This article examines gender equality in humanitarian diplomacy. To date, there has been no discussion of gender in relation to humanitarian diplomacy, which stands in contrast to an existing body of literature on gender and diplomacy. Gender is often discussed in relation to the recipients of humanitarian initiatives, but less is known about how gender impacts aid providers. This article argues that alike diplomacy as a masculine field with homosocial tendencies, these characteristics are also found in humanitarian diplomacy. Based on interviews with staff of the United Nations (UN) Office for the Coordination of Humanitarian Affairs (ocha), this exploratory case study of the UN’s gendered humanitarian diplomacy finds the following: In contrast to the UN’s mission of promoting gender equality, the current practices place men as the norm and women as the exception in the organization’s humanitarian diplomacy.
Portraits of the Roman emperors have been a focal point in the study of the ancient world. However, questions on how this medium developed over time and/or how perceptions of the emperor changed over more than four centuries of imperial rule, are constrained by the availability and accessibility of the material. This article introduces the Roman Imperial Portraits Dataset (ripd) to allow researchers to study the portraiture of Roman emperors through a more quantitative approach (). The dataset has systematically brought together more than 2,100 extant (i.e. published) portraits of the Roman emperors into a single dataset that can be used for further study. The article also introduces a web application with the aim to allow researchers and interested parties to work with the data(set) in an user-friendly manner.
As a semantic reaction against the miserabilism derived from the economic crisis and social instability of the first half of the nineteenth century, joie de vivre surfaced in France. It denotes enjoyment and the ability to recover from calamitous events. In The Insect (1857) by Jules Michelet, joie de vivre constitutes movement and architectural creation, epitomised in the beehive – ‘the veritable Athens of the Insect World’. Yet the sentiment turns ambiguous in La Joie de vivre (1883) by Émile Zola, for whom it is an attitude required not only to face the contradictions of modernity but also to succeed in the capitalist manipulation of nature through architecture. To explore how the built environment manifests emotional experience, this essay follows the trajectory of joie de vivre, from its appearance as an idiomatic amalgamation to other conceptual variations, including élan vital and jouissance.
This essay examines urban atmospheres and emotions in the 1898 essay collection London Impressions by British writer, poet and suffragist Alice Meynell. I argue atmospheres are spatialised emotions and investigate the atmospheric dimension of Meynell’s text and her impressions, through a vocabulary of immersion and movement. Within her own manipulation of a ‘visual’ vocabulary, Meynell transforms impressions into atmospheres, the visual into sensorial, moving from the painterly to atmospheric experience, notably through the medium of fog and smoke and other climate indicators. I argue urban atmospheres are the main feature the text brings forth (even through – and perhaps especially because of – the filter of the written word). By probing the application of the history of emotions’ methodologies within architectural and urban history, I argue the concept of ‘atmosphere’ is a productive analytical category to examine visual and textual sources.
Research on envy across cultures is scarce. Existing studies are predominantly limited to Eurocentric experimental snapshots. As a careful suggestion to diversify methods, samples and theory in envy-related studies, this essay presents a review and an interdisciplinary methodological suggestion to analyse semi-structured interviews of persons with diverse socialisation backgrounds. The essay illustrates that the triggers and objects of envy, its experience, associated expressions and actions, are shaped by socialised emotion norms and feeling rules, emotion socialisation practices, cultural values and social change. The essay concludes that careful qualitative comparisons between different culture socialisation groups in real-life situations and lifeworlds are remarkably absent from interdisciplinary research. This is an epistemological void, considering the significant contributions of ethnography in emotion research.