Closing the R2P Chapter

Author(s):  
Sagar Sanyal

Sagar Sanyal implores us to look beyond the analytical just war tradition in our thinking about humanitarian intervention. The standards and assumptions built into this approach are its trappings: they necessarily limit our appreciation of what is at stake, morally and politically. What is more, if we persist in this approach Sanyal fears that philosophers of war and military ethicists will become ‘decreasingly relevant to political reality’. To avoid this fate, Sanyal argues, Marxist concepts and precepts must be taken more seriously in our appraisal of war and conflict. If we start with a Marxist understanding of states and the wars they wage—as rooted in economic competition and driven by imperialist ambitions—we will be in a better position to confront the problems of the real world.

The Art of Creating Power explores the intellectual thought and wider impact — on military affairs, politics and the universities — of Professor Sir Lawrence Freedman, one of the world’s leading authorities on strategy, conflict and international politics. Freedman’s oeuvre is vast and his legacy, from nuclear strategy to US foreign policy via humanitarian intervention, terrorism, the Falklands and Iraq, has already been recognized around the world. Some of that work is considered in the present volume, although by no means all of it. The contributions to this volume address some of the highlights in the Freedman canon, as well as casting light into some of the less well-known corners of his thought and work. In this volume, senior scholars who have crossed the academic-practitioner boundary, and former students and colleagues in international and strategic studies who have been influenced by, and who have influenced, Freedman, trace the long trajectory of his career, examining his scholarly contribution to a whole host of areas - the book has five sections, reflecting Freedman’s different realms of scholarship: strategy, policy and history, ethics and intervention, theory and, lastly, practice. Recognizing that the importance of social context and constitutive interaction is vital to Freedman’s approach and, in practice, to research at the frontiers of knowledge, but with deep relevance, often, to the ‘real world’, the book as a whole provides signposts to, and markers of, a distinctive approach and a elements of a nascent school of thought — all testimony to a distinguished intellectual figure.


2017 ◽  
Vol 24 (1) ◽  
pp. 1-25
Author(s):  
Muhammad Akram

Different competitions of the real world have been designed by the bipolar neutrosophiccompetitions graphs. In this paper, we first introduce the concept of p-competition bipo-lar neutrosophic graphs. We then define generalization of bipolar neutrosophic competitiongraphs called m-step bipolar neutrosophic competition graphs. Further, we present somerelated bipolar neutrosophic graphs, including m-step bipolar neutrosophic neighbourhoodgraphs, bipolar neutrosophic economic competition graphs and m-step bipolar neutrosophiceconomic competition graphs. Finally, we describe an application of m-step bipolar neutro-sophic competition graphs.


Author(s):  
Daniel R. Brunstetter

The development of the theory of jus ad vim (the justice of limited force) marks a new direction in just war thinking aimed at navigating the moral dilemmas that emerge when using limited force. While the just war tradition has an ever-growing body of scholarship on jus post bellum, this chapter explores whether the questions and principles are the same in a situation of limited force. In doing so, it examines what victory might look like in a situation of limited force, i.e. jus post vim. The chapter begins by explaining why we need to distinguish between jus post vim and jus post bellum. Then it raises some of the most salient questions related to victory and limited force. Finally, drawing on cases of humanitarian intervention, limited strikes against rogue regimes, and the struggle against non-state terrorist actors, it delineates the moral principles that ought to guide jus post vim.


2019 ◽  
Vol 1 (1) ◽  
pp. 21
Author(s):  
Fulkha Tajri M

Penciptaan ini bertujuan sebagai tempat untuk menjelaskan makna yang tersimpan dari filosofi Minangkabau “Hiduik bak cando batang ubi”, dimana didalam proses berkarya terdapat 5 cerita mengenai pertumbuhan ubi kayu dengan cara dan bentuk yang bermacam-macam. Pendekatan yang digunakan adalah pendekatan yang berbasis Konteks, dimana kejadian itu bermula dari nasehat orang tua dan akhirnya dirasakan pada saat diperantauan, dengan mengutamakan nilai persoalan sejauh mana karya seni mencerminkan dunia nyata atau kenyataan sosial-ekonimi-politik. Temuan menarik dari penciptaan ini diperoleh dari diskusi bersama tokoh seniman yang sangat paham dengan nilai dari filosofi Minang ini di Yogyakarta dan pengeksplorasian media untuk melukis. Artinya penerapan dalam karya ada dua hal yang didapatkan, pertama ilmu yang sangat dasar dari para tokoh seniman Minang di Yogyakarta ini, dan kedua rasa kepuasan mendalam sebab rasa penasaran yang selama ini ingin dirasakan ketika menjadi objek utama dalam karya sudah terjawab, meskipun rasa itu tidak bisa dituliskan secara jelas melalui kata-kata, namun pada dasarnya rasa itu adalah rasa senang. Walaupun rasa senang yang dituliskan masih belum mewakili dari rasa yang saya rasakan.This creation aims to describe the stored meaning of the Minangkabau philosophy of "Hiduik bak cando batang ubi", which in the process of creating 5 stories about the growth of cassava in various ways and shapes. The approach used is a Context-Based Approach, where the event begins with parental advice and is finally felt at the time of monitoring, prioritizing the value of the issue to what extent the work of art reflects the real world or social-economic-political reality. The fascinating findings of this creation are derived from discussions with artists who are very familiar with the value of this Minang philosophy in Yogyakarta and the exploration of the media for painting. This means that the application in the work there are two things obtained, the first very basic knowledge of the Minang artist in Yogyakarta, and the two deep sense of satisfaction because the curiosity that had been felt to be felt when the main object in the work has been answered, even though the taste is not can be written clearly through words, but basically it is a sense of pleasure. Although the pleasure written is still not representative of the feeling that I feel


2010 ◽  
Vol 20 (3) ◽  
pp. 100-105 ◽  
Author(s):  
Anne K. Bothe

This article presents some streamlined and intentionally oversimplified ideas about educating future communication disorders professionals to use some of the most basic principles of evidence-based practice. Working from a popular five-step approach, modifications are suggested that may make the ideas more accessible, and therefore more useful, for university faculty, other supervisors, and future professionals in speech-language pathology, audiology, and related fields.


2006 ◽  
Vol 40 (7) ◽  
pp. 47
Author(s):  
LEE SAVIO BEERS
Keyword(s):  

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