Introduction: Exploring the Comparative in Socio-Legal Studies

Among the diverse approaches to comparison in socio-legal studies those that employ qualitative research, richness of detail, and attention to context are the focus of this special issue. The Introduction draws on comparative law and social science literature to argue that comparison amongst studies of laws in contexts can follow different trajectories: the comparison may start from an assumption of similarity—in form, purposes, or context—in order to identify significant differences; or it may identify significant similarity across social and cultural divides. What unites many of the projects of comparison undertaken by qualitative empirical researchers is that the points of relevant comparison are identified within the complexity of the empirical studies at hand; and they are allowed to emerge, or change, as the researcher comes to understand the facts and issues more deeply.

‘Learning to be Zen’: Women travellers and the imperative to happy

This paper follows the emotional management of lone, independent women travellers as they move through tourist spaces, based on my doctoral research Embodiment and Emotion in the experiences of independent women tourists (2012). Specifically, this paper will focus on ‘gendering happiness’ by arguing that women travellers are significantly compelled to feel and display characteristics of happiness, humour and ‘learning to be Zen’ in order to be successful travellers. The imperative to become, and remain, happy and humorous in the face of embodied, emotional and gendered constraints is a key feature of women’s reflections of their travelling experiences, mirroring the recent emergence of literature into happiness and positive thinking within feminist theory (Ehrenreich 2010, Ahmed 2010). Negotiating ‘bad’ emotions provides a powerful insight into the perceptions of women travellers; to remain happy can mask problematic power relations and other forms of resistance. This is not to say that emotional negotiation is not partly a form of effective resistance, rather, I wish to make room for the freedom to be unhappy and angry in travelling space without feeling failure for not achieving a successful travelling identity.

The artist biopic: a historical analysis of narrative cinema, 1934-2010

The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. These examples can then be used as models for exploring similar sets of data from other countries and time periods. The specific topics chosen for discussion include the representation of a single painter, for example, Vincent Van Gogh, to see how the treatment of an artist varies across several countries and over seventy years. British artist biopics are analysed as a case study in relation to the idea of them posing as a national stereotype. Topics within sex and gender studies are highlighted in analysis of the representation of the female artist and the queer artist as well as artists who have lived together as couples. A number of well-known gallery artists have become directors of artist biopics and their films are considered to see what particular insights a professional working artist can bring to the portrayal of artistic genius and creation. In the concluding part of the thesis it is argued that the artist biopic overall has survived the bad press which some individual productions have received and can even be said to have matured under the influence of directors producing a quality product for the art house, festival and avant-garde distribution circuits. As a genre it has proved extremely adaptable and has reflected the changing attitudes towards art and artists within the wider community. It has both encouraged renewed interest in the work of established national artists and also raised the profile of those relatively obscure such as Séraphine de Senlis and Pirosmani.

Site parade

Recent surveys showing LGBT professionals’ heightened experience of homophobia on building site visits can be considered in the context of a growing body of literature on the gender and sexual identity in construction work. This analysis offers a theoretical perspective on the practical issues, examining the embodied nature of professionalism and the performative nature of the construction site visit: an instance where an intertwined personal/professional identity is on parade, confronting the dominant identities of the site, and thus itself challenged. The work draws on Goffman’s theories of social interaction and the works of Bourdieu on the nature of practice.