The art of peace – can artists stop the war between Israel and Palestine?

If David Shields and Fredrika Teute have illuminated theatrical quality of elite social interaction during Revolutionary and Federalist eras, they have also offered a more than credible job analyzing actual theatrical performance: Meschianza, a mixed-media extravanganza performed by British troops and colonial ladies at Philadelphia in 1779. By now, importance of theatre and theatricality for study of early America must be clear to anyone following field for last several decades.1 From Kenneth Silverman's attention to theatrical events in his encyclopedic Cultural History of American Revolution to recent work by Heather Nathans, Odai Johnson, and myself, history of early American theatre has become a subject meriting serious academic inquiry.2 Shields and Teute's study of vexed national and gender identities on display at Lord Howe's legendary farewell bash stands out for its simultaneous analyses of performance text, participants, and audience.They refer to Meschianza as the sum of all fetes, a performance that encompassed entirety of theater of British civility-a pageant, a dance, a feast, a fete champetre. Their patient explication of event places Meschianza amidst slovenly wilderness of American history, where it is encapsulated by complexities of life in a revolutionary society and history of Revolution itself. Shields and Teute explicated complex cultural work performed in Philadelphia in what was, when they presented their research, unique detail. The gentility of British soldiers dressed in feudal garments, for instance, spoke directly to British caricature of Continentals as an army in which officers were not gentlemen, but merchants with swords-in which soldiering was zealous butchery performed by armed farmers and mechanics. Even more critical to our understanding of event's importance to history of revolution is their assessment of Meschianza's purpose and its dramaturgy:The richness of metropolitan manners and potency of British empire's arts of peace must be shown-to colonials as education about all that would be forfeit if independence were achieved-to loyalists as a rite of confirmation in imperial identity-to his army as a warrant for then actions. The theater-Britain's great school of manners and engine of fashion-would be primary vehicle of Howe's demonstration.Shields and Teute's themes of upheaval-in manners, gender norms, traditional communal identities, and economic cohesion owing to uneven distribution of suffering due to war-seem as inextricably intertwined as cultural forms on display at Meschianza.All of these themes add up to a form of male performance anxiety that is equal parts theatrical and sexual. The Yankees attacking Breed's Hill and disturbing General Burgoyne's production of The Blockade of Boston or firing woods during Meschianza were self-consciously, one might say theatrically, plain republican commoners who ran into officer corps campaigning on behalf of some more atavistic scheme, reno- vating old ethic of valor, masculine prerogative, and elite familiarity, as Shields and Teute contend. This conflict of masculinities naturally drew sneers from rebels, as in case of Anthony Wayne's conflation of masculine weakness, urbanity, and romance relating to British officer corps and ladies of Philadelphia (ironic given Wayne's own love of theatre). Meanwhile, despite set and costume designer Major John Andre's best efforts to move ladies and slaves of Mechianza off to a sideboard like so many bour geois nibbles of Turkish delight, Shields and Teute capture dangerous allure of romance and femininity in revolutionary culture: In this colonial contest, male power was rendered impotent by sexual desire. Imperial officers were possessed by Anglo-American women, rather than possessing them. …

