The war in Syria has been communicated to global audiences through images of dead and injured children, decapitated and tortured bodies, and ruined cities. The article shows how news media coverage of the war's impact on the city of Aleppo invoked a Gothic tradition. Drawing on Kristeva and Freud's concepts of the abject and the uncanny, the article argues that the Gothic tradition can further International Relations research on the constitution of Selves and Others. The Gothic Other is constituted through the (Gothic) Self's repulsion, fascination, and desire, and the Gothic tradition revolves around an understanding of the invisible as an in-between space of fear and anticipation. The ability to recognise Gothic themes in an image depends on one's familiarity with the Gothic tradition, hence images are theorised as having a Gothic potentiality. The article focuses on how the Anglo-Saxon Gothic tradition enabled Western readers to identify Gothic themes in news coverage of the war in Aleppo. The article adopts a multimethod strategy including a content analysis of 457 images published by Western news media; a discourse analysis of news stories; an analysis of three Gothic, uncanny iconic motifs; and an author-created comic drawing on Gothic elements from the published photographs.

Despite the increasing centrality of Internet memes for everyday political circulations and practices, their emergent implications as low-cultural artefacts of global politics have received little theoretical attention. In this article, I develop a critical theory of memes to provide a conceptual apparatus to understand the global political implications and possibilities of this pop-cultural phenomenon. I argue that, in order to attend to the emergent implications of memes and consider their differentiations from other pop-cultural phenomena, we need to unpack the spatial logic through which memes emerge and circulate. Analysing this spatial logic through the concept of the ‘memescape’ and deploying Gilles Deleuze and Felix Guattari’s notions of striated and smooth spaces, this article articulates the spatial logic of the memescape as comprising rhizomatic, decentralised circulations of digital content; nomadic, playful, and humorous disruptions of once-stable signs; and affective congregations of a multiplicity of subjects. Through two examples exploring how these smooth spatial tendencies produce divergent political potentials in the resistant memes of Indigenous digital communities and reactionary memes of the Alt-Right, I conclude that the global politics of the memescape is open-ended and undetermined which requires careful and nuanced political and ethical attention to actualise its futures for emancipatory horizons.

The article explores the complicity of children’s picturebooks in the construction and critique of world politics. Focusing on The Gruffalo, it argues that this spectacularly successful book: (1) stories the international as a pessimistic, anarchical world populated by self-interested, survival-seekers; (2) disrupts this reading and its assumptions through evocation of the social production of threat; and, (3) provides a more fundamental decolonial critique of the international through parochial privileging of its protagonist’s journey through a ‘deep dark wood’. In doing this, we argue, the book vividly demonstrates the world’s susceptibility to multiple incompatible readings, while rendering visible the assumptions, framing, and occlusions of competing understandings of the international. As such, it theorises both world politics and knowledge thereof as contingent and unstable. In making this argument, three contributions are made. First, empirically, we expand research on popular culture and world politics through investigating a surprisingly neglected example of the former. Second, theoretically, we demonstrate the work such texts perform in (re)creating and (de)stabilising (knowledge of) global politics. Third, we offer a composite methodological framework for future research into the context, content, and framing of complex texts like The Gruffalo.

Proposals for large-scale technical interventions into the Earth system to mitigate global warming – or climate engineering – have sparked considerable debate about their potential implications for international security and global governance. The article furthers this debate by bringing it into dialogue with the literature on visual global politics to develop a more ‘imagistic’ concept of climate engineering imaginaries. Based on a novel visual dataset, three major visual clusters in the public discourse on climate engineering are identified: images of the human–nature relationship, of climate engineering as tangible infrastructure, and of the actors involved in climate engineering projects. The analysis shows how images and other visuals do not only shape the dominant understanding of climate engineering but also competing imaginaries of future political orders in which such approaches might be deployed. Three main results of this analysis stand out. First, dominant ways of seeing climate engineering can further reinforce already dominant discursive frames by adding ‘visual proof’ to their underlying claims. Second, climate engineering visuality can also enable the politicisation of climate engineering by rendering concrete projects visible and hence contestable. Third, climate engineering images can paradoxically limit the scope of imagination as they often revolve around powerful visual icons and symbols of the past and present.

This article examines the visual politics of complicity within war, conflict, and military occupation in International Relations (IR). By arguing that complicity is a social relation through which actors navigate violence while drawing on power and resources that are distributed unevenly, it explores the production, articulation, and reception of complicity within the Israeli television series Fauda, which addresses complicit behaviour under the Israeli occupation of Palestine. By building on Feminist IR's engagement with emotions, gender, and visual representations, this article provides a twofold contribution to the study of complicity in international politics. Firstly, the complicit entanglement between creators, distributors, and viewers of Fauda spotlights the cultural workers’ role in shaping public knowledge of war, violence, and military occupation, particularly by creating and circulating cultural representations that facilitate the complicity of audiences with the violence that they consume through certain emotional logics (empathy, compassion, fear). Secondly, this article examines representations of complicity within Fauda to shed light on complicit actors’ embodied experiences of navigating between different identities while caught in the middle of violence (perpetrator, victim, witness, bystander). To this end, this article develops our understanding of emotions, resistance, and domination in international politics.

