Party rules, party resources and the politics of parliamentary democracies How parties organize in the 21st century

This article introduces the first findings of the Political Party Database Project, a major survey of party organizations in parliamentary and semi-presidential democracies. The project’s first round of data covers 122 parties in 19 countries. In this article, we describe the scope of the database, then investigate what it tells us about contemporary party organization in these countries, focusing on parties’ resources, structures and internal decision-making. We examine organizational patterns by country and party family, and where possible we make temporal comparisons with older data sets. Our analyses suggest a remarkable coexistence of uniformity and diversity. In terms of the major organizational resources on which parties can draw, such as members, staff and finance, the new evidence largely confirms the continuation of trends identified in previous research: that is, declining membership, but enhanced financial resources and more paid staff. We also find remarkable uniformity regarding the core architecture of party organizations. At the same time, however, we find substantial variation between countries and party families in terms of their internal processes, with particular regard to how internally democratic they are, and the forms that this democratization takes.

On the Economics and Politics of Mobility

Exit, Voice and Political Change: Evidence from Swedish Mass Migration to the United States. During the Age of Mass Migration, 30 million Europeans immigrated to the United States. We study the long-term political effects of this large-scale migration episode on origin communities using detailed historical data from Sweden. To instrument for emigration, we exploit severe local frost shocks that sparked an initial wave of emigration, interacted with within-country travel costs. Because Swedish emigration was highly path dependent, the initial shocks strongly predict total emigration over 50 years. Our estimates show that emigration substantially increased membership in local labor organizations, the strongest political opposition groups at the time. Furthermore, emigration caused greater strike participation, and mobilized voter turnout and support for left-wing parties in national elections. Emigration also had formal political effects, as measured by welfare expenditures and adoption of inclusive political institutions. Together, our findings indicate that large-scale emigration can achieve long-lasting effects on the political equilibrium in origin communities. Mass Migration and Technological Innovation at the Origin. This essay studies the effects of migration on technological innovations in origin communities. Using historical data from Sweden, we find that large-scale emigration caused a long-run increase in patent innovations in origin municipalities. Our IV estimate shows that a ten percent increase in emigration entails a 7 percent increase in a muncipality’s number of patents. Weighting patents by a measure of their economic value, the positive effects are further increased. Discussing possible mechanisms, we suggest that low skilled labor scarcity may be an explanation for these results.  Richer (and Holier) Than Thou? The Impact of Relative Income Improvements on Demand for Redistribution. We use a tailor-made survey on a Swedish sample to investigate how individuals' relative income affects their demand for redistribution. We first document that a majority misperceive their position in the income distribution and believe that they are poorer, relative to others, than they actually are. We then inform a subsample about their true relative income, and find that individuals who are richer than they initially thought demand less redistribution. This result is driven by individuals with prior right-of-center political preferences who view taxes as distortive and believe that effort, rather than luck, drives individual economic success. Wealth, home ownership and mobility. Rent controls on housing have long been thought to reduce labor mobility and allocative efficiency. We study a policy that allowed renters to purchase their rent-controlled apartments at below market prices, and examine the effects of home ownership and wealth on mobility. Treated individuals have a substantially higher likelihood of moving to a new home in a given year. The effect corresponds to a 30 percent increase from the control group mean. The size of the wealth shock predicts lower mobility, while the positive average effect can be explained by tenants switching from the previous rent-controlled system to market-priced condominiums. By contrast, we do not find that the increase in residential mobility leads to a greater probability of moving to a new place of work.

