Nuclear Weapons and a Nonkilling World 241 David Krieger
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Global Constitutionalism and Japan's Constitutional Pacifism
Global Constitutionalism and Japan’s Constitutional Pacifism(Kimijima) Article Global Constitutionalism and Japan’s Constitutional Pacifism Akihiko Kimijima Abstract The essence of constitutionalism is to regulate the exercise of power and in so doing to constitute liberty. The most critical of these powers to be regulated, and the focus of this article, is military power. The author traces the history of global constitutional thought throughout the nineteenth and the twentieth centuries including the aftermath of Hiroshima and Nagasaki. Also covered are successful practices of regulating and replacing military power by civil society in the 1990s and the 2000s. The article also discusses Article 9, the “pacifist” clause of the 1946 Constitution of Japan, as a notable example of the regulation of military power; its trajectory is full of contention, compromise, and undeveloped possibilities. Finally this article emphasizes that Article 9 has been̶and will continue to be̶quoted by the counter-hegemonic global civil society in its efforts to regulate military power. INTRODUCTION 1) It is noteworthy that discussions of global constitutionalism have become very active in recent years. The Japanese academia is no exception (Urata 2005; Mogami 2007; Kimijima 2009). Caution is required, however, because various authors use the term and concept differently. There are several different kinds of global constitutionalism. My own understanding will be discussed further later in this article, but perhaps it is helpful to mention some of its elements here. I use the terms “constitution” and “constitutionalism” in a broader sense. Constitution is a set of fundamental principles for regulating power in a given political community, and constitutionalism is a project to regulate the exercise of power by rules, laws, and institutions. -
Examining Unarmed Civilian Protection in the UN Context: a Complement and Contribution to POC
Examining Unarmed Civilian Protection in the UN Context: A Complement and Contribution to POC Consultation for Member States: 10 – 11 May 2019, Tarrytown, New York On 10-11 May 2019, the Permanent Missions to the United Nations of Australia, Senegal and Uruguay along with the NGO Nonviolent Peaceforce hosted a retreat for representatives of member states, the UN Secretariat and several NGOs to examine unarmed civilian protection (UCP) methods and possible contributions to the UN’s work on the protection of civilians. Over the course of 1.5 days, participants were introduced to the concept of UCP and discussed the practical work of Nonviolent Peaceforce in different countries and settings, as well as various related topics: UCP with refugees and internally displaced persons (IDPs); community engagement in peacekeeping: integrating local protection and self-protection approaches; UCP and DPO field missions; UCP and the role of UN Member States; and integrating high-level and local approaches to negotiation and mediation. Civilians have increasingly become victims of the wars and violent conflicts that plague so many parts of the world today. The methods and philosophy of unarmed civilian protection can help break these cycles of violence and contribute to the spectrum of tools used by the international community to protect civilians and prevent violence. 1 Nonviolent Peaceforce (NP) and at least 40 other NGOs1 prevent violence, protect civilians and promote peace through unarmed civilian protection (UCP). UCP represents a philosophical change in POC that emphasizes protection from the bottom up, community ownership and deep, sustained engagement with the communities served. UCP is a comprehensive approach that offers a unique combination of methods that have been shown to protect civilians in violent conflicts. -
Aristophanes' Lysistrata Today
DIDASKALIA 9 (2012 ) 1 Risk-taking and Transgression: Aristophanes' Lysistrata Today Michael Ewans! The University of Newcastle Robert Phiddian! Flinders University Lysistrata, first performed in 411 BCE, is an Old Comedy about a fictional sex strike by the women of Greece designed to stop the Peloponnesian War. At a dark moment, when defeat appeared to be looming for Athens, the play provided a fantasy of peace. In recent decades it has been the most often revived and taught of Aristophanes’ plays, with 119 performances worldwide in the years 1990–2010, according to the Archive of Performances of Greek and Roman Drama.1 This piece, a collaboration between a translator and theatre researcher (Michael Ewans) and a Greekless literary scholar (Robert Phiddian), recounts a small part of that performance history, a part that sheds light on how this play translates (both literally and culturally) from fifth-century Athens to twenty-first-century Australia. The performances examined are a full-scale production designed to test and perfect Ewans’s new translation of the play at the University of Newcastle (New South Wales) in 2005, and a series of dramatised readings of the play (in the context of a course on comedy and satire) performed at Flinders University in Adelaide between 1998 and 2009, initially with Alan Sommerstein’s translations published by Penguin and subsequently with Ewans’s translation. Lysistrata remains popular not just because it is good, but also because it remains topically significant for its antiwar message and the apparently feminist premise of women taking over public affairs.2 These causes of popularity are potentially a two-edged sword for understanding the play, as relevance can be bought at the price of anachronism and distortion of meaning. -
