For over five decades, the Cold War security agenda was distinguished by the principal strategic balance, that of a structure of bipolarity, between the United States (US) and the Soviet Union (USSR). This book seeks to draw from current developments in critical security studies in order to establish a new framework of inquiry for security in the Middle East. It addresses the need to redefine security in the Middle East. The focus is squarely on the Arab-Israeli context in general, and the Palestinian-Israeli context in particular. The character of Arab-Israeli relations are measured by the Israeli foreign policy debate from the 1950s to the 1990s. A dialogue between Islam and Islamism as a means to broaden the terrain on which conflict resolution and post-bipolar security in the Middle East is to be understood is presented. The Middle East peace process (MEPP) was an additional factor in problematizing the military-strategic concept of security in the Middle East. The shift in analysis from national security to human security reflects the transformations of the post-Cold War era by combining military with non-military concerns such as environmental damage, social unrest, economic mismanagement, cultural conflict, gender inequity and radical fundamentalism. By way of contrast to realist international relations (IR) theory, developing-world theorists have proposed a different set of variables to explain the unique challenges facing developing states. Finally, the book examines the significance of ecopolitics in security agendas in the Middle East.
polyphony already mentioned.
See William Edward Burghardt Du Bois, The Souls of Black Folk, ed. Henry Louis
Gates Jnr and Terri Hume Oliver (New York and London: W. W. Norton, ).
Susan Ireland’s article ‘Writing at the crossroads: culturalconﬂict in the work of
beur women writers’ ﬁrst drew my attention to the relevance of Du Bois’s work,
and provided an invaluable introduction to many of the main concerns of beur
women’s writing generally. See French Review, 68(6) (May 1995), 1022–34.
Homi K. Bhabha, ‘Signs taken for wonders’, in The Location of Culture
Shérazade and other women in the work of Leïla Sebbar
Margaret A. Majumdar
prisoners visit the barber’s
Subversion of the gaze in Sebbar’s ﬁction
shop (J. H. cherche, pp. –), where viewing themselves in the mirror
leads to confession, shame, tears or pride in their newly smart appearance.
In Sebbar’s situations, this is no abstract philosophical notion. The interaction of the gaze and the aversion of the eyes often arise in a situation of
tension between diﬀerent values and lifestyles, resulting from culturalconﬂict between diﬀerent generations of a migrant family. Thus, while theoretically possible that the character will accept
1924)), C.D. Shaw and H.D. McKay’s ecological theory of social
disorganisation ( Juvenile Delinquency and Urban Areas (Chicago,
University of Chicago Press, 1942)) and the theories of culturalconflict.
culture in the period was to the
cultural intent of such ideas. Toland’s example is both a symptom and a cause
of the culturalconflict of the period. Fragments of evidence show how
Toland’s participation in an elite sociability was a means for insinuating his
ideas into the minds of the great and good. This was most definitely enlightenment from above rather than from below. This offers a different model of
‘Enlightenment’ than the one commonly advanced which still emphasises the
intellectual influence of philosophic ideas. The more sophisticated account
traditionally been absent from the field. This shift in analysis from
national security to human security (the security of
groups and individuals) reflects the transformations of the post-Cold
War era by combining military with non-military concerns such as
environmental damage, social unrest (refugees, rebellion and
revolution), economic mismanagement, culturalconflict, gender inequity
History, legend and memory in John Sayles’ Lone Star
how myths emerged on both sides of the
borderline, ‘partaking of influences from both cultures’ and
with ‘culturalconflict [seen as] many-layered’. 28 The multi-layered border
culture is reflected in and illuminated by the depth of reference that
Sayles builds into the genre memory that its audience draw upon to
comprehend its rich, complex and unfinished history. Like the action
that opens the film
Women, internal colonization and indigenous peoples
location or a new airstrip, and radar and weather equipment. Two
native bands were relocated to the area.
G. H. Michie and E. M. Neil, ‘Culturalconflict in the Canadian Arctic’, The Canadian
Geographer , 5 (1955), 22–41, at 41.
NAC MG28 I 17, 26
culturalconflict, 1764–1832 (Cambridge: Cambridge University Press, 1999), p. 1; Richard Haslam, ‘Irish gothic’, in Catherine Spooner and Emma McEvoy (eds), The Routledge companion to gothic (London: Routledge, 2007), p. 86. See also E.J. Clery, ‘The genesis of “Gothic” fiction’, in Jerrold E. Hogle (ed.), The Cambridge companion to gothic fiction (Cambridge: Cambridge University Press, 2002), p. 21.
See Franco Moretti, ‘The