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In this piece I analyse Yoko Ono's recent artwork Mended Cups and link this to other creative works concerned with grief and mourning.

In this article I consider recent policies on care provision in Japan, including the employment of immigrant workers. My discussion is framed by Michel Foucault's concepts of 'biopower' and 'biopolitics': a mode of governmentality focused on the management of populations. In the current age of economic globalization, however, biopolitics also crosses national boundaries. Raewyn Connell has described a 'global gender order' whereby gender relations are shaped by power structures which transcend the level of the nation-state. This involves the connections between different local gender orders and gender orders which transcend the scale of the nation-state. The migration of care workers involves gendered structures in both sending and receiving countries, in interaction with other dimensions of difference, including class, caste, ethnicity and racialized positioning. In order to understand the relationships between the providers and receivers of care, it is necessary to bring together the insights of the nation-focused concept of biopolitics and the multileveled perspective of the 'global order of inequality' and the 'global order of difference'. Between the local and the global, there are also regional orders of inequality and regional orders of difference; care work involves relationships which are put into practice at local, intimate, interpersonal and embodied levels. Adapted from the source document.

This article surveys English-language writings on gender and modernity in Japanese history in the "long twentieth century." The discussion is organized around the themes of gendering the public sphere, feminism and the gendered state, gender and labor, and gender, sexuality, and cultural politics, with some closing reflections on emerging research themes which place the study of Japan's modernity in a transnational frame.

This article takes Doris Salcedo's work 'Atrabiliarios' (held in the San Francisco Museum of Modern Art) as the starting point for a discussion of the mechanisms of melancholy and fetishism. This is linked to a discussion of the politics of looking, museum displays and memory.

This article takes Doris Salcedo's work 'Atrabiliarios' (held in the San Francisco Museum of Modern Art) as the starting point for a discussion of the mechanisms of melancholy and fetishism. This is linked to a discussion of the politics of looking, museum displays and memory.