Art Of War Research Articles

The Art of War on Handling Bullying: The Case of School Administrators in a Philippine University, Philippines

The Art of War on Handling Bullying: The Case of School Administrators in a Philippine University, Philippines

Note on Warfare in Eastern Philosophy

This note on warfare summarizes treatises by Chinese (e.g., Sun Tzu, The Art of War, ca. 500 BC) and Japanese (e.g., Miyamoto Musashi, The Book of Five Rings, 1643 AD) warriors, reviews their philosophies and leadership lessons, and offers modern applications. Excerpt UVA-S-0304 Rev. Nov. 7, 2019 Note on Warfare in Eastern Philosophy Preface This note on warfare summarizes treatises by Chinese (e.g., Sun Tzu, The Art of War, ca. 500 BC) and Japanese (e.g., Miyamoto Musashi, The Book of Five Rings, 1643 AD) warriors, reviews their philosophies and leadership lessons, and offers modern applications. Background . . .

Unapologetic Absurdity

Unapologetic Absurdity Keith Kopka (bio) Sun-Tzu’s Life in the Holy City of Vilnius Ričardas Gavelis Elizabeth Novickas, trans. Pica Pica Press www.picapica.press/books 271 Pages; Print, $13.99 Lithuanian born writer and theoretical physicist Ričardas Gavelis is perhaps most known to western audiences for his book Vilnius Poker (1989), a scathing indictment of post-soviet Lithuania that finds Gavelis characterizing his country as a headless and ignorant nation. First published in 1989, this politically charged mix of fantasy, eroticism, and philosophy rocked Eastern Europe in the middle of the USSR’s slow descent toward disintegration. Although Sun-Tzu’s Life in the Holy City of Vilnius was initially published more than a decade later, the themes within this work remain similar to the challenging and incendiary content of Vilnius Poker, its sister novel. Sun-Tzu’s Life in the Holy City of Vilnius, translated by Elizabeth Novickas and published in the United States by Pica Pica Press, follows the life of a narrator who calls himself the Sun-Tzu of Vilnius, a typically direct Gavelis style persona that allows the author to characterize his narrator through external means. As we all learned in history class, Sun-Tzu was the Chinese general and strategist most famous for his book The Art of War, a collection of strategic, instructional, and often even philosophical writings on the ways in which war should be waged. Gavelis’s narrator takes on this persona in the context of post-Soviet Lithuania. However, unlike the original Sun-Tzu, Gavelis’s character is far from the refined voice of reason that permeates the narrative structure in The Art of War. Instead, Gavelis frames his Sun-Tzu as an anti-hero, a criminal and sex addict who is the product of his time and of his upbringing in the Soviet era. Stylistically, Sun-Tzu’s Life in the Holy City of Vilnius is an aggressive book. The information comes at the reader at an incredible pace, and the lyricism and detail that is required in translation is a testament to Novickas’s talent, not just as a translator of Gavelis’s words but also as the steward of the fraught and extremely detailed universe that Gavelis has painstakingly crafted. Throughout the text, the descriptions of sexuality and violence are sometimes startlingly direct. However, Gavelis avoids crossing over any lines that might alienate a reader by stylizing his disturbing descriptions in a way that resembles the magical realism of authors like Gabriel García Márquez or Miguel Ángel Asturias, and because of these stylistic choices, Gavelis finds ways to make his often-overwrought descriptions feel necessary. Gavelis wields his penchant for the absurd and fantastic as a chisel to sculpt images that are reflective of the ways in which he sees that Lithuania and its people have been exploited and, in turn, forced to work within a system of corruption. This critical perspective is a lot for readers to take in, especially those readers [End Page 21] who might not be familiar with the historical and socio-political context of Gevalis’s evaluation. However, the stylistic choices that fortify his post-modern adaptation of magical realism disarms readers and allow them to receive his harsh social commentary. For example, Sun Tzu’s formative years provide Gavelis an opportunity to use the strengths of stylistic literalism to his advantage as he describes Sun-Tzu’s “first father” as an “interim coffin designer,” and a “deconstructionist” who “didn’t deconstruct someone’s despicable written texts, but rather all the Lord’s creation.” This unique metaphorical persona sucks readers into the character of the first father. However, all of this description ultimately still culminates in poignant tragedy when the KGB catches on to the first father’s work and has him arrested and killed for supposedly organizing a nationalist group. These moments of spectacular metaphor and absurdity challenge and confront the reader throughout the novel. However, some of these moments bare the historical weight and narrative direction of the novel better than others. Sometimes there is a feeling that the reader is being forced to confront absurdity simply for the...

