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Barry Buzan & Lene Hansen (2009) note that the first glimmer of concern with women and security within international relations and peace studies was a site of tension: in the 1970s and into the 1980s, women were not on the agenda of international relations at all. Peace theorists embraced the concept of structural violence but also excluded women from their discussions. There are now new inclusion/exclusion tensions within feminist international relations and its security wing. In this article I address two tensions: (1) concern to maintain the stance that security is a peace issue as some venture systematically into feminist war studies, and (2) a tendency to issue harsh judgements of feminists whose views challenge the accommodation of cultural difference. I briefly consider examples of these two tensions and suggest ways to work with and beyond the structure of international relations to 'evolve' (feminist) security studies further.

This essay analyzes the musical performances of Leslie Mah, biracial lead guitarist and backup vocalist for the legendary all-female, queercore punk band Tribe 8, whose members broke up in 2005 after fifteen years together. Inspired by the recent turn in performance studies toward studies of music as performance, this work employs multiple methods and objects to get at the complex totality of popular music's performativity. Mah's macha femme persona, playing style, and performance of identity as a lesbian woman of color within queercore punk music allow her to enter a carnivalesque realm of feminist menace, palpable rage, and unruly pleasure. Mah's performance strategies and articulations of her queer and biracial identities in interviews are contextualized within feminist performance, riot grrrl, and punk music studies. Tribe 8's lyrics, music, marketing, and band member personas provide cultural context for Mah's distinctive performance of macha femme.

La historia de las representaciones (artísticas y políticas) es también una historia de in/ visibilizaciones y des/legitimaciones. Forma parte, a su vez, de la historia del conocimiento; de aquel conocimiento (suficientemente) representativo: un saber sensible donde el cuerpo cuenta; aunque esto no significa que todos los cuerpos cuenten lo mismo. Caminando entre apariciones inesperadas de cuerpos malditos y personajes mal dichos, de idiotas, de locas, de lenguaraces y tapadas, y aventurándonos en la lectura cruzada de diferentes obras y acontecimientos históricos, este artículo trata de remarcar la existencia de ciertas prácticas culturales y políticas capaces de reorganizar el campo del saber y de la representación; capaces de contar y tener en cuenta otras historias. ; ABSTRACT: The history of (artistic and political) representations is a history of invisibilization and deslegitimation as well. It is also part of the history of knowledge; of that knowledge (enough) representative: a sensitive knowledge where the body matters, though this does not mean that everybody matters the same. Walking among unexpected apparitions - idiots, insane women, talkative and foul - mouthed people, head covered women - and trying to make a cross reading of different works and historical events, this article aims to highlight the existence of some cultural and political practices able to re - organize the field of knowledge and representation; able to tell and take into account other kind of stories.

"Women as Objects and Commodities" published on by Oxford University Press.

Does `gender' as a category of analysis or as a central feature of a logic of explanation alter in significant ways Kenneth Waltz's famous `levels of analysis' as developed in his classic, Man, the State, and War? One overriding claim of feminist international relations has been that `gender' alters all levels of analysis; thus, changing `man' to `woman' in the formulation `man, the state, and war' significantly transforms our understanding of international relations. I evaluate this claim critically by assessing the adequacy of feminist formulations on each of Waltz's levels of analysis and, further, by unpacking Waltz's own understanding of these levels. I conclude that Waltz remains enormously helpful in deconstructing reductionist accounts, especially on the `first level' of analysis, but that his own account is problematic insofar as it insists on a `structural analysis' sundered from his levels 1 and 2, namely, wars flow from human nature or, alternatively, from the domestic ordering of states. I point out that Waltz himself leaves some `wiggle room' in his book that permits one to `plug in' features of the first two levels of analysis that are critical to understanding the structural level. In other words, all three levels must be in play if one is to craft a compelling explanatory framework.

Riot grrrl began as an independent music and political movement in the early 1990s emerging initially in the USA and few years later in the UK. From the beginning riot grrrl embraced a 'do-it-yourself' ethos operating outside the mainstream music business organising independent music festivals, workshop events and encouraging self-published fanzines (fan magazines which were distributed primarily through word of mouth, music gigs, artists and zine book fairs or by post). These zines became recognisable forms of personal expression and made visible a specific DIY approach alongside the development of a coherent style of graphic language in the producer's use of the photocopier, handwritten and graffiti texts, cut-n-paste and ransom note lettering style, collage and the co-option of mainstream media imagery. These production techniques made fanzine publishing accessible and played a central role in the development of a non-hierarchical community. The main intent of this talk is to explore the idea of 'event as performance' using as a case study the specific activities of riot grrrl and focussing on a series of international events called 'LadyFests' and the graphic language of self-published riot grrrl fanzines. This will be achieved by examining the origins of today's riot grrrl performances (e.g. theatre, spoken word, music events) in 1970s feminist art, as well as locating the activities within the specific context of their counter-cultural predecesors including punk and punk performance.