DOCSLIB.ORG

Anarchy No. 13

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

: 65 practised After all direct action is no novelty. It has been Contents of No. 13 March 1962 t means simply again and again with more or less success . It to this—the firm, determined attitude on the part of the people assertion assert their rights and to pursue happiness whether such Direct action: the make-it-yoursclf revolution 65 or not. or pursuit be considered illegal m indivi- Direct action, after all, simply means that each of us The politics of direct action Peter Cadogan 67 any dually must decide for himself the morality or immorality of to act, Direct cation and the new pacifism Nicolas Walter 71 course of action; and having decided, to act or to refuse according to the circumstances of the case and the character of David Wleck 96 The habit of direct action ... the question involved. „ : Action versus Legislation Cover by Rufus Segar —J. Blair Smith "Direct (Freedom Press 1909) Other issues of ANARCHY Next month in ANARCHY on Disobedience 1. Sex-and-VioIence; Galbraith; A symposium Direct action the New Wave, Education, Opportunity, Equality. 2. Workers' Control. Broadcast on ANARCHISM it yourself revolution 3. What does anarchism mean today?; BBC Home Service April 27th 7.30 the make Africa; the Long Revolution; Exceptional Children. 4. De-institutionalisation; Conflicting Universities and ANARCHY can be obtained in termtime French strains in anarchism. Anarchy The phrase direct action was first given currency by the from: 5. 1936: the Spanish Revolution. syndicalists of sixty years ago, and was associated with Oxford: Martin Small, Trinity College revolutionary 6. Anarchy and the Cinema. stake, go-slow, at University Labour Club various forms of militant industrial resistance—the 7. Adventure Playgrounds. Cambridge: the or Tim Oxton, general strike. 8. Anarchists and Fabians; Action meetings from working-to-rule, sabotage, and the Anthropology; Eroding Capitalism; Trinity Hall. First World War, when the Orwell. What about Redbrick? For a while, in the years before the and in the 9. Prison. ideas of syndicalism were being popularised in this country, it seemed 10. Sillitoe's Key to the Door; period of intense industrial unrest which followed that war, Machines on Crime; Augustus of direct action and its corollary in the demand for John's Utopia; Committee of 100 that the philosophy in British trade unionism. and Industry. workers* control, were going to take root the end of this Paul Goodman; Neill on Education; The General Strike of 1926 is usually taken to mark but haracter-Builders. period, and the end of the syndicalist "myth" of the general strike, are the anarchists? a strike for revolutionary it be noted that this was not in fact lychological and should miners (a fact which makes the •logical enquiry. ends, but an act of solidarity with the cowardice and vacillation of the trade union leadership seem all the more contemptible in retrospect). The weakness of syndicalism in its discussed in Anarchy 2; the point to emphasise Subscribe to ANARCHY traditional form were are not weaknesses Single copies by post Is. 9d. (30c.) here is that the limitations in the syndicalist armoury 12 issues 20s. ($3). of direct action as a tactic or of the strike as a weapon. and to FREEDOM the anarchist weekly, which readers of Indeed, the use or the threat of the strike (which is after all, the ANARCHY will find indispensable. A commonest' example of direct action, and one which is neither illegal year's subscription to both journals is frequently is, in terms of the aims for which it is employed, offered at 32s. nor violent) ($5). observes that Cheques, POs and Money Orders successful- A leading article in The Guardian (5/2/62) should be made out to "The tragedy of industrial relations since the war is that time and again FREEDOM PRESS ,17a Maxwell Road London SW6 England iTel: RENown 3736 ExpiJJs Printers, London, E.I. — 66 67 strikes or the threat of strikes have paid handsomely'*. Whether you think this a tragedy or not depends on your point of view. The railwayman, contemplating the 3% wage increase offered after The politics a year's negotiation, by Dr. Beeching, formerly of ICI, who is paid £24,000 a year for trying to make the railways pay by the not very original method of cutting down services, is not likely to agree; nor of direct action are the 120,000 government employees whose 2s. a week increase was withdrawn under the "pay pause", when they read (New Statesman 26/1/62) that Mr. R. A. Butler has become £25,000 richer (tax-free) PETER CAD0GAN as a result of the rise in Courtauld shares following Id's take-over bid. If it be true that the future of politics belongs not to parliament- The theoretician of French revolutionary syndicalism, Emile Pouget, ary but to direct action we are required to define what is meant by observed in La Confederation