A Review of Understanding Space Strategy: The Art of War in Space by John J. Klein

A Review of Understanding Space Strategy: The Art of War in Space by John J. Klein

《孙子兵法》英译本翻译风格比较研究

《孙子兵法》英译本翻译风格比较研究

Jomini irreguláris hadviselésre vonatkozó nézetei és ezek lenyomata napjaink aszimmetrikus konfliktusaiban

Az irreguláris, aszimmetrikus hadviselés egyik első, 19. századi teoretikusa Antoine-Henri Jomini volt. Jelen cikkben A hadművészet kézikönyve című művének irreguláris – a szerző szóhasználatában „nemzeti” – háborúkkal foglalkozó fejezeteit elemzem, részletesen ismertetve e típusú konfliktusok, Jomini által leírt jellemzőit. Ezek alapján vázlatosan érintem azokat a pontokat, amelyek napjaink aszimmetrikus, irreguláris hadviselésére is komoly hatással voltak, illetve amelyek Jomini nyomán továbbra is jelen vannak az ilyen típusú háborúk során.

PHENOMENON OF YOUTH MILITARY GAME IN MILITARIS DOMESTIC CULTURE

Introduction. One of the main areas of educational activity is preparing young generation of our citizens to defend their country, as well as involving them in all types of public affairs during the period of peaceful life. The upbringing system in history of formation of archaic cultures included various types of physical and moral-ethical tests, it had a sacred character, thereby providing a colossal defense resource for their territories. In modern intercivilizational communication, the procedure of forming a "peaceful man" or "Homo humanitatis", whose ancestor was a military man ("Homo militaris") on the example of practical possibilities of the phenomenon of youth military game in the culture of the Ukrainian Cossacks, is undoubtedly a topical issue of domestic socio-philosophical analysis. Actual scientific researches and issues analysis.Studying of the peculiarities of the mentality in the field of military activity begin in the middle of the 20th century in the works by W. Wundt on the psychology of nations, L. Levy-Bruhl's works on the problems of the mentality of archaic society, as well as the works by C. Levi-Strauss, O. Losev, W. Propp, E. Taylor, A. Toynbee, J. Frazer, J. Huizinga, and in the works by S. Huntington we find the analysis of common civilizational values and ways to preserve cultural identity.The aim. The article investigates modern theoretical and methodological approaches to filling the phenomenon of competitive military game in the militaris national culture. The research methodology is based on a system-structural, hermeneutic and activity approach. In turn, the application of comparative analysis, analytical, dialectical, historical-logical and retrospective methods provide an analysis of the relationships and connections of the basic components of the socio-philosophical dimension of social reality.The statement of basic materials.The militaris culture is not only a way of thinking about specific levels of individual and collective consciousness, but it necessarily takes into account social experience, life-affirming complex of national traditions, originality of culturological possibilities of the game phenomenon, therefore, we can say that significant changes in the military sphere of life are due to national territorial affiliation participants in war Game and their personal attitude to humanitarian dimension of war. Gradually, the military sphere of culture becomes the basis for the historical process of formation of certain norms and rules of coexistence of the whole community, due to which the legal and regulatory function of culture is carried out. Newly created empires have always been ready to repel aggressive intentions, but even barbaric military groups quickly master technical advances and learn the art of war. This historical recurrence leads to changes in the social structure itself, when, as a result of the active development of military affairs, a disciplined military class is formed from which the administrative elite of state associations stands out. A gradual change in military conditions in life of society ensures further development of a state as a cultural entity, and the ethnic characteristics of various forms of military art and the sacred nature of weapon manufacture contributed to preservation of community integrity and transition from forms of military activity to processes of state creation. Conclusion. The article proves the position that military culture has always objectively been one of the main components of civilizational development, and the understanding of the cardinal contradiction of military conflicts today must be resolved exclusively in such socio-cultural contexts as science, education, art, etc. It was noted that in this case one can try to change the world tragedy of the destruction of the life of a particular person into a military virtual Game as a component of an intercivilizational dialogue.

