The end of the 'Euro-Mediterranean vision'

Relations between the European Union and North Africa have veered away from the political vision expounded under the Barcelona Process. The Union for the Mediterranean will likely deepen this trend. The Euro–Mediterranean space is increasingly characterized by competitive, containment-based and exclusionary security strategies. The more political dimensions of the partnership are now given short shrift and the EU appears inattentive to the dynamics of change within North African societies. Countries such as Spain and the UK have been overly passive in rescuing the Euro-Med vision from French diplomacy and the nature of relations between Europe and North Africa are increasingly out of sync with the changing international system.     

Europe's democracy trilemma

A truly democratic European Union seems to have become the graal of European politics, the project's redemptive promise and unreachable horizon. Much has been written about the gap between promise and performance and about the obstacles to EU democratization. Here, we suggest that one way to apprehend the ‘democratic deficit’ debate as it has evolved in the wake of the euro crisis is to think of it as a ‘democratic trilemma’. We argue that European legitimacy requires responses in different realms: first, an acknowledgement of Europe's ‘transnational democratic interdependence’; second, an anchoring of the functionalist European superstructure in ‘national democratic legitimacy’; and third, a grounding of both European and national power in ‘local democratic legitimacy’. While the very notion of trilemma points to the tensions that arise in trying to satisfy these requisites simultaneously, we nevertheless need to look for ways of alleviating the trilemma rather than coming up with democratic magic bullets in a single one of these realms. While our main goal is to reframe and open up the debate around the key concepts of empowerment, mutual recognition and flexibility, we also provide examples of what this may mean.     

The ‘new home front’ and the war on terror: ethical and political reframing of national and international politics

This article adopts the notion of the ‘new home front’ to consider the spatial complexity of the war on terror and the blurring of domestic and foreign policy divides. It considers the politics and ethics of the war in three main areas: new media and everyday life; liberalism under strain; and citizens’ lives, multiculturalism and gender. It discusses the increasing role of horizontal (bottom up) influences alongside vertical (top down) ones, not least in the context of new media, which adds the sociospatial (virtual) realm of online communications to the familiar geospatial (physical) world of politics. Implications of the extended nature of the war on terror are assessed, as well as the potential for developments that have been part of it to impact on the broader sphere of liberal international politics in the future.     

Engendering the Slum: Photography in East London in the 1930s

Photographs are not truthful records of reality. They are images that are always interpreted, and this essay looks at some critical interpretations of photographs taken in the 1930s of white working-class women in the streets of East London. It pays particular attention to two current critiques that tend to address two different kinds of photographs (and in so doing to constitute them as distinct genres): a Foucauldian account of photography as a form of disciplining surveillance, and a Lacanianinfluenced analysis of photography as a disruptive reminder of absence and death. By examining documentary photographs and family snapshots from the East End in the 1930s I argue, first, that both of these critical accounts require an explicit consideration of the constitution of sexual difference, since both implicitly reproduce regressive visions of (working-class) femininities. Secondly, I argue that feminist revisions of both should be deployed together in order to effect a destabilising critique of the constitution of sexual difference through photographs. I elaborate that argument by considering a third series of photographs, commissioned by Stepney Borough Council in 1937 to record housing condemned as slums in the borough. In discussing that series, I suggest that through its organisation of the spatiality and corporeality of the women photographed outside their houses that were to be demolished, a radically uncertain femininity is conjured.     

THE CROW DOWN HOARD, LAMBOURN, WEST BERKSHIRE

Summary.   The discovery of a hoard of five middle Bronze Age gold objects during a metal-detecting rally on the Lambourn Downs in 2004 precipitated an archaeological investigation into their character, provenance and context. This article describes the objects themselves, their composition, how they were made and their archaeological background. It also reports the result of forensic archaeological work undertaken on them. The parallels for the objects and the social context of their deposition are discussed.     

WOAD, TATTOOING AND IDENTITY IN LATER IRON AGE AND EARLY ROMAN BRITAIN

Summary. This paper explores the archaeological evidence for the practice of facial and corporeal dyeing, painting and tattooing in the later Iron Age and early Roman period. The aim is to construct a hypothesis which explains how, why, when and by whom such pigments were worn. Although this hypothesis discusses woad-derived indigo, this is used mainly, although not exclusively, as an experimental tool, as no conclusive archaeological evidence exists which reveals the identity of the 'real' pigment(s). Woad has also long held a place in the popular imagination as the source of the dye which the ancient Britons used to paint themselves.
This paper explores the possibility that the cosmetic grinder was the focal artefact used in body painting or tattooing, and was used for grinding and mixing body and face paint. It is suggested that, rather than being a 'Roman'-style tool for cosmetic application from the start, it may have begun life as an artefact first used by the later Iron Age Britons for body painting and expressing indigenous identities.