...Earth. The conflict in the story is that the Na’vi beings who reside on Pandora do not wish to relocate so that the humans can mine the unobtainium. Jake Sully, a former Marine who is paralyzed from the waist down, is able to link himself to a Na’vi hybrid called an Avatar. His mission is to gain the trust of the Na’vi and convince them to move their camp in order for the humans to gain accesses to the unobtainium. After falling in love with a Na’vi woman, Neytiri, and their culture, Sully is unable to complete his mission which results in a full-scale war between the humans and the Na’vi. In the end, with the help of Sully and a few other humans, the Na’vi people win the war and the humans are forced to leave Pandora. The film depicts Classical Realism in the humans by way of emphasizing their interest in taking power over the Na’vi people to ensure their own personal...
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...Introduction It is widely observed that the post war period was a critical turning point for realism to be termed as a “monocausal mania” with multi-causal syntheses (John Ruggie,1989). Exogenous causes of state behavior as varying domestic interests, collective beliefs, and international institutions and norms tend to trump the effects of material power that is the core commitment of realism. Hence, there is a high tendency of differentiation between classical realists and realists who aknowledge that international politics are not independent from law, morality and economics. An example of this self-conscious dichotomy is the distinquish of realist and non-realist elements by Morgenthau in Politics among Nations. Morgenthau’s view in realist elements is exclusively summarized in the power struggle and political independence that truly resemble the state of nature described by Hobbes: ....’’ International politics would be governed solely by...considerations of political expediency...In such a world the weak would be at the mercy of the strong’’. In regards to Morgenthau and his historical predessesors from the Thucydides to Waltz, recent formulations of realism are minimalist depending to five basic assumptions 1. States are the primary actors in international politics 2. The fixed political expediency seeks the duo of secure and power: egotistical goals regarding territorial integrity and expand in the international environment 3. Self help is the...
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...group of scholars who having to see themselves having a deep insight within the realm of IR. * They would like to become advisers or become political leaders. * Offer a road map to leaders who conduct in international affairs. * Their insight was not just the result in what happened centuries ago. * They’re timeless wisdom that...certain trusses that are ageless * Telling how the actually worked, not how they looked, or should look * They tell world leaders that the most important, should operate is to enhance the security of their states... * Power is a very important thing in IR. * They should be able to harness this power in creative and noble ways. * The world is a complex place. * Strengths in realism.... * What they also argue is that..Money is a currency..Everything is about power. * Allow us to expand our national interest. * Gain power, use that power, and then use it in a robust manner so that you are on top on IR power. * More dominate then change. * Dominate aspects are wars, security dilemma, missiles etc. * IR is a story of wars being fought, wars having been fought in the past and states recovering.., or preparing for future wars. * Realist’s wars are an endemic/... * You can never get ride of war impossible it stays. * They are not interested in changing the world but helping it and creating peace and unity. * They like talking about violence, states should increase their power. *...
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...AFRICAN PRINCE Justifying African State Leaders’ Decisions Through Machiavellian Realism Safir Jamal Copyright 2008 – All Rights Reserved THE AFRICAN PRINCE Safir Jamal Ambrose Bierce defined politics as “the conduct of public affairs for private advantage” (Jansson 468). When this nineteenth century American journalist expressed such a sardonic view about the art of governance, he alluded to the inseparability of politics and self-interest. This inseparability forms the foundation of classical realism, a prominent international relations theory that attests that human nature is self-serving, sinful and wicked. Such traits ultimately help to explain why all actors endeavour to satisfy their individual intentions (Sens 14). While principles of self-interest are central to the classical realist theory, it is the importance of power that has become widely synonymous with the realist perspective. Defined as the ability to make other actors do what they would not otherwise do, the pursuit of power is an instinctive desire of all individuals (Singer 81). One individual in particular, Niccolo Machiavelli, had arguably the most profound understanding in history of the importance of power (Kuper 1). In his acclaimed treatise The Prince, Machiavelli, a 15th century Florentine diplomat, advised state leaders – or princes – on effective approaches to statecraft. As an extension of classical realism, Machiavellian views have proven to be timeless and universal, as they have been identified...
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...Hobbes describes realism as all men interacting in anarchy and are equal. They are motivated by competition (scarcity), glory and diffidence. Realism emphasizes on constrains on politics imposed by egoism and the absence of anarchy which require ‘the primacy in all political life of power and security’ (Donnelly, 2009).Realists rely on themselves and do not recognize any authority in anyone and pursue power at all cost at national interest to achieve sovereignty which results them to maximize their military power to ensure survival. This leads to security dilemma (Dunne & Schimdt, 2011). The main difference between classical realism and neo-realism is the determinants of state behaviour. For neo-realists, the balance of power is a main motivation due to human nature According to the 6 principles of Morgenthau’s Politics of Nation, politics is governed by laws created by human nature and revolves around the concept of interest, defined in terms of power. This leads to classical realists being pessimistic. States act in a selfish and competitive manner in a constant state of anarchy seeking power. Neo-realists however think that economic resources and military powers are important to influence other states to achieve hegemonic stability (Dunne & Schimdt, 2011). Realism revolves around 3 core elements; statism, survival and self-help. Statism is the ideology that instils the belief that community are protected and sustained by states. This allows the states to increase their...