LYSISTRATA Animation Transcript
LYSISTRATA Animation Transcript Timecode Script 00:00:00 Title Plate LYSISTRATA by ARISTOPHANES 00:00:04 To put an end to the Peloponnesian war, Lysistrata persuades women from all over Greece to go on a sex strike until the men agree to make peace. 00:00:15 Lysistrata hatches a plan with the older women to seize control of the Acropolis, where the city treasury is kept. 00:00:22 The men attempt to smoke the women out of the Acropolis but the women extinguish the fires and triumphantly drench the men. 00:00:31 When a magistrate, a proboulos, arrives to retrieve funds for the war Lysistrata berates him about the losses that the women have been forced to bear. 00:00:38 Text Card Women have to take on more than twice your burden. Firstly it’s us giving birth to children, then we send them off as soldiers. 00:00:49 The women dress the magistrate up in their clothes, and send him away humiliated. 00:00:57 As the strike continues the sex-starved men of Greece become increasingly desperate. 00:01:04 A Spartan Herald approaches the Acropolis and finds the magistrate outside. He explains the desperate situation of his countrymen and they both agree that a treaty is required. 00:01:18 Delegations from Athens and Sparta meet to discuss the treaty. Lysistrata appears with her naked handmaid, Peace. The men’s eyes are fixated on Peace as Lysistrata chastises them for treating each other so badly and reminds them that they previously helped one another. -
Lysistrata: the Ritual Logic of the Sex-Strike
Lysistrata: the Ritual Logic of the Sex-strike by Camilla Power (Lecturer in Anthropology, University of East London) Aristophanes, born about 450BC, was at the height of his powers during the Peloponnesian War between Athens and Sparta. His three comedies of sexual subversion — Λυσιστρατη (Lysistrata), Θεσµoφoριαζoυσαι (Thesmophoriazusai) and ’Εκκλησιαζoυσαι (Ekklesiazusai) — are the remaining examples of what may have been a traditional ‘feminist’ or gynocratic theme in Old Athenian Comedy. In this paper I intend to show, with particular reference to Lysistrata, that there is a ritual logic inherent in the structure of these plays, and in the myths, rites and cults to which they allude. Such logic, I would suggest, is derived from a very ancient template, the influence of which persisted in Greek women's ritual culture down to Aristophanes' time. The theme – Γυvαικoκρατια The idea of women performing roles of men, i.e. taking part in the business of the πoλις (polis) as opposed to that of the ’oικoς (oikos), the sphere of domestic management, seems to have been inherently comic to the Greek citizen of Aristophanes' Athens. The only public sphere of activity open to women was ritual and sacerdotal. That the male audience's laughter would have been, to an extent, a nervous release, chanelling anxieties about male status, can be deduced from the traditional theme of γυvαικoκρατια — rule of women — in Greek myth and art. We have, for example, the battles fought with the Amazons at the heart of Athens celebrated in the Parthenon friezes — in na, a goddess herself Amazon at heart; the myths of theεthe temple of Ath Danaids, and of the Lemnian women, archetypal figures of female rebellion, indeed of sex-strike. -
2014 Performance Report
2014 PERFORMANCE REPORT 1 | HUMANITY UNITED | 2014 PERFORMANCE REPORT PRESIDENT’S MESSAGE Dear friends, Every year as we prepare this report and I reflect back on our worked since 2008 — that has upended a nation that once held work, I am reminded of what a great privilege it is to work with much promise and seen the death and displacement of far too Humanity United’s partners, leaders, and staff — people so many of its people. Similarly, Humanity United has worked for dedicated to a more peaceful and free world. Though we focus the past seven years in Liberia, where the world watched the on some of the most intractable problems facing humanity, I agonizing devastation of the Ebola epidemic ravage the people am proud of the shared spirit we collectively bring to this work. of this fragile state with unexpected speed. 2014 was a year of much hope on many fronts and a year of In these cases, we supported and witnessed the heroic work despair on others. It was a powerful reminder that our vision of of partners like Nonviolent Peaceforce, Last Mile Health, and a world free of conflict takes resilience, creativity, hard work, Doctors Without Borders, who were on the front lines of these and an unwavering dedication to sustainable social change. tragedies. We also resolved to do more to help these people It also sometimes takes renewal. That is why we dedicated so who have for too long been deprived of the peace, security, much time this year trying to more fully understand how we and freedom that they deserve. -
