Abstract
This paper sets out to examine if E.H. Carr was a realist, a Marxist or a critic of Utopianism. After describing his background, the paper examines how much Carr conformed to the standards of a classical realist. The paper also examines why it has been so hard to answer the question about Carr's reputation as a realist and concludes that not only was Carr a realist, but he was also a utopian, a functionalist, and a romantic.

From the Paper
"E.H Carr seems to be one of the most enigmatic writers in the field of International Relations. After looking up numerous sources, the position Carr came from still remains a mystery. Questions of whether he was a Realist, a Marxist or just a spiteful critic of Utopianism have still not been completely satisfactorily answered. Still, numerous answers have been out forward, and in this essay I will examine the ones I thought made most sense, and attempt to hopefully put forward my own opinion of exactly how much of a Realist Carr was. I will begin in relatively orthodox fashion, by looking at how much Carr conformed to the standards of a classical Realist, and juxtaposing that with how much he didn't conform to those same standards. I will then move on to an examination of exactly why it has been so hard to answer the question above, and then conclude by seeing how much of the question has been answered to date. First though, we need to put Carr's arguments into some sort of context by looking briefly at his history. Carr matured in a world where world security and peace was not really analyzed or commented upon. What changed this peaceful state was the First World War, and more importantly for Carr, the Bolshevik Revolution. This event proved to be a catalyst of sorts for Carr, and changed his vision of the world and to some extent his personality, dramatically. The world he inhabited became the one he commented the most upon, and most writers on his arguments have cautioned that this needs to be kept in mind in any examination of Carr. Thus, background duly noted, we can now move into answering the question itself.
To what extent was Carr a classical Realist? This question answered in different ways by different writers, but because space is limited, I will take here the two who seemed to answer the question best. The first answer I will put forward was originally thought up by Charles Jones, who said that Carr was a Realist who conformed to the standards of Realism he himself defined. The best example of this is the opening few chapters of The Twenty Years Crisis', in which Carr defines Realism as having two main tenants; Firstly, that sovereign states were the prime actors in an international system that was irremediably conflictual because of the flawed character of mankind and its own anarchic structure. Secondly, that statesmen were permitted to exercise amoral behaviour in the sphere of international politics because of these distinguishing characteristics which marked it off from the sphere of international politics . Thus according to Jones, Carr was a realist on his own terms, and not according to classically ascribed ones. Peter Wilson's argument for Carr being a Realist also runs along these lines. Wilson puts the version of Carr most commonly seen in IR forward first. According to this classical version of Carr, morality came about as a product of power, not vice versa; The diplomat was entitled to 'cloak the interests of his country in the language of universal justice '; The clash of interests between states was real and inevitable; Utopians were delusional dupes who only worked for their the fulfilment of their own vision; and that public interest was as wrong-headed as was it impotent . These two slightly views of Carr, though not completely identical do go some way towards showing why Carr was, prior to the in depth research done afterwards, seen as a hard-line classical Realist. Most basic realist assumptions and arguments are evident in the various points listed above, and as all of the points come from Carr's works themselves, it isn't hard to infer that he was in fact a hard-line Realist. But, Carr's arguments weren't confined to only the principles outlined above. In fact, they had much more depth to them than that, and this depth is what led to the 'Carr question ' being asked in the first place. How much then, does Carr not conform to the standards of a classical Realist?"

Tags:Bolshevick, revolution, anarchy

Abstract
The paper explores a painting by Emily Carr, produced before 1960, that warrants special attention because of the important way in which it encapsulates Emily Carr's reverent regard for native Canadians. As time allows, the paper describes the painting in question - "Totem and Forest" - and situates the artwork historically within the context of the artist's career and the status of Canadian art at the dawn of the 1930s. The paper provides reasons for why this artwork is so important - besides what it says about Carr's warm regard for native Canadians, the painting is an astonishingly thoughtful rendering of native Canadian culture at a time when native Canadian culture (courtesy the ravages of the Indian Act and the policies of Duncan Campbell Scott) was being steadily effaced - and highlights the significance of the artwork to Canadian culture at large. The paper concludes that Carr's 1931 work stands out because it sheds light on a part of Canada - its native population - that most people undoubtedly viewed as anachronistic in the 1930s and even beyond.

