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US nuclear weapons and alliances in Europe and Asia

From the start of the Cold War to the presidency of Donald Trump, nuclear weapons have been central to the internal dynamics of US alliances in Europe and Asia. But cooperation on policy, strategy, posture and deployment of US nuclear weapons has varied significantly between US alliances and over time. Partners in Deterrence goes beyond traditional accounts that focus on deterrence and reassurance in US nuclear policy, and instead places the objectives and influence of US allies at the centre of analysis. Through a series of case studies informed by a rigorous analytical framework, it reveals that US allies have wielded significant influence in shaping nuclear weapons cooperation with the US in ways that reflect their own, often idiosyncratic, objectives. Combining in-depth empirical analysis with an accessible theoretical lens, Partners in Deterrence provides important lessons for contemporary policy makers and makes an essential contribution to existing scholarship on alliances and nuclear weapons.

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Steven Earnshaw

Is it artistically strong? Is it good as a picture? There was a time when I might have written in this way with a declared social object. That is all gone by. I have no longer a spark of social enthusiasm. Art is all I now care for, and as art I wish my work to be judged. (Gissing, 1930 , The Unclassed ) As a method, realism is a complete failure. (Oscar Wilde, 1891, ‘The Decay of Lying’) From Realism to modernism The group of writers that we have focused on in previous chapters regarded themselves as living in a new age which needed a new kind of

in Beginning realism
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Steven Earnshaw

, to blow a hair’s-breadth off The dust of the actual. (Elizabeth Barrett Browning, Aurora Leigh , II, 476–83) The previous chapters have focused on the novel from the middle of the nineteenth century onwards as being at the forefront of literary Realism. Indeed, many critics and theorists regard discussion of literary realism as one related solely to the novel genre. However, Realism was such a dominant force in the nineteenth century that poetry and drama were obliged to respond to it. That this was the order of influence is repeatedly borne out by

in Beginning realism
Radicalism, resistance and rebellion
Author: Gregor Gall

Punk rocker, Joe Strummer, was the most influential left-wing musician since the 1970s. Through The Clash especially, he was said to have changed countless people’s lives. But what were his politics and what was the nature of this influence on people’s lives?

The punk rock politics of Joe Strummer: Radicalism, resistance and rebellion finds he was a self-proclaimed socialist in his Clash years before this gave way to humanism. Despite that shift, he still desired social change and still used his lyrics and public platform to push for this progress.

Strummer provided political inspiration and sustenance to many through the cultural medium of music. He helped many find and maintain socialist and progressive world views, and this legacy lives on through his lyrics. This becomes evident when the testimonies gathered for this study speak of the influence of the lyrics from the likes of the Sandinista! album or the song, ‘Spanish Bombs’. They encouraged listeners not only to find out more about the issues and events covered but then to go out and try to do something about them too.

David Forrest

cinema: in short, British art cinema can and should have a place for what we might understand as poetic realism. By this, I mean a recurring tendency within British realism towards elements of stylisation, symbolism, narrative ambiguity and subjectivity, anchored by the traditional tenets of the mode: locational verisimilitude, a focus on under-represented or marginalised groups, and an awareness, explicit or otherwise, of the social and economic determinants of everyday life. Poetic realism is of course understood here as distinct from the historically, generically

in British art cinema
Open Access (free)
Peter Morey

overview 157 of exploitation, and even she begins to forego its trappings for a closer relationship with her employees. Viswanath is undeterred, however, bemoaning the ‘defeatist end constructed by a male writer for Dina … [wherein she is] reduced from female individualist to feminine subject’, as the author ‘offers his text on the altar of realism’21 [emphases added]. Viswanath’s is a strange, essentialist reading. Needless to say, the other two authors she examines in her comparative study get a better press. This is disappointing, particularly because there are

in Rohinton Mistry
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Richard Hewett

The Quatermass Experiment’s 1953 cast informs a notably diverse range of acting styles, from the emerging studio realism of Reginald Tate to the more gesturally inflected emoting of Van Boolen. The fact that some –​though by no means all –​of these performances were deemed worthy of censure by contemporary audiences and critics indicates that a studio ‘norm’ in acting terms had not, as yet, established itself, though audiences at least were beginning to develop some sense of what was acceptably ‘realistic’ from the ‘new’ medium of television. By the 1960s the

in The changing spaces of television acting
Steven Earnshaw

nineteenth-century Realist novelists would recognise, even if they would not necessarily put it in such codified terms. The cluster of characteristics proffered here defines a body of literature that dominated the literary scene, both aesthetically and in terms of popularity, from the end of the 1840s to the close of the nineteenth century. In Europe it starts to be superseded aesthetically by modernism, most noticeably from the 1880s onwards, while Realism gathers momentum in the United States only towards the end of the nineteenth century. Realism has continued to be

in Beginning realism
Steven Earnshaw

which is ‘the Realist novel’. That is, Realist novels are Realist to a greater or lesser degree when set alongside what is deemed typical of the Realist novel. This is not a circular argument – ‘Realism’ exists as a term because at a particular historical period there were a number of prominent artists, writers and critics arguing for this named aesthetic and philosophical approach, and this was related to (and drawn from) the art, writing and criticism which these writers and artists produced. The reason why there is no archetypal Realist novel is that it has a broad

in Beginning realism
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Hugo Frey

question will highlight other traditions quite distinct from classical realism, that also feature in Malle’s work. Understanding the unlikely partnership of surrealism and documentary film-making in Mallean aesthetics is important to any introduction to the director. This synthesis of film-making styles is characteristic of an artist whose work is best interpreted through its own contradictions rather than against them. The

in Louis Malle