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Engagement, Enlargement, and Confrontation provides a holistic view of the European Union’s eastern relations explored in an historical context following the end of the Cold War. The author draws out the key achievements and failures of this strategic exercise.

The focus is on the institutional adaptation of the European Union as well as on the dynamics of its policies towards the East. Graham Timmins identifies four interconnected factors which have shaped the development of the EU’s policies towards its eastern neighbours; the projection of the EU’s identity as an agent of peace and stability, the maintenance of internal stability within the Union, the coordination of Member State foreign policies, and the EU’s relations with Russia.

The book explores the key challenges faced by the European Union in terms of the EU’s eastern policies. These include capacity building, the management of expectations in the eastern neighbourhood, the reconciliation of national perspectives and agendas with wider EU strategic thinking, and last but not least the handling of the relationship with Russia. The general conclusion of the study is that the EU’s internal development in respect to its relationship with its eastern members and neighbours is likely to remain complex and unpredictable.

Exposing the politics of seeing: how documentary photographs confront inequality and reshape public understanding.

In Rhetorical Exposures, Christopher Carter explores social documentary photography from the nineteenth century to the present in order to illuminate the political dimensions and consequences of photographs taken and selected to highlight social injustice. Documentary photography aims to capture the material reality of life. Carter demonstrates how the creation and display of documentary photographs—often now called “imagetexts”—both invite analysis and raise persistent questions about the political and social causes for the bleak scenes of poverty and distress captured on film.

Carter’s carefully reasoned monograph examines both formal qualities of composition and the historical contexts of the production and display of documentary photographs. In Rhetorical Exposures, Carter explores Jacob Riis’s heartrending photos of Manhattan’s poor in late nineteenth-century New York, Walker Evans’s iconic images of tenant farmers in west Alabama, Ted Streshinsky’s images of 1960s social movements, Camilo José Vergara’s photographic landscapes of urban dereliction in the 1970s, and Chandra McCormick’s portraits of New Orleans’s Ninth Ward scarred by Hurricane Katrina.

While not ascribing specifically political or Marxist intentions to the photographers discussed, Carter frames his arguments in a class-based dialectic that addresses material want as an ineluctable result of social inequality. Carter argues that social documentary photography has the powerful capacity to disrupt complacent habits of viewing and to prompt viewers to confront injustice. Though photography may induce socially disruptive experiences, it remains vulnerable to the same power dynamics it subverts. Therefore, Carter offers a “rhetoric of exposure” that outlines how such social documentary images can be treated as highly tensioned rhetorical objects. His framework enables the analysis of photographs as heterogeneous records of the interaction of social classes and expressions of specific built environments. Rhetorical Exposures also discusses how photographs interact with oral and print media and relate to creations as diverse as public memorials, murals, and graphic novels.

As the creation and dissemination of new media continues to evolve in an environment of increasing anxiety about growing financial inequality, Rhetorical Exposures offers a very apt and timely discussion of the ways social documentary photography is created, employed, and understood.