Women Peacemakers
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Bibliography on World Conflict and Peace
DOCUMENT RESUME ED 097 246 SO 007 806 AUTHOR Boulding, Elise; Passions, J. Robert TITLE Bibliography on World Conflict and Peace. INSTITUTION American Sociological Association, Washington, D.C.; Consortium on Peace Research, Education, and Development, Boulder, Colo. PUB DATE Aug 74 NOT? 82p. AVAILABLE FROMBibliography Project, c/o Dorothy Carson, Institute of Behavioral Science, University of Colorado, Boulder, Colorado 80302 ($2.50; make checks payable to Boulding Projects Fund) EDRS PRICE MF-$0.75 BC Not Available from !DRS. PLUS POSTAGE DESCRIPTORS Bibliographies; *Conflict Resolution; Development; Disarmament; Environment; *Futures (of Society); *Global Approach; Instructional Materials; International Education; international Law; International Organizations; *Peace; Political Science; Social Action; Systems Approach; *World Affairs IDENTIFIERS *Nonviolence ABSTRACT This bibliography is compiled primarily in response to the needs of teachers and students in the new field of conflict and peace studies, defined as the analysis of the characteristics of the total world social system which make peace more probable. The introduction includes some suggestions on how to use the bibliography, sources of literature on war/peace studies, and a request to users for criticisms and suggestions. Books, monographs, research reports, journal articles, or educational materials were included when they were:(1) related to conflict management at every social level,(2) relevant to nonviolence, and (3) classic statements in an academic specialization, such as foreign policy studies when of particular significance for conflict studies. A subject guide to the main categories of the bibliography lists 18 major topics with various numbered subdivisions. Th%. main body of the bibliography lists citations by author and keys this to the topic subdivisions. -
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. -
Howard Zinn: 1922-2010 A.J
July 12, 2010 Dear Friends, There is much to be excited about in the global movement for nonviolent social MUSTE change. In the enclosed letter, you can see News from the A.J. Muste Memorial Institute the results of your generous contributions to the Muste Institute. Thanks to your support, we have exceeded our fundraising expectations. But the grassroots peace and justice movement NOTES keeps expanding, and our resources aren’t enough to meet the needs. We received 100 VOL. 17, NUMBER 4 Summer 2010 applications for the June cycle of our Social Justice Fund! People of all ages and backgrounds are out there organizing, mobilizing, and Teaching Rebellion, from educating to build a better future. With your help, this movement can continue to Oaxaca to Wisconsin make real gains. Please give generously. And please help by Rachel Wallis communities, we could engage in a dia- us spread the word about the Muste In October 2008, with support from a logue about cross-movement organizing, Institute by passing this newsletter on to Muste Institute grant, CASA Collectives direct democracy, and human rights in your friends, colleagues, and family of Support, Solidarity and Action began the U.S. as well. In addition to sharing the members, or posting it at your local library. a two-month organizing tour across 15 testimonies from the book, the tour also states using the book Teaching Rebellion: featured an exhibit of photography docu- Sincerely, Stories from the Grassroots Mobilization in menting the movement. Oaxaca. The goal of the tour was to The tour began on October 10 in Los engage with U.S. -
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. -
To All Enrolled Socialist Voters: a Statement on the Primaries [Election of April 2, 1936] by Jack Altman, Et Al
To All Enrolled Socialist Voters: A Statement on the Primaries [Election of April 2, 1936] by Jack Altman, et al. Published in The Socialist Call [New York], New York Edition, v. 2, whole no. 54 (March 28, 1936), pg. 1. You have a difficult task, but as Socialists you must be equal to your responsibility. On April 2 you will decide the immediate fu- ture of the Socialist Party in New York State. With two slates listed on the ballot, you must choose. We are sure that your choice will be made on the basis of which slate will be better able to build the Socialist Party. On the one hand, you have the Old Guard ticket set forth by Louis Waldman, which backs him in the attacks he has been mak- ing on the Socialist Party. Because he was defeated in the national convention [Detroit: June 1-3, 1934] he has waged a bitter fight for two years against the Party. On the other hand, you have the ticket supported by Norman Thomas, who today leads the Party in its most aggressive strug- gles. The Old Guard has tried to make it seem that we are Commu- nists. This is not true. We are Socialists who want the Party and its leaders to participate in a militant fight for the principles of Social- ism. We do not deny that some of the Old Guard have served So- cialism in the past. But they have since lived through a period of decline, with the party growing weaker, and they have never re- covered from it. -
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
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. -
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. -
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. -
British Labor Reconstruction War and .Peace
ORDER BLANK PUBLICATIONS OF THE LEAGUE FOR INDUSTRIAL DEMOCRACY No. of Copie1 Prirt The Old World and the New Society ............ BRITISII LABOR ON REf!ONSTRt'CTION IN WAR AND PEAC!E .................. $ .15 ............ ROLE 0"!1' THE R.Af!ES TN 0 R FU'l'URE CIVILIZATION-A S:vmpoRium contributed to by Pearl Buck and 35 others .............................................................. .50 ............ MAXIMUM PRODUCTION: WARF.ARE AND WELFARE-A. SYMPOSIU~I .....15 ............ THE INTELLIGENT CONSillmRs G IDE TO HOSPITAL AND MEDICAL PLANS-Harold Mu slow ...................................................................................................... .li'\ ............ LABOR PARTIES IN I... .ATIN .AMERICA-Robert Alexander .................................. .15 ............ WHAT PRICE TELEPHONES ?-Norman Perelman .................................................... .15 ............ ECONOMICS OF DEFENSE AND RECONSTRUCTION- Symposinm by a score of sneakers .............. .................................... ............................ .15 ............ WORKERS' EDUCATION TODAY-Mark Starr ............................................................ .15 British Labor ............ THIRTY-FIYE YEARS OF EDUCATIONAL PIONEERING-John Dewey, Jonathan Daniels, Norman Thomas, Harry W. Laidler, and others ................ .10 ............ THE FEDERAL GOVERNMENT .AND FUNCTIONAL DEl\fOC!R.Af!Y- Harry W. Laidler .................. ................................................................................................ .10 on ...........