Imperfect indifference : the rhythm, structure and politics of neutrality

Cette thèse propose l’émergence d’une poésie de l’entre deux dans la littérature expérimentale, en suivant ses développements du milieu du vingtième siècle jusqu'au début du vingt-et-unième. Cette notion d’entre-deux poétique se fonde sur une théorie du neutre (Barthes, Blanchot) comme ce qui se situe au delà ou entre l'opposition et la médiation. Le premier chapitre retrace le concept de monotonie dans la théorie esthétique depuis la période romantique où il est vu comme l'antithèse de la variabilité ou tension poétique, jusqu’à l’émergence de l’art conceptuel au vingtième siècle où il se déploie sans interruption. Ce chapitre examine alors la relation de la monotonie à la mélancolie à travers l’analyse de « The Anatomy of Monotony », poème de Wallace Stevens tiré du recueil Harmonium et l’œuvre poétique alphabet de Inger Christensen. Le deuxième chapitre aborde la réalisation d’une poésie de l’entre-deux à travers une analyse de quatre œuvres poétiques qui revisitent l’usage de l’index du livre paratextuel: l’index au long poème “A” de Louis Zukofsky, « Index to Shelley's Death » d’Alan Halsey qui apparait à la fin de l’oeuvre The Text of Shelley's Death, Cinema of the Present de Lisa Robertson, et l’oeuvre multimédia Via de Carolyn Bergvall. Le troisième chapitre retrace la politique de neutralité dans la théorie de la traduction. Face à la logique oppositionnelle de l’original contre la traduction, il propose hypothétiquement la réalisation d’une troisième texte ou « l’entre-deux », qui sert aussi à perturber les récits familiers de l’appropriation, l’absorption et l’assimilation qui effacent la différence du sujet de l’écrit. Il examine l’oeuvre hybride Secession with Insecession de Chus Pato et Erin Moure comme un exemple de poésie de l’entre-deux. A la fois pour Maurice Blanchot et Roland Barthes, le neutre représente un troisième terme potentiel qui défie le paradigme de la pensée oppositionnelle. Pour Blanchot, le neutre est la différence amenée au point de l’indifférence et de l’opacité de la transparence tandis que le désire de Barthes pour le neutre est une utopie lyrique qui se situe au-delà des contraintes de but et de marquage. La conclusion examine comment le neutre correspond au conditions de liberté gouvernant le principe de créativité de la poésie comme l’acte de faire sans intention ni raison.

Occupied childhoods: discourses and politics of childhood and their place in Palestinian and Pan-­Arab screen content for children

This thesis explores changing discourses of childhood and the ways in which power relations intersect with socio-cultural norms to shape screen-based media for Palestinian children. Situated within the interdisciplinary study of childhood, the research is an institutional and textual analysis that includes discursive and micro-level analysis of the socio-political circumstances within which children consume media in present-day Palestine. The thesis takes a social constructionist view, arguing that ‘childhood’ is not a fixed universal concept and that discourses of childhood are produced at specific historical moments as an effect of power. The study has a three-part research agenda. The first section uses secondary literature to explore theories and philosophies relating to definitions of childhood in Arab societies. The second employs participant observation and semi-structured interviews to understand the history and politics of children’s media in the West Bank. The final part of the research activity focuses on the impact that definitions of childhood and the politics of children’s media have on broadcasting outcomes through an analysis of (a) discourses on children’s media that circulate in Palestinian society, and (b) local and pan-Arab cultural texts consumed by Palestinian children. The analysis demonstrates that complex ideological and political factors are at play, which has led to the marginalisation, politicisation and internationalisation of local production for children. Due to the lack of alternatives, local producers often rely on international funding, and are hence forced to negotiate competing definitions of childhood, which while fitting with an international agenda of normalising the Israeli occupation, conflict culturally and politically with local conceptions of childhood and hopes for the Palestinian nation. While the Palestinian community appreciates the positive potential of local production, discourses and strategies around children’s media show that Palestinian children are constructed as vulnerable, incomplete and in constant need of guidance. Pan-Arab content presents a slightly less didactic approach and in certain cases presents childhood as a dynamic space of empowerment. However, by constructing children as ‘consumercitizens’, it alienates Arab (and Palestinian) children from disadvantaged backgrounds,as the preferred audience is middle-class children living in oil-rich countries of the Gulf.

Cultivating Subjectivities: The Class Politics of Convivial Labor in the Interstitial Spaces of Neoliberal Neglect

Thesis (Ph.D.)--University of Washington, 2016-08

The politics of establishing catchment management agencies in South Africa: the case of the Breede-Overberg Catchment Management Agency

We reflect on the politics of establishing catchment management agencies in South Africa with a specific focus on the Breede-Overberg Catchment Management Agency (BOCMA), which was recently replaced by the Breede-Gouritz Catchment Management Agency (BGCMA). We do so by applying the framework of adaptive comanagement and its institutional prescriptions: collaboration, experimentation, and a bioregional approach. We start by introducing the history of this catchment management agency (CMA) and then describe the establishment of CMAs in South Africa in general and that of BOCMA in particular. We follow the framework for rule types and types of river basin organizations set out by the editors of this special feature with reference to adaptive comanagement where applicable. We then discuss the politics and strategies involved in the introduction of the CMA concept to the National Water Act and the latest developments around these institutions in South Africa. This is followed by reflections on what can be surmised about BOCMA’s democratic functioning and performance to date. We conclude by reflecting on the future of operations of the new BGCMA and CMAs in South Africa in general. While our research shows that BOCMA’s establishment process has featured several elements of adaptive comanagement and its institutional prescriptions, it remains to be seen to what extent it is possible to continue implementing this concept when further developing and operationalizing the BGCMA and the country’s other CMAs.

