Deterrence Theory - Criticism of Deterrence Theory

Criticism of Deterrence Theory

Deterrence theory is criticized for its assumptions about opponent rationales.

First, it is argued that suicidal or psychotic opponents may not be deterred by either forms of deterrence. Second, if two enemy states both possess nuclear weapons, Country "X" may try to gain a first strike advantage by suddenly launching weapons at Country "Y", with a view to destroying its enemy's nuclear launch silos thereby rendering Country "Y" incapable of a response. Third, diplomatic misunderstandings and/or opposing political ideologies may lead to escalating mutual perceptions of threat, and a subsequent arms race which elevates the risk of actual war — a scenario illustrated in the movies WarGames and Dr. Strangelove. An arms race is inefficient in its optimal output, as all countries involved expend resources on armaments that would not have been created if the others had not expended resources. This is a form of positive feedback. Fourth, escalation of perceived threat can make it easier for certain measures to be inflicted on a population by its government, such as restrictions on civil liberties, the creation of a military–industrial complex, and military expenditures resulting in higher taxes and increasing budget deficits.


Read more about this topic:  Deterrence Theory

Famous quotes containing the words criticism and/or theory:

    I am opposed to writing about the private lives of living authors and psychoanalyzing them while they are alive. Criticism is getting all mixed up with a combination of the Junior F.B.I.- men, discards from Freud and Jung and a sort of Columnist peep- hole and missing laundry list school.... Every young English professor sees gold in them dirty sheets now. Imagine what they can do with the soiled sheets of four legal beds by the same writer and you can see why their tongues are slavering.
    Ernest Hemingway (1899–1961)

    We have our little theory on all human and divine things. Poetry, the workings of genius itself, which, in all times, with one or another meaning, has been called Inspiration, and held to be mysterious and inscrutable, is no longer without its scientific exposition. The building of the lofty rhyme is like any other masonry or bricklaying: we have theories of its rise, height, decline and fall—which latter, it would seem, is now near, among all people.
    Thomas Carlyle (1795–1881)