And All the Arts of Peace:Phonography, Simplified Speling, and the Spelling Reform Movement, Toronto 1883 to 1886 Heather Murray (bio) On entering the large front room, which is on the second flat, we were almost overwhelmed with the witchery of the scene. The brilliant electric light, shining through the glass front, and casting its silvery sheen over the statuary, house-plants, and pottery with which the room was decorated, with the parlor furniture strewed among these decorations, and the gay throng of ladies and gentlemen moving about at ease; it needed no lively imagination to make one feel that he was enjoying a moonlight ramble in some horticultural paradise. Three fine transparencies on the large panes, symbolizing respectively music, literature and shorthand, added to the beauty of the scene. On a pleasant summer evening in 1883, Toronto was treated to a gala conversazione and a celebration of modernity, as Thomas Bengough moved his offices across the street to larger premises at 29 King Street West and launched the Shorthand Atheneum. Electric floodlights blazed in the street (a standard feature of any grand opening today, but a novelty in Toronto then), illuminating the entire city block and shining, symbolically, through the images of the three sister arts on to the gathering within. The crowd was treated first to refreshments—cake and strawberries, since it was June, [End Page 171] as well as temperance drinks—and then to a "feast of reason" opened by John Taylor, a former city alderman who was a leading proponent of the free library movement. Taylor—himself one of the "old-time phonographers" (Bengough's Cosmopolitan Shorthand Writer 3.6 [October 1882]: 61)—praised the "winged art" of shorthand and stressed the increasing importance of its practice but also indulged in a moment of levity, ribbing the proprietor for his inconsistency: "He only wondered that the leader of Phonetics did not spell his name phonetically, so that we might know whether it was Bengo, Bengow, Bengof, Benguf, or Bengup" ("Opening" 6). The phonetically-minded audience greeted the joke with laughter, for the family name could well be one of the examples of spelling irrationality that reformers like Bengough were fond of employing. Richard Lewis, the well-known elocutionist and reading promoter, also was a platform speaker, along with "Professor" Samuel Clare, a teacher of penmanship. They were speaking in their respective roles as the president and the secretary-treasurer of the Canadian Spelling Reform Association, an organization founded only weeks before, which now would meet at Bengough's new premises. Thomas Bengough himself closed the proceedings, mentioning the approaching International Congress of Shorthand Reporters to be held in Toronto in August and expressing hope for the effect that meeting would have "upon our shorthand and phonetic organizations" ("Opening" 7). It appears to have been a most satisfactory evening, at least according to this account, which was drawn from the journal launched almost simultaneously with the Shorthand Atheneum and the Canadian Spelling Reform Association: The Atheneum: An Advocate and Exponent of Educational, Literary, and Social Progress; or, as it was called in its expanded and even more utopian title, The Atheneum: A Nineteenth-Century Journal of Progress; Devoted to Literature, Journalism, Science, Shorthand, TypeWriting, Simplified Speling, Penmanship, Music, and all the Arts of Peace. "Speling," it should be noted, is not an error in the title; rather, it flags a new direction that many spelling reformers were about to take. While the opening of the Shorthand Atheneum may seem to twenty-first century eyes like the launch of a business school, the account makes it apparent that the goals were further-reaching. The elevated title of "atheneum" signals this as well, as does the grouping together of music, literature, and shorthand in an illuminated tableau. In 1883, "shorthand" and "atheneum" did not create an oxymoron; neither did penmanship and peace, spelling and music, sit uneasily together for the progressive viewer, who would have discerned the relationship of these seemingly disparate elements. Indeed, then, to see their relationship was a particularly modern [End Page 172] thing to do; modernity was signaled, too, by the technological élan of the electrically-lit opening and by the "nineteenth-century" of...

'The Arts of Peace': Thomas H. Mawson's Gardens at the Peace Palace, the Hague

Arts of Peace Get access Atoms for Peace: an Analysis after Thirty Years edited by Pilat Joseph F Pendley Robert E and Ebinger Charles KBoulder, Colorado, Westview Press, 1985, 299, £29.50, 0 8133 7051 5 (distributed by Wildwood Distribution Services, Aldershot, Hants)A European Non-proliferation Policy: Prospects and Problems edited by Müller HaraldOxford, Clarendon Press, 1987, 416, £40.00, 0 19 829702 5Pakistan's Nuclear Development by Kapur AshokLondon, Croom Helm, 1987, 258, £30.00, 0 7099 3101 8 John Moore John Moore author of South Africa and Nuclear Proliferation (London: Macmillan, 1987). 84 Eastfield Crescent, York, YO1 5JB, UK Search for other works by this author on: Oxford Academic Google Scholar Science and Public Policy, Volume 16, Issue 3, June 1989, Pages 192–196, https://doi.org/10.1093/spp/16.3.192 Published: 01 June 1989