The politics of negotiation and implementation: a reciprocal water access agreement in the Himalayan foothills, India

In this paper, we examine the on-the-ground realities of upstream-downstream negotiations and transactions over ecosystem services. We explore the engagement, negotiation, implementation, and postimplementation phases of a “reciprocal water access” (RWA) agreement between village communities and municipal water users at Palampur, Himachal Pradesh, India. We aim to highlight how external actors drove the payments for ecosystem services agenda through a series of facilitation and research engagements, which were pivotal to the RWA’s adoption, and how the agreement fared once external agents withdrew. In the postimplementation period, the RWA agreement continues to be upheld by upstream communities amidst evolving, competing land-use changes and claims. The introduction of cash payments for environmental services for forest-water relationships has given rise to multifaceted difficulties for the upstream hamlets, which has impeded the functionality of their forest management committee. Upstream communities’ formal rights and abilities to control and manage their resources are dynamic and need strengthening and assurance; these developments result in fluctuating transaction and opportunity costs not originally envisaged by the RWA agreement. The paper demonstrates the importance of an explicit understanding of the local politics of negotiation and implementation to determine the effectiveness of compensation-based mechanisms for the supply of ecosystem services.

“Refugee Voices,” New Social Media and Politics of Representation: Young Congolese in the Diaspora and Beyond

This article examines the role of new social media in the articulation and representation of the refugee and diasporic “voice.” The article problematizes the individualist, de-politicized, de-contextualized, and aestheticized representation of refugee/diasporic voices. It argues that new social media enable refugees and diaspora members to exercise agency in managing the creation, production, and dissemination of their voices and to engage in hybrid (on- and offline) activism. These new territories for self-representation challenge our conventional understanding of refugee/diaspora voices. The article is based on research with young Congolese living in the diaspora, and it describes the Geno-cost project created by the Congolese Action Youth Platform (CAYP) and JJ Bola’s spoken-word piece, “Refuge.” The first shows agency in the creation of analytical and activist voices that promote counter-hegemonic narratives of violence in the eastern Democratic Republic of Congo, while the second is an example of aesthetic expressions performed online and offline that reveal agency through authorship and ownership of one’s voice. The examples highlight the role that new social media play in challenging mainstream politics of representation of refugee/diaspora voices.

The politics of transformative harmony

This paper explores the idea of transformative harmony as a concern of the political. It proposes that the cultivation of harmony as a project of the Self is closely related to the political project of democracy as a quest for social harmony. This is in light of the view that social conflict can be seen as a collective manifestation of individual struggles to establish inner harmony. The paper, firstly, explores the idea that the quest for harmony is an intersubjective, as well as an intra-subjective, undertaking. This is in line with the Gandhian principle that societies ultimately reflect the level of enlightenment of the actors who form them. It also critiques the use of violence as a means of securing transformative harmony and social change. Finally, the paper discusses the way in which transformative harmony, in terms of its focus on the Self as the site for attaining the type of altered consciousness required to bring about social change, shares a philosophical basis with both ideas of ‘deep democracy’ and Habermasian discourse ethics. It is proposed that the project of transformative harmony represents, by default, a project to transform democratic praxis. Keywords: Harmony, politics, ethics, rights, duties, Gandhi, democracy, risk.

CONTEXTUALIZING THE POLITICS OF “BRAZILIAN” SPORT MEGA EVENTS

The first two decades of 21st century were times of great social, economic and political changes in Brazil where sport mega events (FIFA WC 2014, Rio 2016) played a key role in how the nation portrayed and promoted itself in a global scale. Despite the undeniable importance of Presidents Lula da Silva and Dilma Rousseff in attempt to present the country as global protagonist with more political power and social advancements, this works is intended to discuss and extended the discussion upon mega events as different ways of repeating old traditions and practices, (radically) contextualizing the role of other players and agents (sport officials, local politicians, sponsors and local media), their biases and interests, in accordance to traditional colonial processes and the dominant neo-liberal paradigm.

The Effects of World War II on Significant Composers of Music for the Flute

World War II was one of the most devastating events in history, and it profoundly affected European culture and art. I examined the period around World War II, and the effects it had on the lives of composers and their flute music. I investigated who wrote for flute during the war, what they were composing, and what effects, if any, the war had on them and their music. After examining the biographies of nine composers and studying eleven of their works, I found that in some cases the war affected their flute music, but in others the music shows no apparent influences of the war. Interestingly, most of the flute music written by composers affected by World War II was happy and joyful rather than dark and dismal. I performed three recitals during my research. I studied nine composers and performed some of their most important works for flute. Recital One is “Sonatas for Flute.” Recital Two is “Virtuosic Flute Music,” and my final recital is “Emotional Overview of Flute Music During World War II.” I discovered that many of these composers had to change their lives in drastic ways due to the war, but most them wrote music that had did not reflect the horror or destruction of war—perhaps music represented an escape from their horrible circumstances, or an effort to recall better times. I also found that a few of these composers used music to mock the Nazi regime. They used music as an emotional outlet, which could have been dangerous for them during that time. Other composers used music to share their own personal experiences while fighting in the war.