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...Realism is a 20th century art movement which took a diverse approach to representing the figure, yet has being ongoing from around the 18th century. It depicted what was happening in a contemporary way, an attempt to define what was real with no bias or personal preference from the artist. Only portraying what they saw. The movement originated in france in the 1850’s after the 1848 revolution. These Realists positioned themselves against Romanticism, a genre dominating French literature and artwork in the late 18th and early 19th centuries. Seeking to be undistorted by personal bias, Realism believed in the ideology of objective reality and revolted against the exaggerated emotionalism of the Romantic movement. Truth and accuracy became the goals of many Realists. Many paintings depicted people at work, underscoring the changes wrought by the Industrial and Commercial Revolutions. The popularity of such 'realistic' works grew with the introduction of photography, a new visual source that created a desire for people to produce representations which look “objectively real.” Thereafter this new approach to representing the figure grew and new forms such as American realism and social realism where introduced to the art world. Therefore in view of this i will be looking at the American realist Edward Hopper and the realist painter Lucian Freud. Both these artists where at the forefront of modern art and both took different approaches to representing...
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...). What are some of the important theories associated with international relations and how do they compare and contrast? What are some of the fundamental precepts of classic realist theory of international relations? 200 words or less cite all work ..thank you please read this site There are numerous theories that are connected to international relations such as the classical realism, neo- realism, as well as neo-classical realism. Classical realism is a theory in which power is the focus of the states. In addition, the states want their enemy’s power to decreases as their power increases. Also there is the neo-realism theory which is a subsidiary of the neo-classical. This theory totally argues against the doings of the classical realism. In addition, it focuses more on the rivalries as well as the power struggles and not as the nature functions of the states but the international system function. Last, we have the neo-classical realism which restores as well as revives the classical realism. This theory accepts power rivalries but believes that the characteristics of the states play a huge role in the states behavior. The classic realist theory on international business views states as rivals due to the power. The states power is the main focus. Many individuals are aggressive as well as insecure and greedy thus the states will govern those same types of characteristics. Furthermore, there needs to be stability for peace as long as the power is well stable. Moreover...
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...What are the main obstacles to international cooperation between states? Assess with reference to realism and liberalism. According to Kenneth Waltz, the way states behave is determined by the permanent state of anarchy in which the international system exists. The lack of an ordering sovereign authority to oversee relations between states dominates debate between scholars as to whether the world will ever be a peaceful, threat-free environment. In order to eliminate war and conflict, cooperation must characterize states’ behaviour towards one another, a system in which ‘the security of each [state] is perceived as the responsibility of all’ (Wendt, 1999). The question then becomes why, if cooperation leads to rewards for everyone, do states enter into conflict and war? International Relations theorists seek to explain this paradox by examining the obstacles to cooperation. For classical realists, the answer is simple; lust for power and a drive for conflict are rooted within human nature and, since humans are the operators of state actors, state behaviour mimics this nature in its approach to international relations. Neo-realists, by contrast, follow Waltz in his belief that the anarchic structure of the international system causes states to seek security and power, and therefore provides the ultimate obstacle to cooperation. While liberals disagree altogether, offering the counterargument that men are rational, and therefore states choose to engage in conflict in order to pursue...
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...Since the publication of Kenneth Waltz’s Theory of International Politics in 1979, the classical school of realism, which suggests that state actions are driven by self-interest only, has been challenged by the school of “neoliberal institutionalism” and the idea that constructivism is a formidable school of thought in itself. This essay challenges the idea that “institutions” or “norms” guide the international system, rather arguing that classical realism, with elements of offensive realism, is what truly drives the international system, with states being the primary actors. While non-state actors (“NSA”) and transnational civil society is recognized as playing a part, it will be argued that it is ultimately the states that make the decisions. To this end the analysis will be from two different perspectives; the campaign against the anti-personnel landmines and the signing of the Ottawa treaty; and the rise of China despite ignoring “international norms” regarding human rights. Thus the analysis will be, first, an issue-based analysis and then an actor-based analysis. Landmines and the Ottawa Treaty Landmines have traditionally been used as an effective tool to prevent attacks by the enemy. Yet the downfall of having such a weapon in one’s arsenal is obvious, the weapon is indiscriminating; once set up it cannot and does not distinguish between soldier and civilian, thus leading to great civilian casualty and therefore seemingly going against the principles of just war ...
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...too much cutting in a film, jump cuts, and too many close-ups took away from the viewer. I felt that it wouldn’t leave any room for development and give the audience an unsatisfied understanding of the characters’ development. Too much cutting would still allow you to watch the whole story, however it would not let you question any motives or even allow you breathing space to compile all the things you just saw. I can’t and don’t like that at all. It hurt my head and eyes. I need to think and question. Between 1967 and 1971, a man named André Bazin created “What is Cinema?” in which he focused on editing and cinematography. André Bazin is a Realist and he argued that what he saw in film what he called “objective reality". He saw neo-realism and other genres later on become more realistic looking. These directors would become known as invisible. You “look through” not at the film. André Bazin admired “Orson Welles,” who used deep focus in “Citizen Kane”. Myself and Bazin both advocate the use of deep focus, wide shots and shot-in-depth. Bazin referred to those three as "true continuity" through mise-en-scène. I love seeing everything in the frame. As film progressed through experimental trial and error, the editing and visual effects became better and better by film process and technology. But before then, films that came out in the 1920s and 1930s were not adequate enough. I oppose the formalism movement in Russia of the 1920s and 1930s. Their way of editing and their use...