From the Paper
"The following paper will explore a painting by Emily Carr, produced before 1960, that warrants special attention because of the important way in which it encapsulates Emily Carr's reverent regard for native Canadians. As time allows, the next few pages will describe the painting in question - "Totem and Forest" - and will situate the artwork historically within the context of the artist's career and the status of Canadian art at the dawn of the 1930s. The paper will provide reasons for why this artwork is so important - besides what it says about Carr's warm regard for native Canadians, the painting is an astonishingly thoughtful rendering of native..."

Tags:totem, forest, canadian

Abstract
This paper argues in favor of the realism offered by E.H. Carr in his evaluation of the first distinction of factored analysis arising from Marxist theory. The paper discusses how in this capacity, Carr saw a strong set of analytical principles in the theories of Karl Marx that defined the course of history, as well as those factors that drove international relations through a far more objective economic perspective. The paper asserts that with Cox's identifying Carr as a proponent of "critical theory" , he as right in suggesting that economic and material forces are the central driving influences on hegemony as they have arisen within American global domination.

Tags:carrr, theory, international

Abstract
The paper discusses how E.H. Carr's reputation as an authentic realist is questioned, as many of his arguments are Marxist, functionalist or even idealist in nature. The paper examines the realist tradition and explains the Marxist, functionalist and Utopian aspects of Carr's thought. The paper shows how Carr does fit the fealist profile and deserved his reputation as a realist, although he was also a utopian with a hint of Marxist thought.

From the Paper
"Classical realism is positivist in its methodology. It stresses the antagonism between states which arises out of a flawed human nature and conflicting national interests. There are five basic assumptions that are the core of the Realist tradition of thought. Firstly, the international system is anarchical, meaning that there is no central authority that supersedes states. Secondly, these sovereign states are the principal actors in the international system and additionally they are rational unitary actors, meaning that they serve their own interests. Fourthly, the overriding national interest is the pursuit of security and finally, relations between states are determined by their comparative levels of power. These five assumptions constitute the basis of realist thinking, therefore any authors that appears to agree with them is generally classified as a realist without any distinctions made. As C. Jones explains, "attempts at generalisation are inimical to scholarship to the extent that they suppress significant distinctions." In this sense, it can be understood that if Carr seems to rest his argument on the same assumptions as listed above, he would be classified as a realist, albeit the fact that his writings also touch upon various other, non-realist assumptions."

Tags:Marxism, functionalism, Utopianism, Machiavelli, power

Abstract
The paper raises questions about Carr's thesis that it is intrinsic in the business world to stretch the truth and sometimes mislead buyers. Carr argues that there is an agreement among people in business that bluffing is accepted as part of the price of doing business and so cannot be considered lying. The writer explores this topic of how business ethics in advertising can remain profitable but also ethical.

From the Paper
"Carr presents his thesis in the form of an indirect argument, with his businessman friend serving to raise objections to which Carr provides answers. Carr says that the ethics of business are game ethics rather than religious ones, and his friend is not convinced, noting that he and his fellow business people pride themselves on their ethics, are loyal to customers and fair to suppliers, and otherwise completely ethical in their dealings. Carr assumes, however, that this man is inadvertently agreeing with him by saying he only lives up to the ethical standards of the business game, and he says this based on the fact that this same man "was allowing one of his products to be advertised in a way that made it sound a great deal better than it actually was" (Carr 244). Another product produced by his company had a "built-in obsolescence" so customers would have to repurchase sooner than they might like."

Tags:advertising, profit, lying, selling, images

Abstract
This paper looks at the life and art of Emily Carr. The development of her craft through different phases, her thought processes, spirituality and influences are all studied to gain an understanding of her art and artistic stance. While she dabbled in pottery and worked as a cartoonist, the main focus of this research is on her paintings and writings.

