The aim of the article is to discuss Jasmila Žbanić’s Esma’s Secret, On the Path and For Those Who Can Tell No Tales as a trilogy addressing the consequences of Bosnian War. The films are considered in the theoretical framework of women’s cinema as world cinema, exploring their location in relation to globalization. The article hence analyses each film’s aesthetic in light of influential feminist concepts and theories such as Rey Chow’s age of the world target, Adriana Cavarero’s horrorism and (...) caring, E Ann Kaplan’s trauma and Judith Butler’s ethics. In these films the violated body is neither victimized nor considered as a natural being: each character is a biopolitical subject, geo-culturally located, and produced through processes originating from dynamics of power and responsibility, guilt and care. (shrink)

A gendered reading of the liberal peacebuilding and transitional justice project in Bosnia–Herzegovina raises critical questions concerning the quality of the peace one hopes to achieve in transitional societies. By focusing on three-gendered justice gaps—the accountability, acknowledgement, and reparations gaps—this article examines structural constraints for women to engage in shaping and implementing transitional justice, and unmasks transitional justice as a site for the long-term construction of the gendered post-conflict order. Thus, the gendered dynamics of peacebuilding and transitional justice have produced (...) a post-conflict order characterized by gendered peace and justice gaps. Yet, we conclude that women are doing justice within the Bosnian–Herzegovina transitional justice project, and that their presence and participation is complex, multilayered, and constrained yet critical. (shrink)

A gendered reading of the liberal peacebuilding and transitional justice project in Bosnia–Herzegovina raises critical questions concerning the quality of the peace one hopes to achieve in transitional societies. By focusing on three-gendered justice gaps—the accountability, acknowledgement, and reparations gaps—this article examines structural constraints for women to engage in shaping and implementing transitional justice, and unmasks transitional justice as a site for the long-term construction of the gendered post-conflict order. Thus, the gendered dynamics of peacebuilding and transitional justice have produced (...) a post-conflict order characterized by gendered peace and justice gaps. Yet, we conclude that women are doing justice within the Bosnian–Herzegovina transitional justice project, and that their presence and participation is complex, multilayered, and constrained yet critical. (shrink)

The Spiral Staircase, Karen Armstrong’s self-narrative, shows the limitations of theological or religious reflections within a specific religious community. Leaving the Sisters of Charity for a tumultuous academic life, historian of religion Karen Armstrong lives a wrenching ontological dislocation that originates in her undiagnosed epilepsy and negative body experiences. Using semiotician Algirdas Greimas’s ‘Semiotic Square’ as an interpretive strategy, the unresolved tensions and contradictions exposed in the deep narrative structure of this non-traditional conversion memoir are resolved by ‘compassion’ at the (...) manifest level. Armstrong’s experiences, both in and out of the convent, will inform her academic study and lead her to compassionate solidarity with the marginalized. Armstrong’s memoir reveals various internal and external forces that shape an individual woman’s way of being in the world, and that inform her investigation of multiple faith practices and beliefs. In a time of mass refugee migration and ‘homelessness’, the one woman, the one ‘other’, matters in how one thinks about the body and about God. (shrink)