This book analyses the way in which the North Atlantic Treaty Organisation (NATO) defines the West after the end of the Cold War and the demise of its constitutive 'Other', the Soviet Union. The book offers a theoretical critique of liberal approaches to security, and focuses on NATO's construction of four geo-cultural spaces that are the sites of particular dangers or threats, which cause these spaces to be defined as the 'enemy' of the West. While this forges a collective Western identity, effectively achieved in the 1990s, the book also includes an analysis of NATO's involvement in the War on Terror - an involvement in which the Alliance fails to define a coherent West, thereby undermining the very source of its long-standing political cohesion. Contributing to theoretical development within Critical Security Studies, Behnke draws on a variety of approaches to provide an analytical framework that examines the political as well as philosophical problems associated with NATO's performance of security and identity, concluding that in the modern era of globalized, non-territorialized threats and dangers, NATO's traditional spatial understanding of security is no longer effective given the new dynamics of Western security. NATO's Security Discourse after the Cold War will be of great interest to students and researchers of International Relations, Critical Security Studies and International Organizations.

This book seeks to address and fill a puzzling omission in contemporary critical IR scholarship. Following on from the aesthetic turn in IR, critical and postmodern IR has produced an impressive array of studies into movies, literature, music and art and the way these media produce, mediate, and represent international politics. By contrast, the proponents of the aesthetic turn have consistently overlooked and ignored fashion as a source of knowledge about global politics.

Yet stories about the political role of fashion abound in the news media. In Afghanistan, the terror of the Taliban regime and the plight of women was illustrated by reference to the burqa that women are supposedly forced to wear there. In Sudan, recently a female writer and activist successfully challenged the government over her right to wear trousers in public. In Europe, the debate on women s headscarves has politicised a garment item and turned it into a symbol of fundamentalism and oppression. In the war on terror, orange jumpsuits are used on both sides to dehumanise and mark the figure of the detainee . Yet the politics of fashion go beyond these examples of the uses and abuses of textiles and fabrics for political purposes, extending into its very grammar and vocabulary.

The contributions to this book will investigate the politics of fashion from a variety of perspectives, addressing theoretical as well as empirical issues, establishing the critical study of fashion and its protagonists as a central contribution to the aesthetic turn in international politics.

This work will be a unique contribution to the field and will be of interest to students and scholars of international relations, critical IR theory and popular culture and world politics. "

Despite a plethora of studies devoted to it, the current understanding of al-Qaeda and the threat it poses remains vague and ambiguous. Is al-Qaeda a rigidly structured organisation, a global network of semi-independent cells, a franchise, or simply an ideology? What role did Osama bin Laden play within the group and its terrorist campaign? What does it mean to talk about the "global Salafi-jihad" threat allegedly confronting the West? In addressing such questions many writers have sought to offer definitive answers, yet overall the truth about al-Qaeda remains elusive. This book moves beyond this traditional approach in order to investigate and critically assess how such answers reflect the particular epistemological frameworks within which they are produced. Its chapters explore the varied contexts within which the obscure entity labelled al-Qaeda is constituted as a comprehensible object of political, strategic, cultural, and scientific knowledge, and within which 'terrorism' is rendered an experience of quotidian life. This volume offers a much-needed critical reflection on Western ways of talking and of thinking about the frightening experience of global terrorism. In trying to know how we know al-Qaeda, it offers us an opportunity to try to know ourselves and our often hidden assumptions about legitimacy, violence, and political purpose.

Despite a plethora of studies devoted to it, the current understanding of al-Qaeda and the threat it poses remains vague and ambiguous. Is al-Qaeda a rigidly structured organisation, a global network of semi-independent cells, a franchise, or simply an ideology? What role did Osama bin Laden play within the group and its terrorist campaign? What does it mean to talk about the "global Salafi-jihad" threat allegedly confronting the West? In addressing such questions many writers have sought to offer definitive answers, yet overall the truth about al-Qaeda remains elusive. This book moves beyond this traditional approach in order to investigate and critically assess how such answers reflect the particular epistemological frameworks within which they are produced. Its chapters explore the varied contexts within which the obscure entity labelled al-Qaeda is constituted as a comprehensible object of political, strategic, cultural, and scientific knowledge, and within which 'terrorism' is rendered an experience of quotidian life. This volume offers a much-needed critical reflection on Western ways of talking and of thinking about the frightening experience of global terrorism. In trying to know how we know al-Qaeda, it offers us an opportunity to try to know ourselves and our often hidden assumptions about legitimacy, violence, and political purpose.

This book analyses the way in which the North Atlantic Treaty Organisation (NATO) defines the West after the end of the Cold War and the demise of its constitutive Other, the Soviet Union.

The book offers a theoretical critique of liberal approaches to security, and focuses on NATO s construction of four geo-cultural spaces that are the sites of particular dangers or threats, which cause these spaces to be defined as the enemy of the West. While this forges a collective Western identity, effectively achieved in the 1990s, the book also includes an analysis of NATO s involvement in the War on Terror an involvement in which the Alliance fails to define a coherent West, thereby undermining the very source of its long-standing political cohesion. Contributing to theoretical development within Critical Security Studies, Behnke draws on a variety of approaches to provide an analytical framework that examines the political as well as philosophical problems associated with NATO s performance of security and identity, concluding that in the modern era of globalized, non-territorialized threats and dangers, NATO s traditional spatial understanding of security is no longer effective given the new dynamics of Western security.

NATO s Security Discourse after the Cold War will be of great interest to students and researchers of International Relations, Critical Security Studies and International Organizations."

This book seeks to address and fill a puzzling omission in contemporary critical IR scholarship. Following on from the aesthetic turn in IR, critical and 'postmodern' IR has produced an impressive array of studies into movies, literature, music and art and the way these media produce, mediate, and represent international politics. By contrast, the proponents of the aesthetic turn have overlooked fashion as a source of knowledge about global politics. Yet stories about the political role of fashion abound in the news media. Margaret Thatcher used dress to define her political image, and more recently the fascination with Michelle Obama, Carla Bruni and other women in similar positions, and the discussions about the appropriateness of their wardrobes, regularly makes the news. In Sudan, a female writer and activist successfully challenged the government over her right to wear trousers in public and in Europe, the debate on women's headscarves has politicised a garment item and turned it into a symbol of fundamentalism and oppression. In response, the contributors to this book investigate the politics of fashion from a variety of perspectives, addressing theoretical as well as empirical issues, establishing the critical study of fashion and its protagonists as a central contribution to the aesthetic turn in international politics. The politics of fashion go beyond these examples of the uses and abuses of textiles and fabrics for political purposes, extending into its very 'grammar' and vocabulary. This book will be a unique contribution to the field and will be of interest to students and scholars of international relations, critical IR theory and popular culture and world politics.