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Introducing Constructivism in International Relations Theory

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20.10.2026

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This is an excerpt from International Relations Theory. Free to download from E-International Relations.

Constructivism’s arrival in IR is often associated with the end of the Cold War, an event that the traditional theories such as realism and liberalism failed to account for. This failure can be linked to some of their core tenets, such as the conviction that states are self-interested actors who compete for power and the unequal power distribution among states which defines the balance of power between them. By having a dominant focus on the state, traditional theories have not opened much space to observe the agency of individuals. After all, it was the actions of ordinary people that ensured the end of the Cold War, not those of states or international organisations. Constructivism accounts for this issue by arguing that the social world is of our making (Onuf 1989). Actors (usually powerful ones, like leaders and influential citizens) continually shape – and sometimes reshape – the very nature of international relations through their actions and interactions.

The basics of constructivism

Constructivism sees the world, and what we can know about the world, as socially constructed. This view refers to the nature of reality and the nature of knowledge that are also called ontology and epistemology in research language. Alexander Wendt (1995) offers an excellent example that illustrates the social construction of reality when he explains that 500 British nuclear weapons are less threatening to the United States than five North Korean nuclear weapons. These identifications are not caused by the nuclear weapons (the material structure) but rather by the meaning given to the material structure (the ideational structure). It is important to understand that the social relationship between the United States and Britain and the United States and North Korea is perceived in a similar way by these states, as this shared understanding (or intersubjectivity) forms the basis of their interactions. The example also shows that nuclear weapons by themselves do not have any meaning unless we understand the social context. It further demonstrates that constructivists go beyond the material reality by including the effect of ideas and beliefs on world politics. This also entails that reality is always under construction, which opens the prospect for change. In other words, meanings are not fixed but can change over time depending on the ideas and beliefs that actors hold.

Constructivists argue that agency and structure are mutually constituted, which implies that structures influence agency and that agency influences structures. Agency can be understood as the ability of someone to act, whereas structure refers to the international system that consists of material and ideational elements. Returning to Wendt’s example discussed above, this means that the social relation of enmity between the United States and North Korea represents the intersubjective structure (that is, the shared ideas and beliefs among both states), whereas the United States and North Korea are the actors who have the capacity (that is, agency) to change or reinforce the existing structure or social relationship of enmity. This change or reinforcement ultimately depends on the beliefs and ideas held by both states. If these beliefs and ideas change, the social relationship can change to one of friendship. This stance differs considerably from that of realists, who argue that the anarchic structure of the international system determines the behaviour of states. Constructivists, on the other hand, argue that ‘anarchy is what states make of it’ (Wendt 1992). This means that anarchy can be interpreted in different ways depending on the meaning that actors assign to it.

Another central issue to constructivism is identities and interests. Constructivists argue that states can have multiple identities that are socially constructed through interaction with other actors. Identities are representations of an actor’s understanding of who they are, which in turn signals their interests. They are........

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