Arms Control - Theory of Arms Control

Theory of Arms Control

Scholars and practitioners such as John Steinbruner, Jonathan Dean or Stuart Croft worked extensively on the theoretical backing of arms control. Arms control is meant to break the security dilemma. It aims at mutual security between partners and overall stability (be it in a crisis situation, a grand-strategy, or stability to put an end to an arms race). Other than stability, arms control comes with cost reduction and damage limitation. It is differs from disarmament since the maintenance of stability might allow for mutually controlled armament and does not take a peace-without-weapons-stance. Nevertheless, arms control is a defensive strategy in principle, since transparency, equality, and stability do not fit into an offensive strategy.

Read more about this topic:  Arms Control

Famous quotes containing the words theory of, theory, arms and/or control:

    A theory of the middle class: that it is not to be determined by its financial situation but rather by its relation to government. That is, one could shade down from an actual ruling or governing class to a class hopelessly out of relation to government, thinking of gov’t as beyond its control, of itself as wholly controlled by gov’t. Somewhere in between and in gradations is the group that has the sense that gov’t exists for it, and shapes its consciousness accordingly.
    Lionel Trilling (1905–1975)

    Don’t confuse hypothesis and theory. The former is a possible explanation; the latter, the correct one. The establishment of theory is the very purpose of science.
    Martin H. Fischer (1879–1962)

    We love the indomitable bellicose patriotism that sets you apart; we love the national pride that guides your muscularly courageous race; we love the potent individualism that doesn’t prevent you from opening your arms to individualists of every land, whether libertarians or anarchists.
    Tommaso Marinetti (1876–1944)

    When a book, any sort of book, reaches a certain intensity of artistic performance it becomes literature. That intensity may be a matter of style, situation, character, emotional tone, or idea, or half a dozen other things. It may also be a perfection of control over the movement of a story similar to the control a great pitcher has over the ball.
    Raymond Chandler (1888–1959)