A brief essay of Nikolay Raynov against war.

Abstract The first several chapters of the Bhagavad Git? set themselves a daunting task: to explain how a life of action can be rendered compatible with a life of renunciation of desire. The situation, in fact, is designed to raise the issue in an excruciatingly intense form. As Krsna and Arjuna pause on the verge of the great battle, Arjuna asks how killing people?including his own teachers and members of his own family?in order to secure power and fame, can be (...) squared with his religious and ethical convictions. This paper is an attempt to explicate Krsna's solution of the paradox, not from the point of view of Hindu tradition (in which it has, of course, driven whole movements of thought), but simply as a philosophical problem in its own right. I will argue that the paradox of the Git? suggests a reconstrual of the way we conceive the relation of means and ends in our activities, a reconstrual that can be profitably elucidated through the concept of art. And I will argue that this reconstrual has the potential to change our relations to our world and to one another in a way that is deeply life?affirming. (shrink)

Many on the left lament an apathy or amnesia toward recent acts of war. Particularly during the George W. Bush administration's invasion of Iraq, opposition to war seemed to lack the heat and potency of the 1960s and 1970s, giving the impression that passionate dissent was all but dead. Through an analysis of three politically engaged works of art, Rosalyn Deutsche argues against this melancholic attitude, confirming the power of contemporary art to criticize subjectivity as well as war. Deutsche selects (...) three videos centered on the deployment of the atomic bomb: Krzysztof Wodiczko's _Hiroshima Projection_ (1999), made after the first Gulf War; Silvia Kolbowski's _After Hiroshima mon amour_ (2005-2008); and Leslie Thornton's _Let Me Count the Ways_ (2004-2008), which followed the U.S. invasion of Iraq. Each of these works confronts the ethical task of addressing historical disaster, and each explores the intersection of past and present wars. These artworks profoundly contribute to the discourse of war resistance, illuminating the complex dynamics of viewing and interpretation. Deutsche employs feminist and psychoanalytic approaches in her study, questioning both the role of totalizing images in the production of warlike subjects and the fantasies that perpetuate, especially among the left, traditional notions of political dissent. She ultimately reveals the passive collusion between leftist critique and dominant discourse in which personal dimensions of war are denied. (shrink)

Many on the left lament an apathy or amnesia toward recent acts of war. Particularly during the George W. Bush administration's invasion of Iraq, opposition to war seemed to lack the heat and potency of the 1960s and 1970s, giving the impression that passionate dissent was all but dead. Through an analysis of three politically engaged works of art, Rosalyn Deutsche argues against this melancholic attitude, confirming the power of contemporary art to criticize subjectivity as well as war. Deutsche selects (...) three videos centered on the deployment of the atomic bomb: Krzysztof Wodiczko's _Hiroshima Projection_, made after the first Gulf War; Silvia Kolbowski's _After Hiroshima mon amour_ ; and Leslie Thornton's _Let Me Count the Ways_, which followed the U.S. invasion of Iraq. Each of these works confronts the ethical task of addressing historical disaster, and each explores the intersection of past and present wars. These artworks profoundly contribute to the discourse of war resistance, illuminating the complex dynamics of viewing and interpretation. Deutsche employs feminist and psychoanalytic approaches in her study, questioning both the role of totalizing images in the production of warlike subjects and the fantasies that perpetuate, especially among the left, traditional notions of political dissent. She ultimately reveals the passive collusion between leftist critique and dominant discourse in which personal dimensions of war are denied. (shrink)

Clive Bell was not an ethicist. He was an aesthetician, known for his very strong formalist views, according to which art has nothing to do with ethics and politics. At least that is the textbook description of his general stance. ‘Art and war’ is a relatively unknown piece by him that has been ignored within art history partly because the relation between art on the one hand and ethics and politics on the other is much more complex here.

The idea of “just war” is not alien to Chinese thought. The term “yi zhan” (usually translated as “just war” or “righteous war” in English) is used in Mencius, was renewed by Mao Zedong, and is still being used in China today (zhengyi zhanzheng). The best place to start exploring this Chinese idea is in the enormous Art of War corpus in premodern China, of which the Seven Military Classics is the best representative. This set of treatises served as the (...) military bible in imperial China from 1078 CE. Ideas analogous to ius ad bellum and ius in bello can be found in these texts. These norms are present in these military texts, elaborated in subsequent commentaries, understood as a matter of fact in Chinese political history, and recently and briefly acknowledged by a few Chinese military scholars in the mainland and in Taiwan. This Chinese just war ethics has its distinctiveness vis-à-vis James Turner Johnson's articulation of the Western classic view. It differs from Johnson's claims that military lethal violence is intrinsically morally neutral and that last resort is not a primary consideration in deciding for war. Contemporary Chinese People's Liberation Army (PLA) military publications show that the PLA understands the general idea of just war, but they acknowledge only the ad bellum part, not the in bello components. (shrink)

