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The 2020 Major League Baseball season was unprecedented, as games were played without fans for the entire COVID-19-abbreviated schedule, creating a unique environment for study of the effect of fans [...]

In this article we argue that in their quest for parsimony and through their denial of human agency, international relations scholars often endorse deterministic theories. The field of international relations suffers greatly for its devotion to excessive theoretical generalization. In rejecting the more pluralistic methodology of early international relations work, scholars may produce superficially valid predictive theories. Yet these theories rarely grant deep insight into why actual states behave as they do. Because of this, they provide little guidance for statesmen. While we do not advocate the complete rejection of any of the major approaches in the field, we argue that international relations scholars should reorient their work to account for the way leadership can overcome the constraints of structure. We suggest the field strive actively to embrace complexity and foster a greater epistemological modesty than it currently demonstrates. [ABSTRACT FROM AUTHOR]

How does war affect states' tolerance toward foreign culture? It is well documented by historians that democratic countries, despite their heralded values of liberty and diversity, acquiesce and even promote the practice of cultural intolerance in wartime. The available evidence, however, remains either anecdotal or limited to a specific context, and the extent to which war-induced cultural intolerance persists has so far rarely been examined. In order to investigate the short- and long-term effects of war on the degree of foreign cultural acceptance, this article focuses on patterns of classical music performances before, during, and after the two World Wars, based on a novel dataset assembled from concert program notes of ten renowned symphony orchestras from five countries (Austria, Germany, Japan, the United Kingdom, and the United States) between 1900 and 1960, covering 29,135 concerts and 125,530 pieces. Quantitative analysis suggests that the rate of performing pieces originating from belligerent countries in wartime declines markedly for music written in relatively modern times and that the defeat in wars led to a swift recovery of the exclusionary tendency against former enemy music. These findings demonstrate that states' security concerns and relative power, rather than political regime types, dictate international transaction patterns, including cultural flows across sovereign state borders. [ABSTRACT FROM AUTHOR]

Several recently published international relations and criminal justice writings, textbooks, and supplements focus on using science fiction and fantasy texts to teach social science theories. This article investigates how science fiction and fantasy examples affect student learning compared to documentary films. We use mixed methods to conduct two studies on the use of science fiction and fantasy in political science and criminal justice classrooms. In the first study, we divide up a large lecture class, comparing how examples from the HBO series Game of Thrones versus documentary films affect student learning about the United Nations and peacekeeping. Our second study uses a combination of interviews and surveys to assess how students apply various criminological theories to the 1997 film Gattaca versus a documentary. Our research reveals that science fiction and fantasy examples neither help nor harm student learning. However, incorporating examples from fictional worlds may alienate some students, affecting their enjoyment of class and perception of preparedness. Most importantly, we find that the use of fictional examples creates an interpretive barrier in the classroom. Thus, we recommend judicious use of science fiction and fantasy examples. When fictional examples are used, we encourage student preparation and extensive debriefing. [ABSTRACT FROM AUTHOR]

This paper focuses upon the human migratory trajectory from eons on planet Earth to slowly moving out into orbital space and whether world-systems theory must craft new theoretical frames to grasp the possible problems arising from the existence of a single social system comprised of actors distributed across terrestrial and orbital platforms, dubbed here as "Einstein's Problem." [ABSTRACT FROM AUTHOR]

The article analyzes the 2017 war films "Dunkirk," directed by Christopher Nolan and Joe Wright's "Darkest Hour," which both depicted the 1940 evacuation of the British Expeditionary Forces (BEF) that were trapped in Dunkirk, France during World War II. Topics discussed include the military aspects of the Dunkirk evacuation highlighted by Nolan, the political myths conveyed by both films through their depiction of historical events, and the idea of social cohesion acknowledged in both works.

When the famously nationalistic Japanese author Hyakuta Naoki published his best-selling novel A Man Called Pirate (Kaizoku to yobareta otoko) in 2012, which subsequently became both a manga and a major film, he renewed interest in the midcentury oil baron Idemitsu Sazō, using him as the model for the novel's lead character. Hyakuta claims to have aimed to inspire the country, reeling from decades of slow growth as well as the 2011 tsunami and nuclear disaster, by featuring a visionary Japanese leader motivated primarily by love for his employees and his country. This article traces the efforts across these media to render Idemitsu as a credible character, particularly in dealing with his real-life family as well as his "family" of employees. It argues that the partial disappearance of the "real" Idemitsu in these versions of Hyakuta's novel allowed the production of a more believable one—made believable in part because of the essential Japanese values that he ostensibly represents, even as the constraints on these representations hint at fissures and tensions in contemporary political use of biographical fiction and film. [ABSTRACT FROM AUTHOR]

