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| 1 |
ID:
120615
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| Publication |
2013.
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| Summary/Abstract |
Research on potential diversionary uses of military force continues to generate widespread scholarly attention. New measures, novel databases, and an increasing internationalization of this research examine the kinds of targets an American president may strike. Yet in many respects, Levy's insight on research of diversionary military action(s), that quantitative research approaches fail to capture the decision-making dynamics involved in a military action, has generally held true. Current analysts still struggle to develop a consensus on the conditions that help explain a diversionary military action, or whether such military actions ever even occur.
Using a diversionary-war model created from previous case-study analyses this research examines American military actions in Grenada in 1983 and Iraq in 1996 to determine whether or not these strikes appear to be diversionary in nature. Our model also employs previous research on diversionary military action to assist in the selection of American military actions, followed by a series of tests to assess various aspects of the decision-making process, international interaction prior to and after the strikes, and the strategic merits for conducting these strikes. Our research generally suggests that neither of these strikes was conducted for diversionary purposes.
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| 2 |
ID:
106038
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| Publication |
2011.
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| Summary/Abstract |
This article argues for a close relationship between national identity and the institutionalisation of the visual arts in Grenada. Art, which is intrinsic to all humans, predates its institutionalisation: it is only institutionalised in societies with a strong sense of national identity. In order to explain the role of national identity in the formation of national art, the article begins by examining the period following World War II, when Grenada - still under British colonialism - was undergoing intense social and political changes. To understand these changes, the analysis of the stratification system is paramount. The article delineates three groups on the basis of the value systems developed historically: the elite, the masses and a small, growing middle class situated between these two groups. The works of three prominent Grenadian artists illustrate the argument that institutionalisation of art requires a strong sense of national identity, and through this process the artistic development of a society occurs. Furthermore, understanding this process requires a focus on the ways in which social and political groups or classes impeded the development of a national identity, preventing the institutionalisation of the arts.
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