The Politics of Military Force uses discourse theory to examine the dynamics of discursive change that made participation in military operations possible against the background of German antimilitarist culture. Once considered a strict taboo, so-called out-of-area operations have now become widely considered by German policymakers to be without alternative. The book argues that an understanding of how certain policies are made possible (in this case, military operations abroad and force transformation), one needs to focus on processes of discursive change that (...) result in different policy options appearing rational, appropriate, feasible, or even self-evident. Drawing on Essex School discourse theory, the book develops a theoretical framework to understand how discursive change works, and elaborates on how discursive change makes once unthinkable policy options not only acceptable but even without alternative. Based on a detailed discourse analysis of more than 25 years of German parliamentary debates, The Politics of Military Force provides an explanation for: (1) the emergence of a new hegemonic discourse in German security policy after the end of the Cold War (discursive change), (2) the rearticulation of German antimilitarism in the process (ideational change/norm erosion) and (3) the resulting making-possible of military operations and force transformation (policy change). In doing so, the book also demonstrates the added value of a poststructuralist approach compared to the naive realism and linear conceptions of norm change so prominent in the study of German foreign policy and International Relations more generally. (shrink)

There are at least three senses of sexual objectification: the moral sense of treating a person as if she were primarily a sexual object, the political sense in which women socially count as instruments for men’s sexual pleasure, and the epistemic sense of forming a belief that a person is as one sexually desires them to be. These different senses have been treated as rivals, competing about what the correct account of sexual objectification is, or they have been treated as (...) entirely different projects. I argue for a third relation between them: each sense grasps an aspect of the existing social phenomenon of sexual objectification. Each further points out a wrong involved in sexual objectification. And the three aspects interact—we cannot fully explain any one sense of sexual objectification without the other two. To properly understand this interrelation I lean on an analogy: commodity fetishism as described by Marx helps make sense of the complex social reality of sexual objectification. (shrink)

After years of neglect, alienation has again reached the agenda of critical thought. In my case, I recognize alienation as a challenge for education in contemporary societies. To obtain conceptual resources to overcome this challenge, I have revisited the comprehensive 20 th century discussion of alienation. Today, alienation is naturally discussed as an existential condition of human being, but still in the 1980s, there was a strong Marxist current that claimed alienation to be implied by capitalism, in particular by the (...) institution of private property and the social division of labor, and that alienation therefore should be criticized as part of the critique of capitalism and political economy and possibly overcome. Today, under the hegemony of neo-liberal capitalism, this critical and processual concept of alienation is more relevant than ever. Hence, in the present work I argue that the basic logic of Marx's idea of alienation still has critical potential. The argument forms a long engagement with mainly 20 th century literature, departing from the very idea of capitalism, considering the ideas of history, education and democracy, discussing how to distinguish and translate key terms, considering why alienation became an object of controversy among Marxists, offering an interpretation of Marx's critique relevant for contemporary society, thus considering alienation a consequence of working under conditions of private property, i.e. being a human being in a capitalist society, and finally presenting Marx's idea of communism as relevant to the contemporary educational agenda. (shrink)

My thesis concerns the fate of the spiritual capacities of human beings in the time of digital media systems in relation to the work of Bernard Stiegler. Stiegler’s framing of the problem is situated within his ambigious, or pharmacological, approach to technology, in which it is simultaneously poison and cure. It is also founded on his notion of ‘originary technicity’, in which humanity and technology ‘invent’ each other. Both avoid a reductive reading of human-technological relations. Stiegler’s account of subjectivity is (...) one founded on the linguistic, philosophical and sociological notions of agency whereby the self is conceived as a performance within the symbolic and aesthetic order of culture. This performance necessitates a public stage akin to that of the Greek tragic age that allows its audience to reflect upon and question their society in order for the society to remain ethically reflexive. Yet, the growth of mass culture and global consumerism threatens this reflexivity and must be recovered. The generalized proletarianization of the consumer age is one that compromises the acting out of spirit due to the exhaustion of human drives. Furthermore, the social fabric, as with the fabric of the self, is a composition of tendencies, a ‘weaving’ of social bonds that is created by society and its individuals. Therefore, as with the reflexive public stage, society must have the requisite knowledge and ability to interpret and create this production of the social. In a digital age, this must now be a society of ‘image-readers’. By looking at Stiegler’s theorizing of a new contributive economy, I examine the elevating possibilities that can come out of the disindividuating processes of hyper-industrial, consumer-driven technology, and, therefore, what spiritually expressive and transformative performances of self, and society, digital media enable. I argue the aesthetic performance of the self must be one in which the individual is an amateur artist aware of the reflexive social stage that digital platforms provide. (shrink)