By R. Bleiker
This booklet provides one of many first systematic exams of aesthetic insights into global politics. It examines the character of aesthetic techniques and descriptions how they fluctuate from conventional research of politics. The booklet explores the capability and bounds of aesthetics via a sequence of case reviews on language and poetics.
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Additional resources for Aesthetics and World Politics (Rethinking Peace and Conflict Studies)
95 Engagements with literature more generally are among the most extensive contributions to the aesthetic turn in international political theory. Numerous authors have sought to rethink political dilemmas by engaging them through fictional sources and by theorising the importance that narrative plays in our representation and understanding of the political. 96 I would like to highlight two examples that illustrate the issues at stake in the links between literature and world politics. 97 Travelogues are a curious intermediate literary genre.
Hardly anyone would disagree, for instance, with the proposition that the conflict in Iraq emerged from both material and human factors, or that the UN was created as a result of certain ideational constellations at the end of the Second World War. Even the most ardent defender of realism would not see political institutions and events as naturally given. The key issues, rather, revolve around how to understand and interpret these products of ideational and material forces. And here significant differences are evident between constructivist and postmodern contributions.
90 Krippendorff does so directly. He stresses that the theatre’s dialogical nature always contained the possibility of an alternative course of action. And it infused the ensuing critical spirit into the public realm, for the Athenian theatre at the Acropolis could accommodate up to 17,000 people, or about a quarter of all citizens. Entries to the spectacle were subsidised, thereby creating a public sphere whose vibrancy may have surpassed the far more apathetic civil society of our days. And yet, Krippendorff believes that despite their remarkable celebration of political theatre, the Greeks did not take their tragedies seriously enough.
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