The politics of masculinity and/as emotion: Walt Whitman's celebration of male intimacy in the first person

This article sets out to demonstrate how the exclusive equation of emotions with femininity is a cultural and historical construction. It analyzes the close, though often veiled, relationship between masculinity and sentiment in American culture and history, especially with a view to demonstrating the political potential of men’s emotions to transform the existing social order. The argument is that friendships and emotional attachments between men could contribute not only to enriching men’s emotional lives but also, and above all, to erasing sexism, racism, and homophobia from our societies. It is argued that men’s friendships with other men might play a fundamental role in promoting greater social equality, as a number of Walt Whitman’s poems, all of them written in the first person, will help illustrate.

Napalm and After: The Politics of Grace Paley's Short Fiction

Comparatively few contemporary writers have accompanied American POWs home from Hanoi, been arrested on the White House Lawn, or been dragged off in shackles to serve time in the Greenwich Village Women's House of Detention. Paley's pacifist, socialist politics are also deeply rooted in a family past where memories were still fresh of Tsarist oppression - one uncle shot dead carrying the red flag, and parents who reached America only because the Tsar had a son and amnestied all political prisoners under the age of twenty-one. At this point, Paley's father (imprisoned in Archangel) and her mother (in exile) took their chances (and all their surviving relatives) and very sensibly ran for their lives. Her grandmother recalled family arguments around the table between Paley's father (Socialist), Uncle Grisha (Communist), Aunt Luba (Zionist), and Aunt Mira (also Communist). Paley's own street-wise adolescence involved the usual teenage gang fights, between adherents of the Third and Fourth Internationals. This article is copyright MHRA 2001, and is included in this repository with permission.

Gestural communication of music structure during solo classical piano performance

The production and perception of music is a multimodal activity involving auditory, visual and conceptual processing, integrating these with prior knowledge and environmental experience. Musicians utilise expressive physical nuances to highlight salient features of the score. The question arises within the literature as to whether performers’ non-technical, non-sound-producing movements may be communicatively meaningful and convey important structural information to audience members and co-performers. In the light of previous performance research (Vines et al., 2006, Wanderley, 2002, Davidson, 1993), and considering findings within co-speech gestural research and auditory and audio-visual neuroscience, this thesis examines the nature of those movements not directly necessary for the production of sound, and their particular influence on audience perception. Within the current research 3D performance analysis is conducted using the Vicon 12- camera system and Nexus data-processing software. Performance gestures are identified as repeated patterns of motion relating to music structure, which not only express phrasing and structural hierarchy but are consistently and accurately interpreted as such by a perceiving audience. Gestural characteristics are analysed across performers and performance style using two Chopin preludes selected for their diverse yet comparable structures (Opus 28:7 and 6). Effects on perceptual judgements of presentation modes (visual-only, auditory-only, audiovisual, full- and point-light) and viewing conditions are explored. This thesis argues that while performance style is highly idiosyncratic, piano performers reliably generate structural gestures through repeated patterns of upper-body movement. The shapes and locations of phrasing motions are identified particular to the sample of performers investigated. Findings demonstrate that despite the personalised nature of the gestures, performers use increased velocity of movements to emphasise musical structure and that observers accurately and consistently locate phrasing junctures where these patterns and variation in motion magnitude, shape and velocity occur. By viewing performance motions in polar (spherical) rather than cartesian coordinate space it is possible to get mathematically closer to the movement generated by each of the nine performers, revealing distinct patterns of motion relating to phrasing structures, regardless of intended performance style. These patterns are highly individualised both to each performer and performed piece. Instantaneous velocity analysis indicates a right-directed bias of performance motion variation at salient structural features within individual performances. Perceptual analyses demonstrate that audience members are able to accurately and effectively detect phrasing structure from performance motion alone. This ability persists even for degraded point-light performances, where all extraneous environmental information has been removed. The relative contributions of audio, visual and audiovisual judgements demonstrate that the visual component of a performance does positively impact on the over- all accuracy of phrasing judgements, indicating that receivers are most effective in their recognition of structural segmentations when they can both see and hear a performance. Observers appear to make use of a rapid online judgement heuristics, adjusting response processes quickly to adapt and perform accurately across multiple modes of presentation and performance style. In line with existent theories within the literature, it is proposed that this processing ability may be related to cognitive and perceptual interpretation of syntax within gestural communication during social interaction and speech. Findings of this research may have future impact on performance pedagogy, computational analysis and performance research, as well as potentially influencing future investigations of the cognitive aspects of musical and gestural understanding.