Dry your eyes princess : an analysis of gender and 'other' based discources in police organisations

This paper examines the literature relevant to an analysis of gender and discourse in police organisations with a view to testing it through research. Much of the literature on policing can be divided into four key topic areas: the features and construction of police culture; women’s integration into policing; organisational structures and styles of police leadership; and debates about the nature of police work. An examination of the literature has revealed a deficiency of research in discourses within policing and in particular, the impact of discourses on gender and police training. Assumptions underpinning the research project and supported by literature include: formal and informal structures and practices within organisations produce and reproduce gender relations; power, gender relations and masculinity are characteristics of police culture; discourses are products and resources of interactions which establish particular truths; and police organisations have been slow to respond to anti-discrimination legislation and to integrate women into police services. Critical to any analysis of culture, power, gender, discourses, difference, and subjectification is the dynamic and complex nature of culture. Applying Shearing’s and Ericson’s definition of culture as ‘figurative logic’ has resonance in police organisations where symbols, rhetoric and metaphors function as vehicles for discourses.

Animating child activism: Environmentalism and class politics in Ghibli’s Princess Mononoke (1997) and Fox’s Fern Gully (1992)

 Informed by ecocriticism, this article conducts a comparative examination of two contemporary animated children’s films, Princess Mononoke (1997) and Fern Gully (1992). While both films advocate for the prevention of deforestation, they are, to varying degrees, antithetical to environmentalism. Both films reject the principles of deep ecology in displacing responsibility for environmental destruction on to ‘supernatural’ forces and exhibit anthropocentric concern for the survival of humans. We argue that these films constitute divergent methodological approaches for environmental consciousness-raising in children’s entertainment. The western world production demonstrates marked conservatism in its depiction of identity politics and ‘cute’ feminization of nature, while Hayao Miyazaki’s film renders nature sublime and invokes complex socio-cultural differences. Against FernGully’s ‘othering’ of working-class and queer characters, we posit that Princess Mononoke is decidedly queer, anti-binary and ideologically bi-partisan and, in accord with the underlying principle of environmental justice, asks child audiences to consider compassion for the poor in association with care for nature.