Abstract
This paper reviews the work "What is History", by Edmund Hallet Carr. It looks at how the work redefines the way historical facts are understood and the importance of context in the interpretation of historical facts. It looks at the importance of a historian having an awareness of the time-frame a historical work was written in, the objectives of the writer at that time and his/her own society-based biases. The paper then brings in Cronon's "A place for stories: nature, history, and narrative" and Linda Alcoff's "The problem of speaking for others", as examples of how Carr's ideas have been used by other historians writing on the meaning of history.

From the Paper
"Edmund Hallet Carr's book, What is History?, was first published in 1961 and had a major impact on the understanding of history. Reading this book over 40 years later, it still has the same impact, creating a change in the way history is viewed and understood. The lasting impact of Carr's concepts can also be seen by the way they are still applicable to modern ideas on the meaning and purpose of history."

Tags:historical, fact, context, interpretation, historian, time-frame, objective, bias, Cronon, Linda, Alcoff

From the Paper
"The United States Supreme Court, which had long toiled largely in the background, finally assumed its constitutionally mandated position as one of the three equal branches of government during the tenure (1953-1969) of Chief Justice Earl Warren. The decisions of the Warren Court reshaped the role of the judiciary, and in many instances, transformed American society. For most Americans, this assertion of power is reflected by well-known cases such as Brown v. Board of Education (1954), New York Times Co. v. Sullivan (1964), and Miranda v. Arizona (1966). But several lesser-known cases, dealing with more arcane issues, have been equally important. One such case is Baker v. Carr (1962), which greatly expanded the Court's jurisdiction and thus its reach. This paper will examine Baker v. Carr and its continuing impact on American law."

Abstract
This paper analyzes the characters and plots in John Le Carre's novels, "The Honourable Schoolboy" and "The Little Drummer Girl" to shed some light on the author's view of international affairs. The paper explains that, from Le Carre's point of view, international affairs are dehumanizing from all sides concerned and offer no justice.

From the Paper
"John Le Carre's perception of international affairs is one of intense disillusionment. Through the novels, The Honorable Schoolboy and The Little Drummer Girl, Le Carre shows the reader that the world is devoid of a political ideology. In these novels, international affairs arise from the encounters between Smiley and Charlie and the raging forces of international affairs. These encounters resonate a sadness and empathy for the human condition. A few critics have labeled Le Carre's view of international politics as "baroque." With his character George Smiley, Le Carre holds a clean mirror to the face of the secret intelligence agency, illuminating a turmoil. George Smiley tries to uphold a degree of principles as does Charlie, but they are no match for the rising flood that pushes them toward losing their principles. Both Smiley and Charlie are the outsiders, who continually attempt to do the right thing. Since there have been many times duty to country or group beliefs have caused many atrocities, Le Carre makes clear that it is more important to have individual principles than any duty to anyone or anything. Through Smiley and Charlie, Le Carre shows how international affairs are demoralized and perilous."

Tags:secret, intelligence, circus, roddy, martindale, foreign, office, karla, unprincipled

Abstract
This paper outlines the E. H. Carr's theory in his book, "The Historian and His Facts", which argues that that a historical fact can never be a hard fact that can be taken at face value because it is really just a reflection of the historian's thought process. The paper summarizes Carr's arguments, which support his theory, and cites the examples used by Carr, which add credibility to his views. The paper also reviews Carr's belief that hard historical facts can not exist independently and objectively of the historian because the view of the past is always colored by the present. Finally, the paper looks at how Durkheim's definition of social facts can both relate to and refute Carr's theory.

From the Paper
"Carr presents several logical and highly persuasive arguments in support of his argument. For instance, he submits that our picture of Greece in the fifth century B.C. is largely based by the documentation and picture left behind by a select group of people in Athens and to that extent is not truly representative since very little was recorded of the history of the Spartan or Corinthian civilizations. Similarly, he questions the current day picture of the medieval man as deeply concerned with religion since the facts of medieval history have almost all been selected by people who were professionally occupied in the theory and practice of religion and who, therefore, may have focused on recording all facts relating to it."

Tags:selection, arrangement, representative, biases, presentation, documentation, decipher, interpretation