du Travail that "Direct action is not neces- both these terms and give grounds for saying why the second must sarily synonymous with violence. It can be brought about by gentle supercede the first. Wishful thinking has nothing to do with the case. and pacifist conduct, as well as by very violent means." This brings Parliamentary or electoral politics consists of the business of us at once to Gandhi, and to the more recent examples of direct action electing Members of Parliament or local Councillors so that they may on Gandhian lines from America in the struggle for racial equality be entrusted with the functions of legislating and government and be the Montgomery bus boycott and the lunch-counter "sit-ins" examples — periodically accountable for their deeds. In the nature of the case of the way in which, as Martin Luther King points out, direct action this kind of politics is the special responsibility of the few; the majority has effected social changes which decades of "constitutional" struggle have but to register their vote at set intervals and in the interim to would probably have failed to achieve. maintain skeletal electoral machinery in readiness for the next call Today's field of experiment is direct action against war and war upon its employment. representa- preparation, which is the subject of this issue of Anarchy. Nicolas Parliamentary government was originally based upon Walter in his long essay follows the history of anti-militarism, of tion of propertied interests defined by the limited franchise of the rural the pacifism, of non-violence, and of the current campaign in which these freeholder and the urban freeman. It was the means whereby constitutional embodiment themes are drawn together. Peter Cadogan's article, which was origin- new rulers, the gentry and merchants, gave ally a contribution to the discussion of "new politics" in Peace News, to a form of state different in substance to that of government by royal not estab- is included not for its advocacy of a "new party" (albeit a non-electoral prerogative. This parliamentary sovereignty, however, was the Model Army acting in its name. one), but for its imaginative enlargement of the discussion in what is, lished by Parliament but by New for us, an anarchist direction. Constituent design followed in the wake of direct revolutionary action. It was over two hundred years later that representative government was To campaign against war, on any but the most superficial and transformed into parliamentary democracy by universal franchise. This illusory of levels, is to campaign against the state, and to campaign achievement did nothing to alter the fact that Parliament, of its nature, against the state is to envisage a different form of social organisation, could be nothing but the instrument of the few governing the many. in which people take back into their own hands the control of their In the face of the complexity of modern political economy the few own destiny. This is direct action, and it has applications to every have been obliged to extend the machinery of control without permitting field of life; to work, leisure, education, welfare, and to our whole it to face the sanctions of democracy—thus the proliferation of the social physical and environment. Civil Service, the Armed Forces and police; and Oxbridge. The new To the anarchist, one of the tragedies of human existence is that the vast majority of the world's inhabitants are people to whom things happen. Direct action is the method of people who do things, who PETER CADOGAN is not an anarchist. He regards himself as part of initiate things, who are their own masters. the tradition that is associated with John Lilburne, John Bunyan, Jonathan Swift, Tom Paine, George Julian Harney, William Morris, Tom Mann, R. H. Tawney and Christopher Caudwell~-the English radical-revolutionary tradition, but also thinks that political literacy necessitates real knowledge of Marx, Ixnin and Trotsky, and takes a good view of Raya Dunayevskaya's marxist humanism. 69 68 decentralised unit democratically conducted—these are legion and are state structure built largely under the stress of two world wars (when of the future. In the centre of the of the germ of the direct democracy constitutional precedents tend to pass un-noticed) and composed union- new scheme of things is politically conscious rank and file trade people literally related to those who make up the government of indus- professionalism. the ism and try and finance, is now of vast proportions and wholly beyond that at It is for each of us to study the decision-making methods effective control of Members of Parliament. Something vestigial Is present relate to his own particular and specialised form of work and retained at Question Time, and, for the rest, Members are allowed to spheres of interest and activity.
Recommended publications
  • Aristophanes' Lysistrata Today

