academic feminism’s most influential bodies of work. The first half of the dissertation argues that, although French Feminism has now been dismissed for being biologically essentialist and falsely universal, feminists working in the U.S. academy of the 1980s, particularly feminist literary critics and postcolonial feminist critics, deployed the work of Cixous, Irigaray, and Kristeva to displace what they perceived as U.S. feminist literary criticism’s essentialist reliance on the biological sex of the author and to challenge U.S. academic feminism’s inattention to racial differences between women. French Feminism thus found traction among feminist scholars to the extent that it was perceived as addressing some of U.S. feminism’s most pressing political issues. The second half of the dissertation traces French feminist scholars’ vehement rejection of French Feminism to an affectively charged split in the French women’s liberation movement of the 1970s and shows that this split has resulted in an entrenched opposition between sexual difference and materialist feminism, an opposition that continues to structure French feminist debates to this day. “Inventing ‘French Feminism:’ A Critical History” ends by arguing that in so far as the U.S. invention of French Feminism has contributed to the emergence of U.S. queer theory, it has also impeded its uptake in France. Taken as a whole, this dissertation thus implicitly argues that the transnational circulation of ideas is simultaneously generative and disabling.</p> / Dissertation

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

Thesis (M.A.)--Dalhousie University, 1997. / Includes bibliographical references (leaves 82-85).

The women's liberation movement in the 1970s and 1980s utilized various means for activism and demonstrations, but women also used the judicial system to fight for equality in the workplace. This study focuses specifically on the field of journalism and how female reporters used the courts to fight the gender discrimination that was widespread and unbridled before the creation of legislation that outlawed it. The lawsuit filed by Mary Lou Butcher and approximately 90 other women against The Detroit News is one such case that exemplifies the process of filing a gender discrimination lawsuit, as well as the events that led to the suits and the impact that it and similar lawsuits had on the field of journalism and the women's liberation movement as a whole. Using textual analysis to examine the coverage of these lawsuits by industry literature and by the publications challenged by the lawsuits demonstrates what the field of newspapers and magazines was like during the time of the cases. Comparing the same media during the times of the lawsuits and post-settlement reveal how they contributed to an adjusted view of female journalists and aided women's acceptance in American newsrooms.

Este estudo busca analisar o pensamento e a prática social e política de Amílcar Cabral, de 1945 a 1973. Propõe identificar as textualidades da escrita e da história, destacando as modificações do pensamento do líder voltadas para a mobilização e a organização das populações de Cabo Verde e da Giné. / This study will try to analyze the thought and social and political practice of Amílcar Cabral, from 1945 to 1973. It is aimed at identifying the textualities of the writing and history, highlighting the leaders changes in thought as regards the mobilization and organization of the Cape Verd and Guineas populations.

Este estudo busca analisar o pensamento e a prática social e política de Amílcar Cabral, de 1945 a 1973. Propõe identificar as textualidades da escrita e da história, destacando as modificações do pensamento do líder voltadas para a mobilização e a organização das populações de Cabo Verde e da Giné. / This study will try to analyze the thought and social and political practice of Amílcar Cabral, from 1945 to 1973. It is aimed at identifying the textualities of the writing and history, highlighting the leaders changes in thought as regards the mobilization and organization of the Cape Verd and Guineas populations.