'That huge, haunted solitude': 1917-1927 a spectral decade

In 1917 the British government took the unprecedented decision to ban the depiction of the corpses of British and Allied troops in officially sponsored war art. A decade later, in 1927, Australian painter Will Longstaff exhibited Menin Gate at Midnight which shows a host of phantom soldiers emerging from the soil of the Flanders battlegrounds and marching towards Herbert Baker’s immense memorial arch.

Around 1948: The “Gentle Revolution” and Art History

Just like after World War I Italy experienced a transition from modernism to fascism, after World II Poland experienced a passage from modernism to quasi-communism. The symbol of the first stage of the communist revolution in Poland right after the war, the so-called “gentle revolution,” was Pablo Picasso, whose work was popularized not so much because of its artistic value, but because of his membership in the communist party. The second, repressive stage of the continued came in 1949–1955, to return after the so-called thaw to Picasso and the exemplars of the École de Paris. However, the imagery of the revolution was associated only with the socialist realism connected to the USSR even though actually it was the adaptation of the École de Paris that best expressed the revolution’s victory. In the beginning, its moderate program, strongly emphasizing the national heritage as well as financial promises, made the cultural offer of the communist regime quite attractive not only for the left. Thus, the gentle revolution proved to be a Machiavellian move, disseminating power to centralize it later more effectively. On the other hand, the return to the Paris exemplars resulted in the aestheticization of radical and undemocratic changes. The received idea that the evil regime was visualized only by the ugly socialist realism is a disguise of the Polish dream of innocence and historical purity, while it was the war which gave way to the revolution, and right after the war artists not only played games with the regime, but gladly accepted social comfort guaranteed by authoritarianism. Neither artists, nor art historians started a discussion about the totalizing stain on modernity and the exclusion of the other. Even the folk art was instrumentalized by the state which manipulated folk artists to such an extent that they often lost their original skills. Horrified by the war atrocities and their consequences, art historians limited their activities to the most urgent local tasks, such as making inventories of artworks, reorganization of institutions, and reconstruction. Mass expropriation, a consequence of the revolution, was not perceived by museum personnel as a serious problem, since thanks to it museums acquired more and more exhibits, while architects and restorers could implement their boldest plans. The academic and social neutralization of expropriation favored the birth of a new human being, which was one of the goals of the revolution. Along the ethnic homogenization of society, focusing on Polish art meant getting used to monophony. No cultural opposition to the authoritarian ideas of modernity appeared – neither the École de Paris as a paradigm of the high art, nor the folklore manipulated by the state were able to come up with the ideas of the weak subject or counter-history. Despite the social revolution, the class distinction of ethnography and high art remained unchanged.

