By Johan Eriksson, Giampiero Giacomello
Examines the influence of the knowledge revolution on overseas and household defense, trying to therapy either the shortcoming of theoretically educated research of knowledge defense and the US-centric tendency within the present literature.
content material: pt. 1. The politics of threats --
pt. 2. The politics of protection.
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Extra resources for International relations and security in the digital age
Electronic warfare’ has been an established concept and practice within the military for several decades. But for most traditionalists (and realists imprimis), information technologies are merely a new fancy add-on (compare Lonsdale 1999; Everard 2000: 109; Biddle 2004). IR theory and digital-age security 11 Regardless of the theoretical perspective advocated, there is obviously a gap to be filled in security studies: to address the impact of the information revolution for the general understanding of security in the contemporary world, as well for explaining variation in security relations and policies across the world.
Mearsheimer, however, endevours in his most recent book, The Tragedy of Great Power Politics (2001), to fill the gap left by Waltz by laying the groundwork for a neorealist theory that is not only logically consistent, but also applicable to the study of foreign and security policy. In principle, realists do not see a need to revise their theories for understanding security in the digital age. The state is still seen as 12 Johan Eriksson and Giampiero Giacomello the main and sometimes only important actor.
Adler (2002: 108, 110) has also suggested that constructivists should focus more on the individual. In terms of providing frameworks for understanding world politics, constructivism is clearly much more heterogeneous than realism and liberalism (Checkel 1997; Fearon and Wendt 2002: 56). If there is anything resembling a core constructivist theorem on what forces shape world politics or social reality in general, it goes something like this. At the most basic level, actors have a set of norms – beliefs about right and wrong.