It seems to be a tenet of the human condition to perceive “others” as “different” and potentially hostile. In nearly all societies stereotypes are developed to stigmatize suspected enemies within and without. The American case is particularly interesting in this respect because American society consists of nothing but “others”; to be open to “others” and welcome those who are “different” is one of the basic tenets of the country. However, this principle often conflicts with the need to integrate all these “strangers” into a homogeneous, governable society, which causes the formation of hostile stereotypes of certain ethnic groups that do not “fit in.” The authors in this volume look at the development of these “enemy images,” which form a fairly consistent pattern, from the period of the American Revolution to the post–World War II era. In doing so, they focus on the question of to what extent these enemy images influence the formulation and outcome of foreign, domestic, and immigration policies.

This book offers a detailed understanding of ‘enemy images’, which are used in political rhetoric to dehumanize adversaries for various purposes, such as to legitimate violent conflicts. Applying theoretical models to a strong catalogue of historical and recent examples – from blood libel narratives in medieval manuscripts, to state-sponsored children’s board games in Nazi Germany and social media posts about the wars in Gaza and Ukraine – the book identifies how ‘enemy images’ have led to the development of dominant socio-political paradigms by providing justifications for and reinforcements of violent conflicts both within and between societies. In doing so, the work offers an up-to-date, accessible and authoritative overview of how to identify, analyse, and counteract energy images – which will be key to fostering social environments of reconciliation and peacebuilding for the future. This book will be of much interest to students and scholars of peace and conflict studies, International Relations, history, political sociology, and communication studies.

This title was first published in 2001. This text looks at what being Russian means to a Russian politician, the country they live in and what they think it ought to be. It is a study of self-images in Russia, pertaining to the Russian state policy and the cognitive and affective strands regarding Russia's past, its friends and foes externally and internally, and Russia's role in the international arena, as well as key issues related to internal developments. This book attempts to assess to what extent a new sense of identity emerged in Russia during the decade after the dissolution of the Soviet Union. In this book Petersson argues that the development of a civic national identity, centered around belonging to the state and not an ethnic community, is the only viable option to prevent further disintegration and bring about stability and cohesion for the country.

Framing China sheds new light on Western relations with and perceptions of China in the first half of the twentieth century. In this ground-breaking book, Ariane Knüsel examines how China was portrayed in political debates and the media in Britain, the USA and Switzerland between 1900 and 1950. By focusing on the political, economic, cultural and social context that led to the construction of the particular images of China in each country, the author demonstrates that national interests, anxieties and issues influenced the way China was framed and resulted in different portrayals of China in each country. The author’s meticulous analysis of a vast amount of newspaper and magazine articles, commentaries, editorials, cartoons and newsreels that have previously not been studied before also focuses on the transnational circulation of images of China. While previous publications have dealt with the occurrence of the Yellow Peril and Red Menace in particular countries, Framing China reveals that these images were interpreted differently in every nation because they both reflected and contributed to the discursive construction of nationhood in each country and were influenced by domestic issues, cultural values, pre-existing stereotypes, pressure groups and geopolitical aspirations.

This book investigates demonization in international politics, particularly in the Middle East. It argues that while demonization’s origins are religious, its continued presence is fundamentally political. Drawing upon examples from historical and modern conflicts, this work addresses two key questions: Why do leaders demonize enemies when waging war? And what are the lasting impacts on peacemaking? In providing answers to these inquiries, the author applies historical insight to twenty-first century conflict. Specific attention is given to Israel and Palestine as the author argues that war-time demonization in policy, media, and art is a psychological and relational barrier during peace talks.

Contributions by Jerold J. Abrams, José Alaniz, John Carey, Maurice Charney, Peter Coogan, Joe Cruz, Phillip Lamarr Cunningham, Stefan Danter, Adam Davidson-Harden, Randy Duncan, Richard Hall, Richard Heldenfels, Alberto Hermida, Víctor Hernández-Santaolalla, A. G. Holdier, Tiffany Hong, Stephen Graham Jones, Siegfried Kracauer, Naja Later, Ryan Litsey, Tara Lomax, Tony Magistrale, Matthew McEniry, Cait Mongrain, Grant Morrison, Robert Moses Peaslee, David D. Perlmutter, W. D. Phillips, Jared Poon, Duncan Prettyman, Vladimir Propp, Noriko T. Reider, Robin S. Rosenberg, Hannah Ryan, Lennart Soberon, J. Richard Stevens, Lars Stoltzfus-Brown, John N. Thompson, Dan Vena, and Robert G. Weiner The Supervillain Reader, featuring both reprinted and original essays, reveals why we are so fascinated with the villain. The obsession with the villain is not a new phenomenon, and, in fact, one finds villains who are “super” going as far back as ancient religious and mythological texts. This innovative collection brings together essays, book excerpts, and original content from a wide variety of scholars and writers, weaving a rich tapestry of thought regarding villains in all their manifestations, including film, literature, television, games, and, of course, comics and sequential art. While The Supervillain Reader focuses on the latter, it moves beyond comics to show how the vital concept of the supervillain is part of our larger consciousness. Editors Robert Moses Peaslee and Robert G. Weiner collect pieces that explore how the villain is a complex part of narratives regardless of the original source. The Joker, Lex Luthor, Harley Quinn, Darth Vader, and Magneto must be compelling, stimulating, and proactive, whereas the superhero (or protagonist) is most often reactive. Indeed, whether in comics, films, novels, religious tomes, or video games, the eternal struggle between villain and hero keeps us coming back to these stories over and over again.

Eastern European museums represent traumatic events of World War II, such as the Siege of Leningrad, the Warsaw Uprisings, and the Bombardment of Dresden, in ways that depict the enemy in particular ways. This image results from the interweaving of historical representations, cultural stereotypes and beliefs, political discourses, and the dynamics of exhibition narratives. This book presents a useful methodology for examining museum images and provides a critical analysis of the role historical museums play in the contemporary world. As the catastrophes of World War II still exert an enormous influence on the national identities of Russians, Poles, and Germans, museum exhibits can thus play an important role in this process.