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China and the concept of multipolarity in the post Cold War era
Nicholas Khoo and Zhang Qingmin

In the familiar Grimm Brothers’ fairy tale Snow White , the Queen, one of the protagonists, repeatedly asks the mirror how beautiful she is. Before the arrival of Snow White, the mirror delivers a consistently satisfactory answer to the Queen. 1 An observer of the post-Cold War academic discourse in China on international polarity is struck by a similar pattern. Chinese officials, policymakers, and academics occupy a role not unlike the mirror in the fairy tale. How so? They have provided a

in National perspectives on a multipolar order
Cinema, news media and perception management of the Gaza conflicts
Shohini Chaudhuri

University Press , 2015 ). Luntz , F. , The Israel Project’s 2009 Global Language Dictionary ( Washington, DC : The Israel Project , 2009 ), www.webcitation.org/query?url=http%3A%2F%2Fwww.newsweek.com%2 Fmedia%2F70%2Ftip_report.pdf&date=2009–08–06%3Cbr%3E . Accessed 10 September 2016. Lury , K. , The Child in Film: Tears, Fears and Fairy Tales ( London : I. B. Tauris

in Global humanitarianism and media culture
Steve Marsh

sentiment and replicated Ford’s style of connecting Anglo-American relations past with those present, and future. Note, for instance, how strong symbols of former enmity were smoothly subsumed within, and served to augment, the modern narrative: ‘History is not a fairy tale. Despite the good intentions, hostility soon broke out between us – and even burst into this house. [Laughter] But these early quarrels are long buried. What is more important is that our shared language, traditions, and history have given us a common vision of what is right and just.’ The Queen spoke

in Culture matters
Cartooning the camp
Alister Wedderburn

material actuality on the other serves to ensure that the strip cannot be read simply as a flight of fancy or as an imaginative exercise. The Petit Guide is not a fairy tale. Instead, it carves open an aesthetic space (however provisional, contingent or absurd) in which the productive mechanisms of the camp can be contested (though never transcended, as the stamp’s intervention makes only too clear). Within this space are produced subjects – in this case, ‘holidaymakers’ happily enjoying their break in the Pyrenees – who can ‘operate’ within the camp in a way that is

in Humour, subjectivity and world politics
Abstract only
Claire Sutherland

international sensibilities. The museum’s explicit goal is to document the ‘Western powers’ role in and commitment to Berlin and Germany as a whole’ (Birkemeyer 2007 , 6). The positive connotations of the word commitment ( Engagement ) are underlined by the director’s welcome on the museum website, which begins: ‘The Allied Museum tells a unique story full of excitement and drama. Almost like in a fairy tale, the forces of Good [ sic

in Soldered states
Abstract only
Evil terrorists, good Americans
Richard Jackson

frightened civilians descend. In the story accompanying the photo, Time magazine aptly noted that: ‘The photograph fast became part of the redemptive fairy tale spun by Americans to make some rough sense of Sept. 11. The good guys … saved the day, the evil ones were blotted out’ (quoted in Silberstein 2002: 95-6). In a similar and simultaneous discursive move, the story of Afghanistan and Iraq is also

in Writing the war on terrorism
Alexander Spencer

historical setting including the ‘East India Trading Company’, the ‘British Empire’, ‘Hanse’ or ‘colonies’. At the same time there were references to literary and (pop-)cultural narratives such as ‘(pirate) books’, ‘literature’, ‘fairy tales’ and ‘legends’ as well as ‘(pirate) films’ made by ‘Disney’ in ‘Hollywood’. In particular there was very high number of references German narratives of the pirate in Somalia 59 Table 2.1  What comes to mind when you hear the word ‘pirate’? 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Romantic pirate Contemporary pirate Internet pirate

in Romantic narratives in international politics