    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

    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

    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.
  • Greek Drama As Feminist Window on American Identity 1900-1925

    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

    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.
  • Izazov Molo Hu

    Izazov Molo Hu

    izazov molo hu UDK: 316.4:323.2 Izvorni znanstveni rad Primljeno 25. 09. 88. RESPONSIBLE CITIZENSHIP, ANTI-MILITARISM AND DISOBEDIENCE TO THE STATE THOM HOLTERMAN Dordrecht If we consider civil disobedience to be established on moral grounds, it implies that before adopting it as a form of protest all the available means of the current political system (which is being disputed) must have already been used, that it must involve open and non-violent action and the acceptance of punishment. The term »disobedience to the state« is preferred because it implies universality as its essential dimension. The criterion of immorality, against which the protest is directed, are crimes against humanity and nature. The right to resist to actions performed by the state (the basis of disobedience to the state) ensues from the existence of parliamentary democracy, as well as does the duty of obedience towards democratically enacted laws. By disobedience one can dispute those laws and acts which although laid down in a correct formal procedure, function contrary to the supposed social contract. In order to pre­ vent actions of disobedience from becoming confined to the promotion of individual advantage or particular inter­ est, the additional responsibility to be fitted into an overall plan of creating a new order (based on the abolition of the current hierarchical society) must be accepted. Therefore, the act of disobedience, apart from anticipating the elem­ ents of a new society must ensure that the alternative plan also be desired by other citiyens. Responsible citizenship opposes the dominant cultural model (of ensuring social peace by preventive intimidation) on the grounds of a competing model (based on a community independent of those in power and on unathoritarian human dignity).
  • LYSISTRATA by LAURA FACCIPONTI

    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

    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.
  • Nuclear Weapons and a Nonkilling World 241 David Krieger

    Nuclear Weapons and a Nonkilling World 241 David Krieger

    NONKILLING SECURITY & THE STATE Edited by Joám Evans Pim Foreword by Introduction by Stephen M. Younger Chaiwat Satha-Anand Co-published by Center for Global Nonkilling Honolulu and Omaha May 2013 CREATIVE COMMONS LICENCE Attribution-Noncommercial-No Derivative Works 3.0 You are free to share, copy, distribute and transmit this work* Under the following conditions: Attribution. You must attribute this work in the manner specified by the author/licensor (but not in any way that suggests that they endorse you or your use of the work). Noncommercial. You may not use this work for commercial purposes. No Derivative Works. You may not alter, transform or build upon this work. * For any reuse or distribution, you must make clear to others the license terms of this work. * Any of the above conditions can be waived if you gain permission from the copyright holders. Nothing in this license impairs or restricts the Authors’ moral and legal rights. Parts of this volume have been released under GFDL and Creative Commons Attribution-Share Alike 3.0 as part of Wikiversity’s School of Nonkilling Studies (http://en.wikiversity.org/wiki/School:Nonkilling_studies). The Center for Global Nonkilling does not necessarily endorse the views expressed by the authors. Also available for free download at: http://www.nonkilling.org © The Authors, 2013 © Center for Global Nonkilling, 2013 (this edition) Cover diagrams reproduced with the kind permission of Freedom-in-Education.com.uk First Edition: May 2013 ISBN-13 978-0-9839862-1-8 ISBN-10 0-9839862-1-5 ______________________________________________________ Cataloging in Publication Data (CIP) Nonkilling Security and the State / Edited by Joám Evans Pim.
  • The Many Faces of Lysistrata When Some Expert Transvestite Male Actor

    The Many Faces of Lysistrata When Some Expert Transvestite Male Actor

    The Many Faces of Lysistrata When some expert transvestite male actor first donned the mask and costume of Lysistrata in 411 BC, he was making theatre history. This is by the most important female role that Aristophanes had so far composed, whether measured in terms of the number of lines, the variety of vocal and physical performance styles required by the role, or the moral and political authority which Lysistrata seems able to exert over women, men, Athenians and Spartans alike. But Lysistrata is also a sophisticated and complex figure, who shares features with several other women both in Greek myth and cult and in social reality. The standard mythical picture of ancient Greek women in wartime depicts them as passive victims of male violence, cowering behind the walls of Troy or Thebes to await the siege of their city and enslavement. But there were plenty of assertive women in Greek myth who provide precedents for some of Lysistrata’s spunky leadership qualities. The motif of the sex strike that Lysistrata proposes and implements is already present in a story told in a short epic called The Shield of Heracles: Alcmena refused to have sexual intercourse with her husband until he had avenged the death of her brothers by burning down two enemy villages (4-19). Alcmena refused sex in order to create war, where Lysistrata suggests that only sexual deprivation can bring about peace. But as sex-strike initiator she has a forebear in the epic tradition. The Aristophanic comedy can also be illuminated by the parallel provided by its plot with the various matriarchies – societies run by women rather than men – to be found in Greek myth.
  • “For a World Without Oppressors:” U.S. Anarchism from the Palmer