Greek Drama As Feminist Window on American Identity 1900-1925
Pre-print version of article forthcoming in K. Bosher, F. Macintosh, J. McConnell and Patrice Rankine (eds. 2014) The Oxford Handbook to Greek Drama in the Americas The Migrant Muse: Greek Drama as Feminist Window on American Identity 1900-1925 Edith Hall (KCL) The Quest for a New Muse Just before the academic rediscovery of ancient Greek drama in performance in the 1880s, Walt Whitman appealed for a new form of poetry to replace worn-out classicism, in ‘Song of the exposition’ (1871): Come, Muse, migrate from Greece and Ionia; Cross out, please, those immensely overpaid accounts. That matter of Troy, and Achilles’ wrath, and Eneas’, Odysseus’ wanderings; Place ‘Removed’ and ‘To Let’ on the rocks of your snowy Parnassus... For know a better, fresher, busier sphere – a wide, untried domain, awaits, demands you. But what, precisely, would be the nature of the Muse’s fresher, busier, untried North American domain? If she was to migrate from Greece and Ionia, how was she to adapt herself to a new destination far from her original home? This chapter looks at some ways in which American Modernist feminists used the Muse of Greek drama in the reconfiguration of American identity. Fifty years later, on July 7th 1921, Calvin Coolidge, Vice-President of the USA, addressed the American Classical League at UP in Philadelphia. Despite the tumultuous history 1 Pre-print version of article forthcoming in K. Bosher, F. Macintosh, J. McConnell and Patrice Rankine (eds. 2014) The Oxford Handbook to Greek Drama in the Americas of the intervening decades, he still defended the American tradition of classical education, even while confessing his desire for a distinctively American identity: We do not wish to be Greek. -
Viewpoint That Fifth- Century B.C.E
University of Alberta From Elite to Inclusive: Lysistrata and Gender, Democracy, and War by Giorgia Cinzia Severini A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Department of Drama ©Giorgia Cinzia Severini Spring 2010 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Examining Committee Dr. John A. Hawkins, Drama Dr. Rosalind Kerr, Drama Dr. Selina Stewart, History and Classics Abstract Aristophanes’ comedy Lysistrata has been a favorite choice for anti-war activists since its first production in Athens in 411 B.C.E. as a response to the Peloponnesian War. In 2003, Lysistrata was chosen for the Lysistrata Project, a global theatrical protest against the United States’ planned invasion of Iraq. The Project was created in New York City but grew to involve participants from 59 countries. In this thesis, I examine Lysistrata in its original context of the Peloponnesian War, then I move on to the Lysistrata Project in the context of American democracy and modern Greece. -
Chapter 06 Keeping the Peace in an Increasingly Militarized World
29 CHAPTER 06 KEEPING THE PEACE IN AN INCREASINGLY MILITARIZED WORLD “Time should come, when we don’t really need to refer to resolution 1325, because we have fully mainstreamed the role of women in peacekeeping and peacebuilding, and it will just be a natural phenomenon.” Netumbo Nandi-Ndaitwah, Namibia Minister of Foreign Affairs,UN Women Video Interview, 2015 132 Chapter 6. Keeping the Peace HIGHLIGHTS FROM THE RESOLUTIONS Resolution 1325 Expresses its willingness to incorporate a gender perspective into peacekeeping operations, and urges the Secretary- General to ensure that, where appropriate, field operations include a gender component 2000 2009 Resolution 1888 Requests the Secretary-General to continue and strengthen efforts to implement the policy of zero tolerance of sexual exploitation and abuse in United Nations peacekeeping operations; and urges troop and police contributing countries to take appropriate preventative action, including predeployment and in-theater awareness training, and other action to ensure full accountability in cases of such conduct involving their personnel 133 HIGHLIGHTS FROM THE RESOLUTIONS Resolution 2106 Recognizes the role of United Nations peacekeeping contingents in preventing sexual violence, and, in this respect, calls for all predeployment and in-mission training of troop- and police-contributing country contingents to include training on sexual and gender-based violence, which also takes into account the distinct needs of children 2013 134 Chapter 6. Keeping the Peace When women activists first -
Good Practices in Nonviolent, Unarmed, Civilian to Civilian Protection