Peace, harmony and development are essential conditions for any society, developed or developing, to progress. The 2011 World Development Report revealed that growing recognition of the link between social services, conflict and peace has helped in inclusion of social services’ provision in peace agreements. A report from ‘Policy Link’ gives equitable development as the key to peace. Music plays a great role in building peace in conflict situations, so does religion, media, performance, theatre. For achieving peaceful conditions there is a need to strike a balance between two extremes including inner and outer peace. Salzburg Global Seminar (2014) focused on using soft power, especially arts and culture, since cultural engagement helps transform perceptions. Case studies referred to in this write up provide sufficient evidence of the high usefulness of arts and culture in every phase of conflict. A detailed portfolio of case studies covering seven countries including Nepal of Asia describes the importance of ‘narratives’ and ‘story telling’, preservation of historical artifacts, photographs etc. for building peace mostly in post conflict stage. The researchers were of the view that the affected persons or beneficiaries needed to be involved right from the beginning of a peace project. British Council’s publication named ‘The Art of Peace’ emphasizes on the importance of local actors’ engagement as well as arts and cultural programs in linking culture, security and development. A project launched by the World Bank and the United Nations, entitled pathways to peace, offered guiding principles, namely, target institutional failure responsible for conflict, to be of inclusive nature, and form sustainable overtime character. Arts and Culture have a distinct place in resolving conflict thus it deserves adequate government support and a networking with other actors such as local municipalities, societies and groups.

Dryden's translation of Virgil's Georgics amplifies Virgilian ideas of peace. Dryden is keenly attuned to the complex balance of conditions that Virgil's work proposes as the makings of a peaceful life: deep awareness of natural cycles, toilsome yet fulfilling labour, and distance from battle. The Georgics do not advise oblivion, nor do they place naive hope in a future without conflict. But they do propose a form of positively defined peace, which Dryden interrogates throughout the translation. Only one of the fifteen instances of the word ‘peace’ in the translation is a direct rendering of the Latin noun; the other fourteen appear in lines that Dryden has manipulated in order to make explicit the Georgics’ engagement with various forms of peace. This article discusses many of Dryden's interventions, and concludes that like their Latin counterparts, Dryden's Georgics offer no promise of total unity or stability. Questions of peace pervade Virgil's entire body of work; Dryden's translation reveals his awareness of these questions, while adding further uncertainties.

Sir John Denham’s ‘Cooper’s Hill’ (1642), the first modern English prospect poem, opens with a declaration of how the work of the poet transforms nature into ‘landscape’ — land shaped, modified and mediated by the artist’s vision.1 Looking out from his elevated vantage point, the poem’s speaker reflects upon the scenes beneath him, representing them as they appear before him now and recalling the role they played in history. Historicizing his representation of the landscape, Denham makes a Royalist argument which David Fairer argues, ‘tests out at a local level the state’s capacity to harness into an effective economy those potentially competing forces: freedom and obedience, change and continuity, individual and social good, the arts of war and the arts of peace’.2 In transforming the view around him through the device of the concordia discors, the poet is also transformed. While Denham’s poem serves a variety of ideological purposes for king and country, it is also a vocational poem. Because he writes about natural scenery, transforming it into poetry that performs geo-historical work, the poet’s identity is linked with a particular conception of nature illustrated in the oft-quoted lines addressed to the Thames: O could I flow like thee, and make thy stream My great example, as it is my theme! KeywordsLiterary TraditionMoral LessonAesthetic PleasureProspect ViewIdeological PurposeThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Schoenberger, Melissa. <i>Cultivating Peace: The Virgilian Georgic in English, 1650–1750</i>.