This study explores how the Academy Award for A Fantastic Woman facilitated the adoption of Chile's Gender Identity Law. Approved in 2018 after languishing for over five years in Congress, the law establishes individuals’ right to modify their national identification documents without the need to change their physical appearance or receive prior court authorisation. While trans rights activists extensively lobbied for a law that guaranteed access to gender marker changes, conservatives rejected the initiative, framing their opposition in terms of Christian values and against the ‘gender ideology’ that purportedly informed the bill. We argue that this backlash dissipated in the wake of the award. International recognition made support for trans rights temporarily a matter of national pride, thereby opening a window of opportunity for the approval of the law. The case of Chile's Gender Identity Law illustrates how international status cues can foster normative change by mobilising affect in domestic audiences. It contributes to recent debates on status and domestic political change, and the role that emotion and affect play in world politics.

The social sciences and humanities in general and International Relations (IR) specifically are organised around what has been called ‘analytic bifurcation’. Analytic bifurcations artificially structure and divide analytic spaces into, for example, Europe/non-Europe, inside/outside, state/empire, and metropole/colony. Recently, these bifurcations have been problematised within IR and adjacent fields. Our article contributes to and extends these discussions by foregrounding two interrelated aspects that have not received sufficient attention: first, connections between colonies rather than between metropole and colony and, second, the construction and reproduction of the bifurcation of Europe/non-Europe. We explore how technologies of power, in our case mapping and the use of ‘blank spaces’, were used to create imaginaries of colonisable land. To do so, we trace two episodes from nineteenth-century German colonial discourse. The first episode analyses imaginaries of exploration in the Humboldtian tradition and how these imaginaries depict spaces outside of Europe, namely in Africa, as blank spaces. The second episode reconstructs the cartographic work of Paul Langhans, who focused on mapping ‘Germandom’ (Deutschtum) in Central and Eastern Europe. Juxtaposing these two episodes shows the interconnectedness between these spaces (Africa and the European East) and how techniques such as blank spaces were applied to create colonisable land.

What is the basis of status in world order? Status is assumed to come from strength, even if strength is reconfigured to be social and normative, not just material. Status, however, can also come from perceived weakness – it is conferred to those recognised as ‘victims’. We make four theoretical contributions to the scholarship on status in world affairs. First, we examine how the category of victim is produced. Two, we expand the possible sources of status in world affairs by adding the category of victim. Three, focus on victimhood status further demonstrates that status is independent of material power. Lastly, victimhood as status exhibits the paradox that power depends on perceived powerlessness. We illustrate these arguments with three features of victim status in modern international politics: the changing desirability of victim status in Israel, the gendered construction of ideal victim in the Congo, and the hierarchy of victimhood in Bosnia.

The representatives of contested states – that is, territories whose claim to sovereign statehood is not, or is not fully, recognised by the international society of states – often make significant efforts to engage in diplomacy. Two literatures have recently begun to explore these diplomatic activities, one focusing on the ‘rebel diplomacy’ of insurgents and secessionist movements, the other on ‘liminal actors’ in global politics. However, these two literatures have defined the phenomenon in very different ways, namely, as either instrumental action or cultural performance, and study it largely without regard to each other's insights. My argument in this article is that contested state diplomacy can be better understood if we appreciate the nature of modern diplomacy as a set of bureaucratic practices. As a routinised process within a bureaucratic organisation, modern diplomacy both gives rise to specific decisions and sustains the reality of the state as the locus of legitimate power. The representatives of contested states therefore have strong reasons to set up more or less rudimentary bureaucracies for their diplomacy. I use the history of Kosovo's foreign policy institutions as a paradigmatic case to demonstrate how everyday bureaucratic practices fuse instrumental action and cultural performance and further theorise the interplay of ‘political’ and ‘technical’ conduct in contested state diplomacy.

Despite its common usage, the meaning of ‘democratic’ in democratic intelligence oversight has rarely been spelled out. In this article, we situate questions regarding intelligence oversight within broader debates about the meanings and practices of democracy. We argue that the literature on intelligence oversight has tended to implicitly or explicitly follow liberal and technocratic ideas of democracy, which have limited the understanding of oversight both in academia and in practice. Thus, oversight is mostly understood as an expert, institutional and partially exclusive arrangement that is supposed to strike a balance between individual freedom and collective security, with the goal of establishing the legitimacy of and trust in intelligence work in a national setting. ‘Healthy’ or ‘efficient’ democratic oversight then becomes a matter of technical expertise, non-partisanship, and the ability to guard secrets. By analysing three moments of struggle around what counts as intelligence oversight across Germany, the UK, and the US, this article elucidates their democratic stakes. Through a practice-based approach, we argue that oversight takes much more agonistic, contentious, transnational, and public forms. However, these democratic practices reconfiguring oversight remain contested or contained by dominant views on what constitutes legitimate and effective intelligence oversight.