Public/private, connected/disconnected

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Popular visual language as global communication: the remediation of United Airlines flight 93

This article argues that while the linguistic turn in mainstream IR is important in broadening how IR approaches global communications, the linguistic turn has its limitations because mainstream IR tends to, in Mattelarts terms, `ex-communicate the visual from the linguistic. This is highly problematic, considering, firstly, that popular visual language is increasingly the language that amateurs and experts rely upon in order to claim contemporary literacy and, secondly, that much politics is conducted through popular visual language. If the challenge of this Special Issue is to think about how to bring the discipline of IR to meaningful, political life, then a very good place to start is by asking mainstream IR (again) to take popular visual language seriously as an important aspect of contemporary global communication. This article makes this demand of the discipline of IR. It does so by presenting a case-study the official US remediation of United Airlines Flight 93 as an illustration of how contemporary global communications move from the textual to the visual and of what is lost in not taking this move seriously. In particular, it claims that by failing to analyse popular visual language as integral to global communications, mainstream IR risks misunderstanding contemporary subjectivity, spatiality, and temporality

Interruption Ashley

Rather than reading the work of Richard K. Ashley as iconic as some dead, stable image used to signify the whole of post-modern or post-structural International Relations (IR) in a single swoop this article considers Ashley's work as an interruption to the discipline of IR (mainstream and critical). In so doing, the article suggests that what is important about Ashley's work is how it creates a thinking space where it is possible to think again about international politics, about international theory, about what Ashley's interruption itself permits and limits and about how this interruption unfolds and sometimes folds back on itself

‘What is told is always in the telling’: reflections on 'Faking it' in 21st century IR/global politics

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Thinking about Queer Wars: ‘international polarization’ and beyond

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The Trump presidency, episode 1: simulating sovereignty

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Gendered and sexualized figurations of security

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Queer international relations

Queer International Relations (IR) is not a new field. For more than 20 years, Queer IR scholarship has focused on how normativities and/or non-normativities associated with categories of sex, gender, and sexuality sustain and contest international formations of power in relation to institutions like heteronormativity, homonormativity, and cisnormativity as well as through queer logics of statecraft. Recently, Queer IR has gained unprecedented traction in IR, as IR scholars have come to recognize how Queer IR theory, methods, and research further IR’s core agenda of analyzing and informing the policies and politics around state and nation formation, war and peace, and international political economy. Specific Queer IR research contributions include work on sovereignty, intervention, security and securitization, torture, terrorism and counter-insurgency, militaries and militarism, human rights and LGBT activism, immigration, regional and international integration, global health, transphobia, homophobia, development and International Financial Institutions, financial crises, homocolonialism, settler colonialism and anti-Blackness, homocapitalism, political/cultural formations, norms diffusion, political protest, and time and temporalitie

Encountering violence: terrorism and horrorism in war and citizenship

This article introduces Adriana Cavarero's concept of “horrorism” into International Relations (IR) discussions of the relationship between war and citizenship. Horrorism refers to a violent violation of vulnerable humans who are defined by their simultaneous openness to the other's care and harm. With its motif of physical and ontological denigration, horrorism offends the human condition by making its victims gaze upon and/or experience repugnant violence and bodily disfiguration precisely when the vulnerable are most in need of care. The article argues that horrorism complicates disciplinary understandings of contemporary violence which tend to see terrorism, but not horrorism, in war and which generally neglect to theorize how violence—and particularly horrorism—is embedded in, and exchanged, through state/citizen relationships. To elaborate these arguments, the article analyses three pieces of war art: Jeremy Deller's “Baghdad, 5 March 2007,” Donald Gray's mural, “Operation Iraqi Freedom,” and a still image from Cynthia Weber's film, “Guadalupe Denogean: ‘I am an American.’” By taking the War on Terrorism as their subject, these pieces demonstrate how war makes visible the terror and horror in state/citizen relationships. The article concludes by reconsidering how encountering signs of horrorism might broaden our frames of war and further our empathic vision toward the precarious victims of horrorism or, alternatively, might confirm the patriotic allegiances of imperial citizens in ways that further bind their citizenship to state political and economic violence and narrow the scope for genuine empathy

Using Empirical Information in the Era of HIV/AIDS to Inform Mitigation and Rural Development Strategies: Selected Results from African Country Studies

Community/Rural/Urban Development, Health Economics and Policy, Downloads July 2008-March 2009: 7,