Wokół roku 1948: „rewolucja łagodna” i historia sztuki

Just like after World War I Italy experienced a transition from modernism to fascism, after World War II Poland experienced a passage from modernism to quasi-communism. The symbol of the first stage of the communist revolution in Poland right after the war, the so-called “gentle revolution,” was Pablo Picasso, whose work was popularized not so much because of its artistic value, but because of his membership in the communist party. The second, repressive stage of the continued came in 1949–1955, to return after the so-called thaw to Picasso and the exemplars of the École de Paris. However, the imagery of the revolution was associated only with the socialist realism connected to the USSR even though actually it was the adaptation of the École de Paris that best expressed the revolution’s victory. In the beginning, its moderate program, strongly emphasizing the national heritage as well as financial promises, made the cultural offer of the communist regime quite attractive not only for the left. Thus, the gentle revolution proved to be a Machiavellian move, disseminating power to centralize it later more effectively. On the other hand, the return to the Paris exemplars resulted in the aestheticization of radical and undemocratic changes. The received idea that the evil regime was visualized only by the ugly socialist realism is a disguise of the Polish dream of innocence and historical purity, while it was the war which gave way to the revolution, and right after the war artists not only played games with the regime, but gladly accepted social comfort guaranteed by authoritarianism. Neither artists, nor art historians started a discussion about the totalizing stain on modernity and the exclusion of the other. Even the folk art was instrumentalized by the state which manipulated folk artists to such an extent that they often lost their original skills. Horrified by the war atrocities and their consequences, art historians limited their activities to the most urgent local tasks, such as making inventories of artworks, reorganization of institutions, and reconstruction. Mass expropriation, a consequence of the revolution, was not perceived by museum personnel as a serious problem, since thanks to it museums acquired more and more exhibits, while architects and restorers could implement their boldest plans. The academic and social neutralization of expropriation favored the birth of a new human being, which was one of the goals of the revolution. Along the ethnic homogenization of society, focusing on Polish art meant getting used to monophony. No cultural opposition to the authoritarian ideas of modernity appeared – neither the École de Paris as a paradigm of the high art, nor the folklore manipulated by the state were able to come up with the ideas of the weak subject or counter-history. Despite the social revolution, the class distinction of ethnography and high art remained unchanged.

Maximizing Patent Value by Effective Prosecution

How does your client realize value from a patent? There are only three ways -- • Litigate: to collect money damages, or obtain an injunction to exclude a competitor • Fear of litigation: Frighten a competitor remains out of the market, preserving your client’s higher margins, or license the patent for royalties. These depend on convincing the competitor that it’s better to conduct his business on your client’s terms than to litigate. • Attract investment capital: which in turn means convincing an investor that competitors will have a credible fear of the patent All value of a patent flows from its strength in litigation. The best patent is one that, evaluated as if it were to be litigated, appears to be valid and infringed so that no litigation is necessary. As Sun Tsu noted in The Art of War: No nation has ever benefited from protracted warfare. Therefore, to gain a hundred victories in a hundred battles is not the highest excellence; to subjugate the enemy's army without doing battle is the highest of excellence. To create value for your client you must assume that every application will be litigated. The value of your ex parte prosecution before a non-lawyer examiner will be tested by the standards of an inter partes litigation or negotiation against a lawyer adversary The value of a patent is measured solely by these objectives. A good patent is a patent that scares a competitor out of doing something he wants to do. Your patent should be so compelling that a competitor has to run his business on YOUR terms. How do we do that?

Lietuvos didžiojo kunigaikščio valdžia prie Nemuno 1283–1410 m.: karinis aspektas | The Power of the Grand Duke of Lithuania on the River Nemunas, 1283–1410: The Military Aspect

This article seeks to analyse the presence and activities of Lithuanian grand ducal power along the River Nemunas in the period 1283 to 1410. The war between the Teutonic Order and the Lithuanians is viewed from the point of view of challenge-and-response theory. A detailed analysis of narrative sources has allowed us to distinguish two periods in which Lithuanian grand ducal power actively promoted the introduction of innovations in the Lithuanian art of war. The first period encompasses the last decade of the 13th century and the first decade of the 14th century. In this period, not only was a line of Lithuanian castles put in place along the rivers Nemunas and Jūra, but also what we call the Lithuanian military riverine fleet was created. The period was also likely to have been a time when Lithuanian forces adopted the crossbow. The second period involves the last two decades of the 14th and the early 15th century. In this period, a more active defence of fords across the rivers Nemunas and Neris was undertaken from time to time by Lithuanian troops, by putting up wooden fortifications and employing artillery. The synergy of fortification and artillery was a recipe for Lithuanian troops to counter some of the advantages enjoyed by their Teutonic adversaries on water and on land.