The paper explores the relation between philosophy and rhetoric from a new perspective by highlighting the dramatic nature of the dialogue and paying attention not only to what is said about philosophy and rhetoric but also to what is shown, especially through Gorgias' intervention throughout the dialogue in order to save a community of dialogue that inquires into the good and the just. This re-conception of the relation between philosophy and rhetoric implies a re-conception of the practice of politics itself, (...) rooted in a philosophy concerned with turning individual souls toward the good and a rhetoric that motivates individuals to be turned in the same direction by the words of others. El artículo explora la relación entre filosofía y retórica desde una nueva perspectiva al enfatizar la naturaleza dramática del diálogo y, por tanto, poniéndole atención no sólo a lo que se dice sobre filosofía y retórica, sino también a lo que se muestra, especialmente por las intervenciones de Gorgias a lo largo del diálogo con el fin de salvar a la comunidad de diálogo que investiga lo bueno y lo justo. Esta reconcepción de la relación entre filosofía y retórica implica una reconcepción de la práctica de la política misma, fundada en una filosofía que busca girar las almas individuales hacia el bien y una retórica que motiva a los individuos a ser girados en esa misma dirección por las palabras de los otros. (shrink)

Enjoy two classics of tactical and strategic thinking together in one volume! Despite being separated by 2000 years and half a world, these famous works of Niccol Machiavelli and Sun Tzu have much in common. Both books were produced during times of great unrest and both have altered the course of political and military thought and practice for generations. This book contains the acclaimed English translations of W.K. Marriott for The Prince and Lionel Giles for The Art of War.

Today's society is often referred to as the era of anxiety, since people increasingly experience uncertainties in their everyday lives. This article explores first the differences between fear and anxiety. Second, with the help of Lacanian psychoanalytic definition of anxiety, some examples of psychological breakdowns in wars are analyzed. And third, the attempts of contemporary military to create anxiety-free wars are confronted with similar trends in contemporary arts which try to decrease the viewer's sensitiveness to anxiety with regard to his/her (...) perceptions of the body and of death. (shrink)

The Art of War application to education is about solving problems to improve student and school success. The Art of War describes the significance of a leader and his knowledge and prudent application of the strategies. At the core of theses strategies is the non-negotiable moral purpose of the leader to be reinforced by other fine qualities as wisdom, commitment, discipline, and courage.

The two political classics in this book are the product of a time of intense turmoil in Chinese history. Dating from the Period of the Warring States (403-221BC), they anticipate Machiavelli's The Prince by nearly 2000 years. The Art of War is the best known of a considerable body of Chinese works on the subject. It analyses the nature of war, and reveals how victory may be ensured. The Book of Lord Shang is a political treatise for the instruction of (...) rulers. These texts are anything but armchair strategy or ivory-tower speculation. They are serious, urgent and practical responses to the desperate situations in which they were written. They have been immensely influential both inside and outside China. (shrink)

In 1941 Fritz Saxl and Rudolf Wittkower of the Warburg Institute organized an exhibition on English Art and the Mediterranean. The photographic exhibition showed the long history of artistic and cultural ties between English art and the classical tradition, employing Aby Warburg's method. The project was an attempt by Saxl, as director, to show the relevance of the Warburg Institute's work in England, the new home of the Library since 1933. Kenneth Clark, director of the National Gallery, actively promoted the (...) work of the Institute, including by supporting the naturalization process for many of the Warburg scholars. The popular belief in the cultural ties between England and Italy fed into the positive reception for the exhibition and into acceptance of the work of the Warburg Institute. The exhibition was published in a large format catalog in 1948, further adding to the popularity of the exhibition with a diverse British public. Although the motivation for the exhibition emerged from political conditions and institutional circumstance, it had a lasting effect on the history of the study of English art and architecture. Wittkower and others turned to research on the classical tradition in English art, even though the method had limited relevance beyond the “neoclassical” period. (shrink)