    “For a World Without Oppressors:” U.S. Anarchism from the Palmer

    “For a World Without Oppressors:” U.S. Anarchism from the Palmer Raids to the Sixties by Andrew Cornell A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Social and Cultural Analysis Program in American Studies New York University January, 2011 _______________________ Andrew Ross © Andrew Cornell All Rights Reserved, 2011 “I am undertaking something which may turn out to be a resume of the English speaking anarchist movement in America and I am appalled at the little I know about it after my twenty years of association with anarchists both here and abroad.” -W.S. Van Valkenburgh, Letter to Agnes Inglis, 1932 “The difficulty in finding perspective is related to the general American lack of a historical consciousness…Many young white activists still act as though they have nothing to learn from their sisters and brothers who struggled before them.” -George Lakey, Strategy for a Living Revolution, 1971 “From the start, anarchism was an open political philosophy, always transforming itself in theory and practice…Yet when people are introduced to anarchism today, that openness, combined with a cultural propensity to forget the past, can make it seem a recent invention—without an elastic tradition, filled with debates, lessons, and experiments to build on.” -Cindy Milstein, Anarchism and Its Aspirations, 2010 “Librarians have an ‘academic’ sense, and can’t bare to throw anything away! Even things they don’t approve of. They acquire a historic sense. At the time a hand-bill may be very ‘bad’! But the following day it becomes ‘historic.’” -Agnes Inglis, Letter to Highlander Folk School, 1944 “To keep on repeating the same attempts without an intelligent appraisal of all the numerous failures in the past is not to uphold the right to experiment, but to insist upon one’s right to escape the hard facts of social struggle into the world of wishful belief.
  • The Intimate Enemy As a Classic Post-Colonial Study of M

    The Intimate Enemy As a Classic Post-Colonial Study of M

    critical currents Dag Hammarskjöld Foundation Occasional Paper Series Camus and Gandhi Essays on Political Philosophy in Hammarskjöld’s Times no.3 April 2008 Beyond Diplomacy – Perspectives on Dag Hammarskjöld 1 critical currents no.3 April 2008 Camus and Gandhi Essays on Political Philosophy in Hammarskjöld’s Times Lou Marin Dag Hammarskjöld Foundation Uppsala 2008 The Dag Hammarskjöld Foundation pays tribute to the memory of the second Secretary-General of the UN by searching for and examining workable alternatives for a socially and economically just, ecologically sustainable, peaceful and secure world. Critical Currents is an In the spirit of Dag Hammarskjöld's Occasional Paper Series integrity, his readiness to challenge the published by the dominant powers and his passionate plea Dag Hammarskjöld Foundation. for the sovereignty of small nations and It is also available online at their right to shape their own destiny, the www.dhf.uu.se. Foundation seeks to examine mainstream understanding of development and bring to Statements of fact or opinion the debate alternative perspectives of often are those of the authors and unheard voices. do not imply endorsement by the Foundation. By making possible the meeting of minds, Manuscripts for review experiences and perspectives through the should be sent to organising of seminars and dialogues, [email protected]. the Foundation plays a catalysing role in the identifi cation of new issues and Series editor: Henning Melber the formulation of new concepts, policy Language editor: Wendy Davies proposals, strategies and work plans towards Layout: Mattias Lasson solutions. The Foundation seeks to be at the Printed by X-O Graf Tryckeri AB cutting edge of the debates on development, ISSN 1654-4250 security and environment, thereby Copyright on the text is with the continuously embarking on new themes authors and the Foundation.