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Anu Koivunen, Katariina Kyrölä, and Ingrid Ryberg

be used at all in some contexts. In Butler’s (2016:  25) words, undoing the binary between vulnerability and resistance is a feminist task, but ‘vulnerability cannot be the basis of group identification without strengthening paternalistic power’. She further critiques human rights discourse and legal regimes for ignoring ‘modes of political agency and resistance within so-​called vulnerable populations’, seeing them instead as in need of institutional or state protection and advocacy (Butler, 2016:  24–​5). On the other hand, feminist scholars such as Alyson Cole

in The power of vulnerability
Johanna Gondouin, Suruchi Thapar-Björkert, and Ingrid Ryberg

to reproductive rights (Cohen, 2005; Cooper and Waldby, 2008; 2014). Recent scholarship argues that reproduction is increasingly perceived as a marker of citizenship by providing the ground for social participation and claims to social resources (Turner, 2001; 2008:  46). In this context, reproductive rights, which are enshrined in the UN declaration of human rights, can be interpreted as having a child being a human right (Turner, 2008: 52). In China Girl, such an understanding of reproductive rights as human rights is explicitly expressed by the couple Felicity

in The power of vulnerability
Open Access (free)
The Republic and Northern Ireland since 1990
Michael Parker

decriminalise homosexual acts between adults. Although Norris’s bid to liberalise Irish law was rejected in the Irish Supreme Court, five years later the European Court of Human Rights declared that such law breached his and other gay men’s ‘human rights and fundamental freedoms’. In what turned out to be one further setback for those seeking change in Ireland, a plan by Garret Fitzgerald’s Fine Gael administration to reverse the 1937 Constitution’s ban on divorce suffered a heavy defeat in June 1986, again as a result of the ability of traditionalist forces to mobilise

in Irish literature since 1990
Martine Pelletier

Brown explains: ‘From 39 persons applying for refugee status in 1992 those seeking such status rose to 7,724 in 1999. Forbidden to work, subsisting on small state handouts, often forced to wait years before their cases could be heard, asylum seekers in the 1990s faced hostility in the popular press as they were branded as “fake” applicants’.14 Shortly before Asylum! Asylum! was produced, O’Kelly translated his own commitment to the defence of human rights by setting up Calypso Productions with playwright Kenneth Glenaan. Its mission statement reads: Calypso’s mission

in Irish literature since 1990
The paradoxes of sustainability and Michel Houellebecq’s The Possibility of an Island
Hannes Bergthaller

the commentaries added to the latter, 2,000 years into a post-apocalyptic future, by his cloned descendants Daniels 24 and 25. Daniel1 is a French comedy star who has made a fortune with anti-human rights, anti-family, anti-Muslim, anti-Semitic, misogynist and generally offensive television shows (tellingly, one of his productions is called ‘100% hateful’; Houellebecq 2006: 45).1 His story opens at the end of his thirties. Having grown tired even of his own disgust and with his sexual life in decline, he meets Isabelle, editor of the girls’ magazine Lolita. They

in Literature and sustainability
Open Access (free)
Gill Rye and Michael Worton

deals with sexual activity that deviates radically from its norms. The police came into possession of videotapes of a group of gay men who engaged in sadomasochistic sex. This involved hitting the penis with a ruler, caning and dripping hot wax on the genitals, all of which are activities not normally associated with gay sex. However, crucially, all were consenting adults. Fifteen of the men were given criminal convictions, five of these being prison sentences. They appealed to the European Court of Human Rights, which, in , upheld the convictions on the grounds

in Women’s writing in contemporary France
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

: Transcript. Schwartz, J. M. and T. Cook (2002). ‘Archives, records, and power: The making of modern memory’, Archival Science, 2:1–​2, pp. 1–​19. Sedgwick, E. K. (1990). Epistemology of the Closet. Berkeley:  University of California Press. SFI (2017). Hit och ännu längre. Jämställdhetsrapport 2017. Stockholm:  Svenska Filminstitutet. Smith, L. (2007). ‘Empty gestures? Heritage and the politics of recognition’, in H. Silverman and D. F. Ruggles (eds), Cultural Heritage and Human Rights. New York: Springer, pp. 159–​71. Snickars, P. (2015). ‘Remarks on a failed film archival project

in The power of vulnerability
Dana Phillips

, and inadvisable to try and glean a hopeful, utopian message from the trilogy’s treatment of resilience, stability and sustainability. If Atwood’s corporate henchmen and boy-wonder scientists are appalling in their reckless disregard for planetary wellbeing, most especially for animal and human rights, they are also whip-smart and quick to counter flabby arguments about the sacred nature of species, or – as they would insist – genomes. Conversely, her environmental activists (many of them corporate renegades themselves) can be almost as hard to stomach as their

in Literature and sustainability
The representation of violence in Northern Irish art
Shane Alcobia-Murphy

9780719075636_4_017.qxd 16/2/09 9:30 AM Page 287 17 ‘What do I say when they wheel out their dead?’ The representation of violence in Northern Irish art Shane Alcobia-Murphy In one emblematic shot from Midge MacKenzie’s The Sky: A Silent Witness (1995), a documentary made in collaboration with Amnesty International about human rights abuses, the camera frames the sky’s reflection on the surface of water while an unidentified woman recounts the horrifying story of her rape on 3 September 1991, in the midst of the Bosnian conflict. The reflection, as Wendy

in Irish literature since 1990
Open Access (free)
Irish poetry since 1990
Jerzy Jarniewicz and John McDonagh

Searchaigh’s translated poems are also a clear indicator of the broadening perspective of contemporary Irish poetry. His homoerotic poems celebrating sexual union are unambiguously explicit, allowing ‘the love that dare not speak its name’ a clear expression in the context of a society far more at ease with competing models of sexual orientation, recognised by the decriminalisation of homosexuality in the Republic in the early 1990s. This legal recognition of homosexual partnerships only came about after a tortured legal wrangle in the European Court of Human Rights. Ó

in Irish literature since 1990