To avoid preparing to wage battles against our opponents in future wars, we should proactively and continuously influence the narrative identity structures of our potential opponents by using Strategic Communications (StratCom). This book argues that nations and societies of tolerance and pluralism (the so-called wonderful societies) should utilize StratCom to seduce their enemies, opponents, and potential opponents not only to behave in more tolerant ways, but above all to internalize peace, tolerance, and pluralism as essential values and guiding mental institutions (...) of their identity structures. Winning Wars Before They Emerge will be of interest to students, lecturers and researchers of international relations and world politics, peace researchers, and information operations practitioners, as well as military personnel. War and the art of war are issue areas that have been widely dealt with in numerous books and widely taught in various universities and defense colleges/universities, but not from the perspective offered in this book. (shrink)

Dr. Seuss's imaginative, whimsical children's tales are in fact packed with insights on national security and military strategy. Theodor Geisel's anti-totalitarian and pro-democracy views coming out of his WWII experiences are embedded in his classic books illuminating military topics such as strategy, insurgency, deterrence, cyber war, and more.

The Warring States period was without doubt a time when reason thrived. The Confucians, Mohists, and Daoists, respectively, displayed three of its intellectual inclinations. One was reason with an exceptionally prominent moral flavor, and the cultivation of human character as its object. It calls on men to uphold the dignity, tranquillity, and loftiness of their inner selves. One was reason with a very strong practical flavor, and the realization of beneficent profit as its object. It leads men to address ways (...) of maintaining the stability of society, material wealth to support men's livelihoods, and individual survival. Apart from these two, there was reason that has spiritual transcendence and human immortality as its object, and which was manifested as a tendency toward anti-intellectualism. It tries to protect individual survival and freedom of the spirit, despite social pressures. As for those mystical ideas and techniques that seemed absurd, they gradually regressed into simplistic ceremonies, fables, and symbols among the cultural workers who pursued reason. The psychological attitude of "sacrificing to spirits as if they were present" led many cultural aristocrats to distance themselves from mystical ideas and techniques. Mysticism gradually disappeared from among men of culture, especially once it became increasingly difficult for those divination methods and technical arts, used merely to satisfy concrete needs, to avoid the scrutiny of reason. Some late Warring States period texts can help us understand the direction this way of thinking took. "Xian xue" in the Hanfeizi says,When the shaman priests pray for someone, they say, "May you live a thousand autumns and ten thousand years!" But the "thousand autumns and ten thousand years" are only a noise dinning on the ear: No one has ever proven [zheng] that such prayers add so much as a day to anyone"s life. For this reason people despise the shaman priests.". (shrink)

Cold-War Twins: Mikhail Alpatov's a Universal History of Arts and Ernst Gombrich's the Story of Art This article deals with the "afterlife" of a methodological disagreement in the Vienna School of Art History between the positions of Alois Riegl and Julius von Schlosser in Mikhail Alpatov's and Ernst Gombrich's art history survey texts published during the Cold War on different sides of the Iron Curtain. Though these surveys are methodological antipodes, the difference itself, I argue, is possible only within the (...) framework of the larger art historical discourse they share. In addition, I will draw on the radical ideological critique of Alpatov's survey inside the Soviet Union and the case of the Stalinist survey meant to replace it, in order to address the ideological commonality between Alpatov's and Gombrich's surveys. (shrink)

Philip J. Ivanhoe's translation of Sun Tzu's _Art of War_ will be warmly embraced by students. His discussion in the Introduction about the text’s dating and authorship, as well as Chinese attitudes towards things military, is concise, informative, and up-to-date. The translation itself is a marvel--its language is simple and direct, making it immensely readable and clear.--Keith Knapp, is Westvaco Professor of National Security Studies, Department of History, The Citadel, The Military College of South Carolina.

Like Machiavelli's The Prince and the Japanese Book of Five Rings, Sun Tzu's The Art of War is as timely for business people today as it was for military strategists in ancient China. Written in China more than 2,000 years ago, Sun Tzu's classic The Art of War is the first known study of the planning and conduct of military operations. These terse, aphoristic essays are unsurpassed in comprehensiveness and depth of understanding, examining not only battlefield maneuvers, but also relevant (...) economic, political, and psychological factors. Indeed, the precepts outlined by Sun Tzu regularly applied outside the realm of military theory. It is read avidly by Japanese businessmen and was touted in the movie Wall Street as the corporate raider's bible. Providing a much-needed translation of this classic, Samuel Griffith has made this powerful and unique work even more relevant to the modern world. Including an explanatory introduction and selected commentaries on the work, this edition makes Sun Tzu's strategical and tactical principles accessible not only students of Chinese history competition. (shrink)

This article provides a brief commentary on Éric Alliez and Antonio Negri's `Peace and War', focusing mainly on their understanding of political ontology, their analysis of the transformations undergone by the link between sovereignty and warfare, and their attempt to delineate the place of artistic practice within a biopolitics of the multitude.

