A key feature of the long-observed ‘core’ hegemony in International Relations (IR) is a linguistic one, yet it remains the least explored and confronted, with even today’s ‘Global IR’ discussion unquestioningly taking place in English. However, the non-English IR world is demographically and intellectually immense, and global IR cannot afford to ignore it. This study argues that English dominance in IR knowledge production and dissemination is a pillar of a dependent relationship between an English-speaking core and a non-English periphery. It further argues that this linguistic unilateralism, through assimilation, is structurally homogenising, and impedes the periphery’s original contribution potential in an imperialistic manner. This study examines 135 journals from 39 countries in the linguistic periphery to assess the degree and nature of English dominance in them. It explores the relationship between publication language and ranking and analyses citations to understand whether language matters for being cited in the core. We conclude with recommendations for institutions, individuals, and knowledge outlets, including a call for greater multilingualism, which – though a possible risk for parochialism and provincialism – is necessary for periphery concept development and incorporation into a broadened ‘core’, and a necessary stage to curbing the imperialistic impact of linguistic unilateralism and encouraging a genuine globalisation of IR.

Has Visual International Relations (IR) become too distant from the content of visual artefacts? This is a paradoxical question. Visual IR is a vibrant and pluralist field exploring visuals in innumerable ways. Nonetheless, the field tends to focus on ‘deep’ readings of the socio-political implications of visual artefacts at the expense of a close and attentive observation and description of the events, situations, or phenomena they may depict. Simply put, visual IR usually analyses visuals-as-visuals rather than seeing them as entry points for studying the social world. But might a video of torture teach us something about the practicality of torture? Might a video of peace negotiations teach us something about their successes or failures? Can we gain a fleeting glimpse of ‘reality’ within visuals? We address these questions by first situating our focus on close ‘visual (data) observation’ in conceptual conversation with the literature’s existing focus on deep interpretation. Second, we outline three approaches to visual observation as they are deployed outside IR. Third, we unpack how those approaches might be of value for IR, especially vis-à-vis the study of practice, materiality, and discourse. Finally, we conclude by asking if visual data observation can retain critical political potentiality.

This article explores the BBC television drama Vigil (2021) as a significant site for the construction of public knowledge about nuclear weapons. In doing so, it extends beyond discourse-oriented approaches to explore how nuclear discourses manifest in visual communication, everyday encounters, and popular imagination. In a close reading of Vigil, this article questions concepts of security, peace, and deterrence, revealing how the series (occasionally) challenges conventional discourses while reproducing gendered and racialised representations of nuclear weapons politics. The exploration asks questions of responsibility for nuclear decision-making, the portrayal of anti-nuclear activists, and the depiction of nuclear weapons as agents of both peace and destruction. While the BBC series reproduces existing (and problematic) discourses, it also provides a ‘thinking space’ for critical engagement. Amid the current geopolitical landscape, this article emphasises the urgency of studying contemporary representations of nuclear weapons and the need for scholarship that challenges traditional Cold War perspectives.

‘Visual turn’ scholarship in International Relations (IR) acknowledges the importance of new information and communication technology for the production and circulation of images but lacks sustained engagement with the technologies themselves and how they interact with humans in the visual production of security. This article brings the visual turn into conversation with Science and Technology Studies (STS) and mobilises Latour and Woolgar’s notion of inscription to show how the production of visual artefacts and their security effects are conditioned by human/device interaction. It advances the argument that the representational force of a visual artefact is dependent not only on the content and quality of the artefact itself, but also on the specific human/device relations that condition its production. To illustrate this, the article theorises the smartphone as an inscription device and the selfie as an inscription practice and analyses the case of Zelensky’s selfie videos from the first few days after Russia’s invasion of Ukraine. Selfies inscribe meaning to security issues by mobilising the photographic affordances of indexicality, composition, and reflection in unique ways. Specifically, they focus images on the communicative acts of their producers and play on the relationship between human and device to invoke feelings of immediacy, authenticity, and intimacy.

Vietnam’s initial response to Covid-19 was conspicuous for various reasons, including how its attempt at securitisation drew deeply from historical narratives, symbols, and traditions specific to the Vietnamese experience, as well as how the securitisation project was not simply top-down and state-driven but also featured ground-up participation where the public was mobilised to participate in and actively reiterate securitisation practices. This richly textured empirical case study of the workings of Vietnamese society and politics represents an invitation to explore key debates surrounding securitisation theory. Reflecting on the empirical material of the case, this paper builds on scholarship seeking to highlight the shortcomings of the Copenhagen School’s model of securitisation and from there further explore securitisation theory and its limits. It takes aim at how the audience and its agency is conceptualised in the theory and develops the notions of ‘historical resources’ and ‘activation architecture’ to more adequately explain the processes of securitisation.

Belligerents increasingly rely on media manipulation, propaganda, and communication to attain strategic advantages in conflict. Given the civilian propagandists’ clear role in creating tactical or strategic advantages for one side in the conflict, should these propagandists be considered combatants, and can they therefore be legitimately targeted because of their activities? This article overcomes traditional binary frameworks of distinction to argue that propagandists are indirectly participating civilians, i.e. participants who cannot be intentionally or directly killed in conflict. Because of their activities, propagandists, it argues, are liable to less-than-lethal harm, of which it identifies three types (destruction of property, privation of liberty, isolation). The article then proposes a necessary criterion – necessity – to decide if less-than-lethal harm is warranted against propagandists. It then creates four new criteria – denial of agency, falsehood, influence, gratification – to serve as assessment criteria able to decide what degree of harm a propagandist may maximally face. In making this argument, the article contributes to just war literature by proposing a novel way to evaluate the ethical status of a highly diverse, yet undoubtedly influential, category of war participants: those who undertake the ‘media battle’, outside of the military.

International Relations (IR) scholarship on ontological (in)security has explored how political agents seek to shape collective identity through the contestation and securitisation of memory narratives around controversial historical events. This article contributes a novel approach for understanding how actors promote emotional engagement with such narratives, synthesising nascent scholarship on vicarious identity and military subjectivity to develop the concept of ‘militarised vicarious identity promotion’. I use this framework to analyse how national custodian, the Royal British Legion, used the British 2014–18 First World War (WW1) centenary to promote affectively resonant revisionism around a war with difficult resonances in Britain by encouraging subjects to ‘live through’ others. Its ‘LIVE ON’ and ‘Every One Remembered’ initiatives first countered the centenary’s potential to destabilise homogenised militarist narratives underpinning national ontological security by rehabilitating WW1 through vicarious frames blurring different military subjectivities together in ways designed to reincorporate WW1 into homogenised remembrance discourses. Second, Britons were encouraged to integrate the nation’s military history into their personal biographies by vicariously identifying with ancestral and adoptive WW1 connections. Through enabling feelings of pride and status assuaging civilian anxiety, ‘vicarious military subjectivity’ based on family connections provided emotional reinforcement for identification with simplistic WW1 revisionism and homogenised British militarism more broadly.

This article analyses photographic portraits of three international thinkers – Merze Tate, Margery Perham, and Susan Strange – to shed new light on the intellectual and disciplinary history of Internationa Relations (IR). Photographic portraits are ubiquitous, and feminist intellectual recovery projects lend themselves to photographic representation. But IR’s historians have neglected portraits. Drawing together two thriving IR subfields for the first time, visual studies and international intellectual history, this article demonstrates the theoretical and historical gains from analysing portraits of international thinkers. When read alongside other primary and secondary sources, portraits can enable new ways of seeing IR’s history and specific thinkers, offering a distinctive and powerful resource for new narratives about the professional, gendered, and racialised contexts of international thought.