Good Practices in Nonviolent, Unarmed, Civilian to Civilian Protection Documentation of the Workshop in Manila, 7-9 December, 2017 Christine Schweitzer Nonviolent Peaceforce Documentation of Workshop on Good Practices in Nonviolent, Unarmed, Civilian to Civilian Protection; 7-9 December, 2017 in Manila Author: Christine Schweitzer Photos: Christine Schweitzer Hamburg, February 2018 The workshop was funded by the Australian Government’s International Development Fund Direct Aid Program. 2 Executive Summary Forced displacement has reached a record high with more people than at any time since WW II, forced to flee from their homes in order to avoid harm and to save their own lives. The UN High Commission on Refugees reported that by mid 2016, one in 113 people in the world were displaced and in need of protection. The impact of this level of ongoing violence and destruction is international and multigenerational, spanning the spectrum from physical harm to economic costs that are in the billions. The collective global community is failing to prevent violent conflict and to adequately protect civilians who are impacted by it. At the highest level of decision making, the use of military forces continues to be the privileged choice for protection, despite the increasing evidence that suggests it is of limited effect. There is an imperative to explore, strengthen and increase additional approaches for protecting civilians. Unarmed civilian protection (UCP) 1, sometimes also called civilian peacekeeping or protective accompaniment, is the practice of deploying specially trained unarmed civilians before, during, or after violent conflict in order to prevent or reduce violence, to provide direct physical protection to civilian populations under threat, and to strengthen or build resilient local peace infrastructures. -
LYSISTRATA by LAURA FACCIPONTI
A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF ARISTOPHANES’S LYSISTRATA By LAURA FACCIPONTI SERIES EDITORS: W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of Aristophanes’s Lysistrata 2 INTRODUCTION ADULT THEMES Classic Greek comedies are frequently bawdy, using physical humor, puns, and sexually explicit language. Lysistrata, due to its subject matter, is one of the most sexually focused comedies of its time. Therefore, educators should be aware that the play and this study guide contain adult themes and language. The play refers to various men exposing erections (traditionally men wore leather phalluses for this effect), and the dialogue exchanged between characters has numerous puns on the men’s physical condition. The play also contains scenes with nudity, sexual interactions, and seduction. Although the play has significant historic and literary value, it should be taught only to mature high school, junior college, and college/university students. High school teachers should follow all the steps prescribed by their school for approval of controversial subjects. Students and parents, when appropriate, should be aware of the sexually explicit nature of the play prior to reading or viewing. Alternative selections should be available. PLOT SYNOPSIS Simply stated, the plot of Lysistrata depicts Athenian women who are fed up with the Peloponnesian War, so they barricade themselves in the Akropolis. They orchestrate a sex strike in order to force their husbands to vote for peace with Sparta. The play’s action occurs on a street in Athens in front of a gate to the Akropolis, which looms in the background. -
Teaching a Not-G-Rated, All-Greek Lysistrata in the Midwest This Talk
Teaching a not-G-rated, all-Greek Lysistrata in the Midwest This talk introduces CAMWS members to a lively film adaptation of this widely taught play and explains why it is (believe it or not) reasonably accessible to Midwestern college-age audiences and what it can help teach. The talk includes several short clips. I have taught Giorgos Zervoulakos’ Lysistrata (1972) for thirteen years to approximately 300 students, ranging from a cassock-clad Benedictine monk to acting majors who later staged an ‘adult’ Lysistrata of their own. Most were not humanities majors and few spoke any Greek, yet all found something of value in the film and many expressed surprise at how entertaining it proved. Bikinis, one student informed me, translate well across cultures. There is no mystery to the film’s appeal. It was produced to be a crowd-pleaser: a boisterous musical with slapstick, sight gags, singing and dancing. It won the “best production” award at the 13th Thessaloniki International Film Festival and was the second highest grossing film in Greece that year (Van Steen 2000, ). The cast were veterans of stage and film, at the height of their careers. I often pair clips from it and A Funny Thing Happened on the Way to the Forum (Lester, 1964), which it resembles in a number of ways, in order to contrast Old vs. New Comedy. Subtitles notwithstanding, it’s easy to watch. One often looks to stagings of ancient scripts as a way to teach issues of performance. The film is adapted closely enough that it reinforces the play but it does not try for an “authentic” recreation of an ancient staging.