Images of European Integration in Asia

Chaban, Natalia; Holland, Martin; Kelly, Serena; Lai, Suetyi

doi:10.1057/9780230378704_5

Cited by 4 publications

(3 citation statements)

References 11 publications

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“…Although the EU may constitute a model for some business elites (Tanaka 2008), it is still predominantly perceived as an economic actor, rather than as a soft power (Bersick et al 2012;Garelli 2012, 18;Chaban et al 2013). There is an enduring perception that the EU is distant from, and uninterested in, Asia (von Hofmann 2007;Tanaka 2008;Bersick et al 2012;Chaban et al 2013) or not relevant to the Asian experience. The EU had little high-level presence in Asia until 2012, when Catherine Ashton attended some high-level meetings with Foreign Ministers of Asian states.…”

Section: East Asian Responsesmentioning

confidence: 95%

“…There is no shared pan-EU script, as national interests often take precedence, especially when trade drives diplomacy. Further, the fourth wall problem is that the EU is not regarded as a united political actor or a security player in Asia (Chaban et al 2013). National leaders are better known, and possibly more trusted, than EU leadership.…”

Section: The Eu As An International Actormentioning

confidence: 99%

“…Angela Merkel is more known than Catherine Ashton and Herman van Rompuy were. In addition, the EU can appear to be somewhat opaque and complex, and national leaders and nation states are more comprehensible for many interlocutors (Chaban et al 2013;Tanaka 2008) The EU self-consciously describes itself as a soft power. Descriptors of the EU as a civilian power (Duchêne), normative power (Manners 2002) or ethical power (Aggestam 2008) and responsible power (Mayer and Vogt 2006) have been challenged.…”

Section: The Eu As An International Actormentioning

confidence: 99%

See 2 more Smart Citations

Europe and the World: The Problem of the Fourth Wall in EU-ASEAN Norms Promotion

Murray

2015

Journal of Contemporary European Studies

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The EU regards itself as an important actor on the world stage. Yet an actor does not really see the audience clearly, as the theatre is normally dark. This renders it difficult to gauge the reaction of the recipients of the script or narrative. The term 'the fourth wall' conceptualizes the idea of audience. This audience, as recipients of the EU's script, have not been examined as rigorously as is required, to date. This article examines how the EU seeks to have an international impact in its promotion of regionalism to the Association of Southeast Asian Nations. It argues that there is a need to better understand the fourth wall in the EU's self-projection and that the EU may well be obliged to 'break the fourth wall' in the international arena.

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