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Humanitarianism in a Post-Liberal World Order
Stephen Hopgood

The modern global humanitarian system takes the form it does because it is underpinned by liberal world order. Now the viability of global liberal institutions is increasingly in doubt, a backlash against humanitarianism (and human rights) has gained momentum. I will argue that without liberal world order, global humanitarianism as we currently understand it is impossible, confronting humanitarians with an existential choice: how might they function in a world which doesn’t have liberal institutions at its core? The version of global humanitarianism with which we are familiar might not survive this transition, but maybe other forms of humanitarian action will emerge. What comes next might not meet the hopes of today’s humanitarians, however. The humanitarian alliance with liberalism is no accident, and if the world is less liberal, its version of humanitarian action is likely to be less liberal too. Nevertheless, humanitarianism will fare better than its humanist twin, human rights, in this new world.

Journal of Humanitarian Affairs
Open Access (free)
Writing about Personal Experiences of Humanitarianism
Róisín Read
Tony Redmond
, and
Gareth Owen

seriously the stories humanitarians tell about themselves and their work. This interview hopes to build on and contribute to this research by talking to two humanitarians who have published memoirs: Professor Tony Redmond OBE and Gareth Owen OBE. Tony Redmond’s book Frontline: Saving Lives in War, Disaster and Disease was published in 2021 by HarperNorth and Gareth Owen’s book When the Music’s Over: Intervention, Aid and Somalia will be published in June 2022 by Repeater Books. They were interviewed by Róisín Read. Róisín Read (RR): Could you briefly introduce

Journal of Humanitarian Affairs
Editor’s Introduction
Juliano Fiori

, the collapse of the Soviet Union represented a final victory for Western liberal democracy – an unexpected Hegelian denouement in the knotweed of History. Their euphoria – albeit short-lived – provided the entrance music for a new ethical order, constructed by the US, with a basis in liberal humanitarian norms. Without any direct and immediate threat to its hegemony, the US merged its geostrategy with a humanitarian ethics. In 1991, after the Gulf War, the US invaded Iraq in the name of humanitarian concern. The following year, to the

Journal of Humanitarian Affairs
Mel Bunce

’, in Bunce , M. , Franks , S. and Paterson , C. (eds), Africa’s Media Image in the 21st Century: From the ‘Heart of Darkness’ to ‘Africa Rising’ ( London : Routledge ), pp. 129 – 31 . Barthes , R. ( 1977 ), Image/Music/Text ( New York : Hill and Wang ). Bunce , M. , Scott , M. and Wright , K. ( forthcoming ), ‘ Humanitarian Journalism ’, Oxford Research Encyclopedia of Journalism Studies ( Oxford : Oxford University Press

Journal of Humanitarian Affairs
Open Access (free)
The Politics of Information and Analysis in Food Security Crises
Daniel Maxwell
Peter Hailey

, K4D Emerging Issues Report 33 ( Brighton, UK : Institute of Development Studies ). Hopgood , S. ( 2019 ), ‘ When the Music Stops: Humanitarianism in a Post-Liberal World Order ’, Journal of Humanitarian Affairs , 1 : 1 , 4 – 14

Journal of Humanitarian Affairs
Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

capitalized on negative and positive emotions. Adding sound to the animated picture (piano music, verbal accounts of humanitarian workers during screenings), the whole cinematic set-up was intended to allow a more intimate contact with suffering and trauma and thus transformed the film-viewing into a sensory experience: The Manchester Guardian said … ‘most of the audience probably already knew a good deal about what is happening in the famine district, but the pictures [from the movie] shocked them’.… Terrible as this pictorial representation of the ravages of famine is

Journal of Humanitarian Affairs
Elizabeth Dauphinée

seven-day period, DRAGAN NIKOLIĆ beat Galib MUSIĆ, a 60-year-old detainee by, among other things, kicking him and beating him with a metal pipe. During the beatings, DRAGAN NIKOLIĆ accused Galib MUSIĆ of asking a Muslim organization to come to expel the Serbs from Vlasenica. Each time DRAGAN NIKOLIĆ beat Galib MUSIĆ, MUSIĆ lost consciousness and, after approximately seven days, Galib MUSIĆ died. From early June until about 15 September 1992 many female detainees at Sušica camp were subjected to sexual assaults, including rapes and degrading physical and

in The ethics of researching war
Elizabeth Dauphinée

answer to and for individuals out of friendship and faith – out of responsibility, which is required for Ismet Dedić and Galib Musić, but also to Dragan Nikolić, who killed them at Sušica. This is the imperative to answer to you, Stojan Sokolović, to answer to Sead Sinanović, to Osman Osmanović, buried at Srebrenica by units of the Zvornik Brigade that Dragan Obrenović sent for that purpose. This is the imperative to answer to Dragan Obrenović, who also found the guts to answer for himself – to stand exposed and undone – to say, ‘yes I did this, and I did that

in The ethics of researching war
Abstract only
Elizabeth Dauphinée

further from other possibilities and conversations. Yet, we are left with the sense that court proceedings – that the law – cannot restore what has been taken. The law cannot restore the life, the soul, the future that is already lost, to the broken body. Dragan Nikolić’s incarceration in a European prison for the rest of his life cannot possibly justify the murders of Galib Musić or Ismet Dedić. Dragan Obrenović’s confession of responsibility at Potočari cannot undo what was done there, and he knows it. It cannot restore the lives of Osman Osmanović or Sead

in The ethics of researching war
Maurice Hayes

walked into the kitchen and shot him: A bullet entered his mouth and pierced his skull, The books he had read, the music he could play. He lay in his dressing gown and pyjamas While they dusted the dresser for fingerprints And then shuffled backwards across the garden With notebooks, cameras and measuring tapes. They rolled him up like a red carpet and left Only a bullet hole in the cutlery drawer: Later his widow took a hammer and chisel And removed the black keys from his piano.4 Lost Lives, that monumental listing by David McKittrick and his colleagues of all those

in Peacemaking in the twenty-first century