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...History and Politics Essay Topic: “Critically Evaluate Post War Realist Explanation of International Politics with Particular Reference to Power” Introduction The tradition of political realism – realpolitik, power politics – has a long history that is typically traced back to the great Greek historian Thucydides in the fifth century BC. Although dominant attitudes towards realism have varied, realist arguments and orientations have been central to the Western theory and practice of international relations. “In particular, “modern” international society, whether dated from the era of Machiavelli at the turn of the sixteenth century or that of Hobbes in the mid-seventeenth century, has been closely linked to realist balance of power politics. The link between realism and international theory is especially strong in the twentieth century. International relations first emerged as an academic discipline before and immediately after World War I, largely in reaction against realist balance of power politics. The discipline was then reshaped immediately before and after World War II by self-identified realists such as E. H. Carr and Hans Morgenthau. Prominent scholar-practitioners, such as George Kennan and Henry Kissinger, have called themselves realists. For most of the post-World War II era realism has been the dominant paradigm in the Anglo-American study of international relations”. Even in our post-Cold War era of globalization, realist theories, although much less dominant, still...
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...Theatrical Realism Theatrical Realism is the attempt of playwrights to mirror reality on the stage. That is to say, these playwrights intend for the audience to see themselves on the stage without fanfare – a stripped-down form of theatrical arts. Realistic theatre does not possess the magical elements of theatre that preceded it, but this is the strength of realism. Anton Chekhov echoes this point, “I wanted to tell people honestly: ‘Look at yourselves. See how badly you live and how tiresome you are.’ The main thing is that people should understand this. When they do, they will surely create a new and better life for themselves”. Realistic playwrights stood on the shoulders of the giants of theatre who preceded them by continuing to look at their times and people, but shattered new earth by asking audiences to look in to themselves. Realism is theatre in which people move and talk in a similar manner to that of our everyday behavior. The style has been dominant for the last 120 years. It holds the idea of the stage as an environment, and not just an acting platform. Some of the ideas flourishing in realism’s formative years were Charles Darwin’s Origin of Species and Karl Marx’s Communist Manifesto. Both of these works profoundly impacted the intelligentsia. They called into question the foundations on which the people of the world had built their truths. Marx, especially, can be seen as an important figure of the realistic movement as he sought to awaken the working...
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...During the 19th century, many Americans started to become irritated and annoyed of typical American stories cliché “all well ends well”. Many Americans at this time struggled with poverty and depression. Americans immigrants at this time were often taken advantage of and never achieved “the American dream”. Citizens became upset with these stories because it did not match up with their stories. All of these stories had happy ending where their stories did not. This is called realism where citizens wanted the truth in stories and not lies. Many writers use realism to speak for the American citizens. Jack London short story To Build a Fire displays that a slight mistake can cost you your life. A man told the protagonist not to travel the Yukon...
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...1 Compare the Realist movements in France and America. How were they different and how did these differences manifest themselves in the art of Gustave Courbet and Winslow Homer? The Realist movement was a stage in many countries such as France and America that brought awareness to things unseen and expressed a closer look to social classes without the idealization. In France Realist movement, Gustave Courbet was a painter that conveyed the rural area where he grew up which was made up of the lower class. In Courbet’s Burial at Ornans figure 25.1 he displays this social class through the clothes they’re wearing, bulbous nose and unkempt hair and the same can be said about figure 25.2 of The Stone Breakers, dressed in ragged clothes, dirty hands and the roughness of the labor. In contrast to Courbet’s work we can see the American Winslow Homer pieces. Homer mainly painted the middle class usually involved in leisure activities such as swimming, horseback riding or croquet. Although in a higher social class he still brought awareness on issues in those times, in figure 25.30 Snap the Whip we can see the painting of the kids playing, however, the game itself represents a union and how all the boy have to work together. Homer was in a way trying to put the view of the nation staggering under the disillusionment of the Civil War and showing the lost innocence that were quickly fading away. 2 Compare and contrast Manet’s Olympia (25.11) and Titian’s Venus of Urbino (17.35). During...
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...During the era of regional realism, many writers sought to expose Americans to the culture and issues of the South and late 1800s. In their writings, there is a clear distinction between three groups of people: white males, blacks, and women. These stories display a power struggle between these groups, in which the white males dominate society, leaving blacks and women voiceless and oppressed. Regional realist writers took it upon themselves to expose and discourage the oppression of blacks and women they witnessed, thus challenging readers to grapple with these important socially radical issues. Although presented in several different fashions, in many regional regionalist writings, blacks are portrayed as victims in society. One way this oppression is exposed is through the trickster. The role of the trickster was to represent...
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