Suchergebnisse

Introduction -- 1. Objects among objects -- 2. Intellectuals as experts -- 3. The final core of uncertainty -- 4. Humanitarianism, humanity, human -- 5. Memory and the future -- 6. Loss of loss -- 7. Tracing disappearance -- 8. Stardust -- 9.. The grenfell tower file -- 10. From one world to another Conclusion.

Despite the imperative for change in a world of persistent inequality, racism, oppression and violence, difficulties arise once we try to bring about a transformation. As scholars, students and activists, we may want to change the world, but we are not separate, looking in, but rather part of the world ourselves. The book demonstrates that we are not in control: with all our academic rigour, we cannot know with certainty why the world is the way it is, or what impact our actions will have. It asks what we are to do, if this is the case, and engages with our desire to seek change. Chapters scrutinise the role of intellectuals, experts and activists in famine aid, the Iraq war, humanitarianism and intervention, traumatic memory, enforced disappearance, and the Grenfell Tower fire, and examine the fantasy of security, contemporary notions of time, space and materiality, and ideas of the human and sentience. Plays and films by Michael Frayn, Chris Marker and Patricio Guzmán are considered, and autobiographical narrative accounts probe the author's life and background. The book argues that although we might need to traverse the fantasy of certainty and security, we do not need to give up on hope.

The face is central to contemporary politics. In Deleuze and Guattari's work on faciality we find an assertion that the face is a particular politics, and dismantling the face is also a politics. This book explores the politics of such diverse issues as images and faces in photographs and portraits; expressive faces; psychology and neuroscience; face recognition; face blindness; facial injury, disfigurement and face transplants through questions such as:What it might mean to dismantle the face, and what politics this might entail, in practical terms?What sort of a politics is it? Is it already.

Vol. 1 Critical spaces, theoretical resources -- Vol. 2 Empirical interventions 1: economy, development, identity -- Vol. 3 Empirical interventions 2: movement, violence and accountability -- Vol. 4 The future of critical international relations: protest, aesthetics, pedagogy.

"We see famine and look for the likely causes: poor food distribution, unstable regimes, caprices of weather. A technical problem, we tell ourselves, one that modern social and natural science will someday resolve. Jenny Edkins responds to the contrary: famine in the contemporary world is not the antithesis of modernity but its symptom. A critical investigation of hunger, famine, and aid practices in international politics, Whose Hunger? shows how modernity frames our understanding of famine--and, consequently, shapes our responses. Edkins examines Malthus and the origins of famine theory in notions of scarcity. Drawing on the work of Lacan, de Waal, Foucault, Zizek, and particularly Derrida, she considers Amartya Sen's entitlement approach, the Band Aid/Live Aid events, and food for work projects in Eritrea as examples of the technologization and repoliticization of famine. From the politics of famine to the practices of aid, from the theories of modernity to the complex emergencies of modern life, from the broad view to the telling detail, this searching book takes us closer to a clear understanding of some of the worst ravages of our time"--Provided by publisher

Despite the imperative for change in a world of persistent inequality, racism, oppression and violence, difficulties arise once we try to bring about a transformation. As scholars, students and activists, we may want to change the world, but we are not separate, looking in, but rather part of the world ourselves. The book demonstrates that we are not in control: with all our academic rigour, we cannot know with certainty why the world is the way it is, or what impact our actions will have. It asks what we are to do, if this is the case, and engages with our desire to seek change. Chapters scrutinise the role of intellectuals, experts and activists in famine aid, the Iraq war, humanitarianism and intervention, traumatic memory, enforced disappearance, and the Grenfell Tower fire, and examine the fantasy of security, contemporary notions of time, space and materiality, and ideas of the human and sentience. Plays and films by Michael Frayn, Chris Marker and Patricio Guzmán are considered, and autobiographical narrative accounts probe the author's life and background. The book argues that although we might need to traverse the fantasy of certainty and security, we do not need to give up on hope.

The faces of the missing are held aloft on placards in demonstrations or posted on walls in the aftermath of disappearances. They appear massed on the pages of newspapers and in the displays of genocide museums. Often nothing more than family snapshots given a public place, such images can be compelling. Although photographs of atrocity and war have frequently been discussed, little attention has been paid to these other images: images that do not show suffering but still seem, at least potentially, to be politically effective. How do these photographs work? What form of personhood do they instantiate and what politics do they point to? How are they different from other photographs? This article examines what might be special about a photograph, especially a photograph of a face, and how its political impact might be understood. Drawing on Lacanian psychoanalytic concepts of trauma and subjectivity, the article suggests that a photograph embodies in its very temporal structure a personhood that is inimical to contemporary structures of sovereign power. The destabilizing political potential of a photograph, like that of certain forms of literary text, could be understood as arising from its potential as an encounter with the trauma that inhabits sovereign power and sovereign subjectivity but that is generally concealed. The account presented offers an alternative approach to the analysis of the politics of a photograph and gestures toward other manifestations of personhood and politics.

Prompted by Elizabeth Dauphinee's The Politics of Exile, the article explores the political potential of novel ways of writing in international relations. It begins by examining attempts to distinguish between narrative writing and academic writing, fiction and non-fiction, and to give an account of what narrative might be and how it might work. It argues that although distinctions between narrative writing and academic writing cannot hold, there are nevertheless ways of judging the practical political effects that writing can produce. It briefly examines feminist, postcolonial and other international relations scholars who collect other people's stories or tell their own, and points to an instructive body of work in fiction and literary non-fiction beyond the discipline. It argues that writing that disrupts linear forms of temporality and instead inhabits 'trauma time' can open the possibility of an aesthetic political practice, and suggests that we foster such a creative practice in international relations.