Most scholarly contributions analysing the Han Feizi tend not only to overlook the influence military literature might have had on its conception and unfolding, but also to assert that the figure of the ruler, as described in this text, and that of the commander, as portrayed in military treatises, are incompatible. In refuting this view, I shall attempt to demonstrate that the writings collected in the Han Feizi fully embrace the logic of military con- frontation, which entails, among other things, (...) the deployment of deception and irregular procedures as a necessary means to secure sovereign power and to achieve a complete control of the administration. Accordingly, I shall show that a comprehensive understanding of this important work in the history of classical Chinese thought is not possible unless one takes into account this convergence of shared ideas and concepts from both spheres, that of military strategy and that of political science as set forth in the Han Feizi. (shrink)

The book brings together leading contemporary thinkers of war to outline the aesthetic dimension of warfare across art, technology, and politics.

Two German philosophers working during the Weimar Republic in Germany, between the two World Wars, produced seminal texts that continue to resonate almost a hundred years later. Franz Rosenzweig—a Jewish philosopher, and Martin Heidegger—a philosopher who at one time was studying to become a Catholic priest, each in their own, particular way include in their writings powerful philosophies of art that, if approached phenomenologically and ethically, provide keys to understanding their radically divergent trajectories, both biographically and for their philosophical heritage. (...) Simon provides a close reading of some of their essential texts—The Star of Redemption for Rosenzweig and Being and Time and The Origin of the Work of Art for Heidegger—in order to draw attention to how their philosophies of art can be understood to provide significant ethical directives. (shrink)

The Art of War application to education is about solving problems to improve student and school success. The Art of War describes the significance of a leader and his knowledge and prudent application of the strategies. At the core of theses strategies is the non-negotiable moral purpose of the leader to be reinforced by other fine qualities as wisdom, commitment, discipline, and courage.

In this article, we begin from the assertion that global war does not affirm itself as an imperial ordering power without `opacifying' every regulative idea of peace, which is thereby reduced to the status of a deceptive illusion. `Postmodern' peace, which is absolutely contemporaneous with war, is deduced from war in the guise of the `post-democratic' institution of a permanent state of exception, of a continuation of war by other means, and of a reduction of sovereignty to the imbalance of (...) terror, in accordance with the principle of distinction that opposes friend and enemy. Once war, peace and barbarism interact with no rule other than the common sense of the unworldly squalor, only Combat against War can destroy the sensorial evidence of a false social peace and open on to the construction of a World that is once again possible for the singularities that we are in common. Whence derives the character of social threat that marks out contemporary art when it focuses on the mediatic world-image by putting to work a new transversalist aesthetic paradigm, exposing itself to the tearing asunder of the sensible in the over-exposition of peace to war. This could be art's new address, tracing its difference in a creative machination of affects that can no longer find support in any remembrance of the being of peace. (shrink)

Time, precarious lives and memories and multiple narrations related to crossing borders constitute the key meanings of a series of contemporary pieces of works produced by migrant artists and writers. Through an analysis of some of their works, this article focuses on some spatio-temporal images, actions and metaphors related to movement. Then it questions the exploration of narratives in visual arts, especially the relationship between imaginary fiction and reality stories. Theatre may become the very place where contemporary tales of migrant (...) people are translated, told, performed. The very meaningful notion of hospitality becomes a theatrical practice in one of the most relevant spectacles of the Théâtre du Soleil, Le Dernier Caravansérail. Another aspect of this creative hospitality — Leïla Sebbar’s Mes Algéries en France — concerns the interweaving of memories belonging to opposite sides of divided countries, after the colonial wars. This work of collection, transcription, translation from one to another gives an example of writing as a repairing work but also of revelation of unknown connections. (shrink)

