Demonization in International Politics: A Barrier to Peace by Linn Normand

By Linn Normand

This publication investigates demonization in overseas politics, relatively within the heart East. It argues that whereas demonization’s origins are non secular, its endured presence is essentially political. Drawing upon examples from old and glossy conflicts, this paintings addresses key questions: Why do leaders demonize enemies while waging warfare? And what are the lasting affects on peacemaking? In offering solutions to those inquiries, the writer applies ancient perception to twenty-first century clash. particular recognition is given to Israel and Palestine because the writer argues that war-time demonization in coverage, media, and paintings is a mental and relational barrier in the course of peace talks.

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By Linn Normand

This publication investigates demonization in overseas politics, relatively within the heart East. It argues that whereas demonization’s origins are non secular, its endured presence is essentially political. Drawing upon examples from old and glossy conflicts, this paintings addresses key questions: Why do leaders demonize enemies while waging warfare? And what are the lasting affects on peacemaking? In offering solutions to those inquiries, the writer applies ancient perception to twenty-first century clash. particular recognition is given to Israel and Palestine because the writer argues that war-time demonization in coverage, media, and paintings is a mental and relational barrier in the course of peace talks.

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Additional resources for Demonization in International Politics: A Barrier to Peace in the Israeli-Palestinian Conflict

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Secondly, the analysis of visual images as a research tool allows for broader geographic documentation because it helps cut across language barriers. Using visual sources therefore facilitates the task of the researcher who seeks to better understand demonization’s occurrence across time, language, and geography. Thirdly, illustrations—like other primary documents—help capture the political environment of their time. Although designed by artists, they often embody the expression of the public mood, revealing complex attitudes, contradictions, public fears, political values, and common beliefs.

3 Charles Pierre Baudelaire, “Le joueur genereux,” in Le spleen de Paris, 1869. php. My translation. Accessed: 15 September 2011. © The Editor(s) (if applicable) and The Author(s) 2016 L. 1057/978-1-137-54581-7_2 25 26 L. NORMAND politically charged—accusation against one’s adversary. The chapter’s main objective is to highlight the intimate historical relationship between religion and politics: how the Devil—an ancient religious character—is used in historic and modern political discourse in international conflict situations.

39 Quote taken from Sam Keen and Bill Jersey, Faces of the enemy, PBS Documentary, 1986. Emphasis added. 18 L. NORMAND them, and often they prove very effective. ”41 Visual images, then, not only reveal political messages, they also create them. It is precisely for this reason that graphic work is often commissioned for a purpose. Visual images from conflict settings therefore provide fertile grounds for studying perceptions and images of the enemy. There are several sophisticated online image-browsing search engines through which to access these graphic resources, but among those used, the Harvard University’s Visual Information Access, the Oxford Digital Library, and the British Museum’s collection database provided the broadest geographic and temporal range of sources.

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