War is no pastime; it is no mere joy in daring and winning, no place for irresponsible enthusiasts. It is a serious means to a serious end.” Aristophanes (446–386 BC), Thucydides (460–c. 400 BC), and Erasmus of Rotterdam (1466–1536) were concerned with the importance of maintaining peace among peoples and wrote about this concept. The latter author even speaks about the ‘Arts of Peace’ in his third book dedicated to the education of a prince. But recent literature, especially that within the field of Byzantine and European Medieval culture, does not contain substantial works dedicated to the notion of peace. My main research question is why this is the case since this notion connects many others and should be central to academic research. Within the paper I elaborate on several types of peace agreements: those confirming a ‘complete’ victory of one of the opponent parties involved in a war, those reached mainly by exchange of territories, those having the exchange of prisoners as central, and those referring to the payment of tribute for various purposes.

Les « arts de la paix » tels que décrits par Machiavel dans les Discours sur la première décade de Tite-Live posent question. S’il est naturel de vouloir y voir un art de la diplomatie et les opposer à l’art de la guerre, la réalité est différente. Toujours éclairés par les contextes dans lesquels ils sont pris, « les arts de la paix » sont intrinsèquement liés au concept de religion. Dans le chapitre 19 du livre I que cet article étudie spécifiquement, ils prennent place – à travers les exemples des Romains, des Hébreux et des Ottomans – au cœur même du cadre conceptuel machiavélien. La présente contribution tente de montrer qu’en évoluant entre paix et guerre, entre faiblesse et vertu, entre ruine et splendeur des dynasties, les « arts de la paix » subliment ces tensions internes tout en proposant ultimement un moyen de les assumer. Dès lors, que sont-ils réellement et en quoi permettent-ils de penser le lien difficile entre la paix intérieure et la guerre extérieure dans la pensée de Machiavel ?

Arts of Peace – Loving Switzerland

ALTHOUGH interest in the military applications of explosives has probably waned to a considerable extent in most countries, it is perhaps not generally realised what an important part these products of chemical invention play in the arts of peace. The name of the author of this small book is sufficient to guarantee the accuracy of the information contained in it, and it is only necessary to state that Dr. Farmer has compressed into about a hundred small pages a surprising amount of up-to-date material. The style is easy, but the treatment is such that the book is far from being merely a “popular” account of the subject: it is a small encyclopaedia, which may be read with advantage by all students of chemistry as well as by those more directly interested in the manufacture and uses of explosives. The very important source of sulphur at Louisiana should have been mentioned on p. 37.

In Book XV of Ovid’s Metamorphoses, Pythagoras meditates on the rise and fall of cities and foresees that the survival of Rome requires turning from war to the “arts of peace.” Once ancient Rome has fallen, its urban imagery hybridizes with a Biblical counter-imagery in which God wills the ruination of Rome and other centers of wickedness. Through this Ovidian/Pythagorean lens, this essay then examines how Spenser confronts the fall and rise and possible fall again of early modern London, with glances also at Shakespeare and Dryden. This Ovidian model creates challenges of identity, belief, and ethical obligation that result in an “outward turn” of the theme of metamorphosis toward its social boundary.

This chapter presents Ulysses S. Grant’s Second Inaugural Address. Grant mentions how the United States has yet to recover from the effects of great internal revolutions, and three former states of the Union had not been restored to their federal relations. According to Grant, the past four years of his tenure were spent on restoring harmony, public credit, commerce, and all the arts of peace and progress. Grant assures that his efforts for the future include the restoration of good feelings between the different sections of our common country. The speech also indicates that social equality must be considered after the effects of the late civil strife freed the slave and made him a citizen.

“The Way of the Warrior has been misunderstood. It is not a means to kill and destroy others. Those who seek to compete and better one another are making a terrible mistake. To smash, injure, or destroy is the worst thing a human being can do. The real Way of a Warrior is to prevent such slaughter – it is the Art of Peace, the power of love.“ (Morihei Ueshiba).