Schoolyard Soldiers: The Art of Adapting the Art of War

Abstract The Art of War (or Sun Tzu) abounds with practical strategic and tactical advice which, while intended for use in warfare, can be applied to almost any professional or personal crisis or conflict. In recent decades this ancient Chinese military classic has been adapted for a variety of non-military purposes in fields as diverse as trade, law, sports, and love. Intrigued by the text’s seemingly limitless applicability, this article analyzes when, where, why, and how present-day adapters applied the ancient military text to modern non-military issues. The article also reflects on the value of Art of War adaptations, especially vis-à-vis translations, as it highlights the diverse ways in which an age-old Chinese text is made relevant to modern readers worldwide.

An Investigation on the Post Disaster Humanitarian Logistics Response for Relief Aid Provision by World Food Programme in Zimbabwe

In the Art of War, Sun Tzu (1772) observes that “the line between order and disorder lies in logistics”. The logistics response to the Asian tsunami in December 2004 reveals the fragility and inadequacy of the logistics processes. High volatility is part of complex situation, but other factors from external actor can increase this complexity; poor mandates in agencies, inadequate capacity in aid provision, or even weak diplomacy may lead to failure. From this point, specialists have highlighted the little extent given to logistics activities within the relief response. The tsunami failures imposed the international community to review its priorities such as strengthening professional staffing and supporting strategic partnerships and local available expertise. Agencies need to clarify who is to coordinate disaster response and recovery. Eventually, logistics is a bridge that allows the transition between emergency and development programs, and links the entire supply chain. This link cannot be ignored by the actors of this particular supply chain because by establishing a long-term process logistics will ensure local development and sustainability. This dissertation is on an investigation on the post disaster humanitarian logistics response for relief aid provision by World Food Programme in Zimbabwe. This research seeks to establish major logistical activities that affect post humanitarian logistics response at World Food Programme in Zimbabwe, to establish the supply chain practices used in disaster management by World Food Programme in Zimbabwe, to determine the relationship between supply chain practices and disaster response among humanitarian organizations in Zimbabwe, to identify factors that influences the post disaster humanitarian logistics response at World Food Programme in Zimbabwe and to suggest strategies that can improve post disaster humanitarian logistics response by World Food Programme in Zimbabwe.

Sir William Orpen’s To the Unknown British Soldier in France: a controversial commemoration

ABSTRACT This article considers Sir William Orpen’s controversial painting To the Unknown British Soldier in France as a site of memory in the decade following the armistice. War art played a part for many people in helping to make sense of and commemorate the war, but expectations of how art could and should do this varied between different groups and changed over time. In the later war years and immediately postwar, art produced by eyewitnesses to the conflict was valued for the truth of its testimony; however, there were different interpretations of what this meant in practice. While the Imperial War Museum sought to create a factual record of events, the majority of the public and press expected war art to tell a symbolic rather than literal truth. To the Unknown British Soldier in France was commissioned by the IWM in 1919 to commemorate the Versailles peace conference and was most expensive art commission of the war. Unveiled to a storm of controversy in 1923, it was rejected by the museum and subsequently altered by Orpen before its eventual acceptance in 1928. Orpen turned the commission into his personal commemoration of the ordinary soldier, whom he felt had been forgotten in the peace process. The painting juxtaposed spectral, decaying soldiers with a realistic, flag-draped coffin, and while this hybrid style offended some, many others warmly approved, believing that it was important to acknowledge the horrors of war even within a memorial context. This episode suggests that in the immediate postwar years, the genres of avant-garde/critical and traditional/memorial art were not mutually exclusive, and that many people wanted to honour the memory of the fallen, whilst simultaneously acknowledging the harsh realities of war.