How do drones affect escalation dynamics? The emerging consensus from scholarship on drones highlights increased conflict initiation when drones allow decisionmakers to avoid the risks of deploying inhabited platforms, but far less attention has been paid to understanding how drones affect conflict escalation. Limited theorization and empirical testing have left debates unresolved. I unpack the underlying mechanisms influencing escalation decisions involving drones by proposing a logic of remote-controlled restraint : drones limit escalation in ways not possible when inhabited assets are used. To test this logic and explore its instrumental and emotional microfoundations, I field "comparative wargames." I immerse national security professionals in crisis scenarios that vary whether a drone or inhabited aircraft is shot down. I validate wargame findings using a survey experiment. The wargames shed light on the microfoundations of escalation, highlight limits of existing theories, and demonstrate the utility of comparative wargaming as an IR research tool. [ABSTRACT FROM AUTHOR]

This paper investigates the art world as a setting for hegemonic status or prestige politics. Powerful states engage in art world status-seeking but appear to face challenges distinct to the art world in so doing. To explain, I adopt a Bourdieusian forms of capital approach, framing the art world as a social field with distinctive contentious dynamics and symbolic politics. I argue states must work through art world networks and institutions to pursue status there, observing local rules in so doing. I frame art world prestige as symbolic capital—the overt, observable pursuit of which tends to undermine any gains. Hegemonic incumbents and challengers face differing such constraints. The existing global art world models rules and standards by homology on that of the current hegemon. A challenger must adapt to this status quo before they can revise it. I unpack these dynamics in the cases of America, China, and India. I focus on their shifting standing in the global art market and performances of national aggrandizement at a recurring global art world event: the Venice Biennale. [ABSTRACT FROM AUTHOR]

While games are commonly viewed as frivolous fun, their rapid proliferation across the US defense establishment compels us to think again. Spanning spheres as diverse as total immersion training, near-peer/cyber conflict, and future force strategies, a gaming renaissance is currently underway across the US military. Surprisingly, given international relations' (IR) interest in the production and projection of military power, the discipline has neglected to engage with this revival. This article argues that hyperreal games—that is, games that produce realities—play an increasingly important role in the attraction, production, management, and recovery of warfighters. Drawing upon one hundred hours of interviews undertaken with US military games designers, trainers, trainees, and veterans between 2017 and 2019, the article documents first-hand experiences of hyperreal gaming in warfighter recruitment, training, deployment, and rehabilitation. The core argument developed is that unlike simulations, which model scenarios , games are productive of people , values, and identity. If it is to understand games' use as a tool of warfighter subjectification, the article argues, IR must renew its focus on military gaming disaggregated from the broader hyperrealities of modeling, simulation, and exercises with which it has hitherto been conflated. [ABSTRACT FROM AUTHOR]

The literature on "everyday nationalism" foregrounds constructivist practice theory as well as interpretivist methodologies. Our project—Making Identity Count—does something similar but with an aim to advance the study of International Relations rather than the study of nationalism. Here, we suggest that these two approaches are basically complementary, and that a theoretical and methodological cross-fertilization between them may yield new insights in both fields. [ABSTRACT FROM AUTHOR]

Dr. Strangelove continues to be viewed as one of the most acclaimed films of all-time. Likewise, international relations (IR) experts commonly list the film among the most essential IR-themed movies. The IR scholars who discuss Dr. Strangelove as a text or recommend it for courses generally claim that it can be used to explain nuclear deterrence, the security dilemma, mutually assured destruction, Cold War competition, and various other traditional serious concerns of the field. They also recognize that the satirical film is critical of nuclear strategy. This article considers Dr. Strangelove 's sexual subtext, involving important metaphors and symbols that IR scholars characteristically ignore. Yet, for decades, film critics and scholars from other disciplines have identified and emphasized the importance of the film's comedic "sexual framework" and concluding "wargasm." Director Stanley Kubrick even acknowledged these key elements in private correspondence. The film suggests that the national security establishment's masculine view of the utility of nuclear weapons and deterrence are comparable to absurd male sexual fantasies. Feminist IR scholars frequently note that mainstream scholars largely ignore their critique of masculine views of the discipline and nuclear strategy. The article concludes that scholars in the field should both prioritize Dr. Strangelove 's sexual subtext and rely upon feminist contributions to help understand those elements. [ABSTRACT FROM AUTHOR]