Images and Power: Rock Art and Ethics addresses the distinctive ways in which ethical considerations pertain to rock art research within the larger context of the archaeological ethical debate. Marks on stone, with their social and religious implications, give rise to distinctive ethical concerns within the scholarly enterprise as different perceptions between scholars and Native Americans are encountered in regard to worldviews, concepts of space, time, and in the interpretation of the imagery itself. This discourse addresses issues such as the (...) conflicting paradigms of oral traditions and archaeological veracity, differing ideas about landscapes in which rock art occurs, the intrusion of "desired knowledge", and how the past may be robbed by changing interpretations and values on both sides. Case studies are presented in regard to shamanism and war-related imagery. Also addressed are issues surrounding questions of art, aesthetics, and appropriation of imagery by outsiders. Overall, this discourse attempts to clarify points of contention between Euro-American scholars and Native Americans so that we can better recognize the origins of differences and thus promote better mutual understanding in these endeavors."--Publisher's website. (shrink)

This article analyses the short performances of Drag Sethlas at the yearly Gran Canaria Drag Queen Contest in Spain (2017–20) from the perspective of religious studies and gender studies, following on from an earlier article in which this case was explored in light of the severe blasphemy accusations (by local and national bishops and lay organisations) against the 2017 show. These short performances consist of remarkable representations of Roman Catholic texts, saints, symbols and rituals acted out as prize-winning drag-queen shows (...) that were aired on national television. At the same time, these acts are situated, by reference to famous earlier controversial acts by the pop artists Madonna, Lady Gaga and Ariana Grande, in a genealogy of provocations and blasphemy accusations that are currently made in North American and Western European countries. In exploring the forms of ritualisation (cf. Bell 1989) in the provocation that this type of popular artistic performance with strong religious connotations evokes, I show the presence of a double theatricality in Sethlas’s first and most controversial performance: on the one hand a ‘holy drama’ centred around a religious pattern of penance, repentance and redemption, and on the other hand a specific drag theatricality, with its parodies, mockery and daring erotic scenes. It is precisely the connection between both forms of theatricality, especially the representation of the Virgin Mary and Jesus, who play a large and special role in both forms of theatricality, that contributes most to the provocativeness of this scene. (shrink)

Violence -- Poliltical philosophy -- Critical theory -- Science and arts in international relations -- Psyche -- Aesthetics -- Tolstoi's War and peace.

Master Sun's _The Art of War_ is by no means the only ancient Chinese treatise on military affairs. One chapter in the _Huainanzi_, an important compendium of philosophy and political theory written in the second century B.C.E., synthesizes the entire corpus of military literature inherited from the Chinese classical era. Drawing on all major, existing military writings, as well as other lost sources, it assesses tactics and strategy, logistics, organization, and political economy, as well as cosmology and the fundamental morality (...) of warfare. This powerful work set out to become the last word on military matters, subsuming and replacing all preceding literature. Written under the sponsorship of Liu An, king of Huainan, the _Huainanzi_'s "military methods" emphasize the preservation of peace as the ultimate value to be served by the military, insisting that the army can be effectively and rightly used only when defending the sacred hereditary position of the emperor and his vassals. This position stands in stark contrast to that of _The Art of War_, which prioritizes the enrichment and empowerment of the state. Liu An's philosophy also argues that military success depends on the personal cultivation of the commander and that deception is not enough to secure victory. Only a commander with the exceptional qualities of insight and cognition, developed through a program of meditative practice and yogic refinement, can effectively control and interpret the strategic situation. Andrew Seth Meyer offers both a full translation of this text and an extensive analysis of its historical context. His thorough treatment relates Liu An's teachings to issues in Chinese philosophy, culture, religion, and history, helping to interpret their uncommon message. (shrink)

Although Machiavelli was never a military commander, he was throughout much of his life deeply concerned with the conduct of martial affairs; in short, a Renaissance Herman Kahn. This book is an essay on the technique of war: how on army is organized, who make the best soldiers, field manœuvers and battle formations, logistics, internal stability and control of military units, techniques of siege; these are considered both historically with reference to the ancients, as well as the present—the contemporary applications (...) of these techniques in the author's own time. The editor has provided a long critical and historical introduction—amounting to a small monograph in itself—which helps to place Machiavelli's ideas in the tradition of military-political theorists of Western Europe.—P. J. M. (shrink)

Although Machiavelli was never a military commander, he was throughout much of his life deeply concerned with the conduct of martial affairs; in short, a Renaissance Herman Kahn. This book is an essay on the technique of war: how on army is organized, who make the best soldiers, field manœuvers and battle formations, logistics, internal stability and control of military units, techniques of siege; these are considered both historically with reference to the ancients, as well as the present—the contemporary applications (...) of these techniques in the author's own time. The editor has provided a long critical and historical introduction—amounting to a small monograph in itself—which helps to place Machiavelli's ideas in the tradition of military-political theorists of Western Europe.—P. J. M. (shrink)