The Instrumentalization of Metaphors in the Management Field: Reflections from the use of the Book “The Art of War” on Business

The debate about the use of metaphors in the organizational context in the last decades has not been exhausted, especially in discourse studies. Inserting itself in this discussion, the present essay problematizes the anachronistic dimension in the use of metaphors in the field of management. From a hermeneutic-critical perspective, we argue that the use of metaphors in managerial literature sometimes reflects a utilitarian and anachronistic distortion of the contexts originating in metaphorical symbolic forms. In this sense, the strategic use of language can inhibit the interpretive autonomy of individuals, that is, colonize their interpretive horizons by the persuasive induction of simplistic and utilitarian worldviews about organizational reality. We use the essay form as a method, and we rely theoretically on Alvesson’s critical approach, on the hermeneutics by Gadamer and Ricoeur, and on Habermas’ Critical Theory. We illustrate our argument by recurring use of the work “The Art of War” as a metaphor for managerial practice.

Operational Warfare in War College and War Studies University

Having own operational warfare based on deeply rooted domestic military culture and positively verified combat cases, being now historical experiences inspiring next generations, is one of the foundations of the armed forces. Polish art of war in the 20th century developed freely in the Second Republic of Poland: it was a period, when the foundations for Polish operational art were established. Poland, in consequence of a betrayal by its western allies, after World War II found itself in the Soviet zone of influences, and this meant breaking up with the achievements of the Second Republic of Poland, including the art of war. Regaining Independence at the break of 1989/1990 was a distinct turning point in the development of the art of war, and meant the necessity to search for new solutions adequate for the challenges stemming from contemporary geopolitical location, as well as from its defense self-sufficiency. This required a new outlook on operational warfare. The following turning point was the membership in North-Atlantic Alliance and the participation of the Polish Armed Forces in stabilization operations in the Balkans, Iraq, and Afghanistan. Both in the Second Republic of Poland and today, military education of command and staff professionals had a significant impact on Polish operational art.

The Arts of War and Deception

AbstractThree recent books—Benjamin Cooper’s Veteran Americans: Literature and Citizenship from Revolution to Reconstruction (2018), Keith Gandal’s War Isn’t the Only Hell: A New Reading of World War I American Literature (2018), and Jonathan Vincent’s The Health of the State: Modern US War Narrative and the American Political Imagination, 1890–1964 (2017)—invite us to reevaluate the tradition of US war literature. Attempting to rescue it from the misunderstanding and marginalization to which it has been subject over the years, they assess its expression of persistent anxieties about national identity, citizenship, and masculinity. Covering a broad swath of US history, from the Revolutionary period through the Cold War, these books work together to illuminate crucial aspects of the perilous, enduring connection between citizenship and violence. This work is characteristic of a renewed post-9/11 attentiveness on the part of literary and cultural critics to war and its representation. Central to any exploration of the war narratives at the very core of national identity is a recognition of the intimate relation between the arts of war and those of deception.

Of Hurdles, Battles, and The Art of War

This issue marks our first for 2019. A bit way past our target date but worth the wait. There were many hurdles to contend with as with previous issues. There were limited manuscript submissions, limited time, limited budget, limited manpower. Only the hurdle list is limitless and goes on and on.

Atomic Afrofuturism and Amiri Baraka's Compulsive Futures

In 1984, the same year that scholars were gathering at Cornell University to theorise ‘Nuclear Criticism,’ Amiri Baraka was formulating his own version of nuclear futurity in Primitive World: An Anti-Nuclear Jazz Musical. Baraka's musical manifests and conceptualises atomic afrofuturism, a historically specific affirmation of black existence that was forged while facing nuclear apocalypse. Nuclear Criticism, which lost much of its exigency after the end of the Cold War, needs to evolve to account for the present nuclear era, as its focus on totalities leaves it ill-equipped for incorporating the disparate lived experiences of those who have already experienced the apocalypse and for whom nuclear apocalypse is a repetition or extension of white supremacy's agenda of extinction. This article offers a genealogy of atomic afrofuturism, examining how throughout the cold war period African American artists like Sun Ra, Langston Hughes and Amiri Baraka were exploring the post-apocalyptic conditions of black existence, including its conflicting temporalities and tenses, while much of America still believed the apocalypse was imminent, not immanent. And so it is Derrida's anti-apocalyptic missives together with Baraka's anti-nuclear musical that can offer the framework Nuclear Criticism so desperately desires for imagining the unimaginable.