War Studies

En la serie "Cosmos: Mundos Posibles" (2020), presentada por el Dr. Tyson, en el último capítulo, sale una niña en el año 2029 imaginando cómo se podría desarrollar el futuro, bajo el tema de "cómo se sanó la tierra".
Y la niña apunta: 2033-Primer contacto con ballenas azules. Canciones traducidas. ¡Están furiosas! 2035-La Amazonia triplica su tamaño. 2037-Por primera vez desde 1966 no hay ingresos en la lista de especies en peligro de extinción. 2040-El décimo coloso de carbono se erige en la Ciudad del Cabo. 2042-El último motor de combustión interna es donado a museo. 2045-Los casquetes polares crecen. 2047-Moluscos que comen plástico de desayuno, avanzan considerablemente en la limpieza de los océanos. 2050-La temperatura global media regresa al nivel de principios del Siglo XX...
La del Dr. Tayson es una visión optimista y sana del futuro del desarrollo humano. También está la otra visión del futuro, la pesimista. De aquí al 2080 un planeta tierra en pleno colapso progresivo...

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Après une rapide présentation des machines de guerre romaines (artillerie et machines de siège), cette communication s’écarte du domaine technique pour aborder la question sous l’angle littéraire. La machine (conformément au sens originel du radical *magh-) est toujours expression de puissance ; c’est encore plus vrai lorsqu’il s’agit des machines de guerre ; du Cheval de Troie à la tour mobile, de la foudre de Jupiter à la baliste, le mythe de l’invincibilité fascine les auteurs. La machine est le dernier recours pour prendre une ville ou se sortir d’une situation difficile et elle est arme de dissuasion. La machine de guerre est aussi un « trait de civilisation » et un élément de la supériorité des Romains sur les peuples barbares qu’elle effraie. C’est enfin un objet extra-ordinaire, dans sa finalité, son emploi et ses effets : elle est utilisée pour combattre les monstres … Il n’est donc pas étonnant de la retrouver souvent utilisée dans les métaphores de la puissance, dans la comédie et la poésie notamment.

Syrian crisis started as a domestic uprising against President Bashar-ul-Assad, and soon engulfed not only the neighbouring states, but also extra-regional great powers. This study tries to anatomise the crisis by addressing the nature of the actors lying at domestic, regional, and system levels, who have rendered the conflict its multifaceted nature. The main question this study addresses is: What are the actors and factors that have contributed to the complexity of the Syrian Civil War and why has this conflict degenerated into a prolonged violent engagement between different groups? While using the theoretical prism of contentious theory of civil war developed by Adrian Florea and in-depth qualitative case study as methodological tool, this study hypothesizes that grievances at the domestic level have resulted in the onset of the conflict in Syria, which was later exacerbated and prolonged by the rise of ISIS and strategic competition among the regional and system level powers. The study concludes that, though the crisis is not over yet, increasing interests and overtures by Saudi Arabia and the domestic growing Syrian animosity towards Iran has opened new avenues for regional and extra-regional involvement in the post-conflict reconstruction for effective governance, peace, and stability in Syria.

Jewish service in armies of antiquity remains a matter not to be discussed, especially the case of armed service under Hellenistic rule. One of the reasons for the silence engulfing this issue, is due to the manner the Jews tend to remember the Seleucid Empire, one of the major kingdoms of the Hellenistic period. The Jews celebrate annually the Chanukah in commemoration of their victory over the Seleucids and the achievement of independence. The Jews view the rebels as "true" believers, while Jews who supported the Seleucids and imitated their customs, are called derogatively, "Mityavnim", and condemned as traitors to the Jewish cause.

ANKARA-BAKU NEWS, Turkey
https://ankarabaku.com/elveda-gaddar-yuzyil-1920-2020/

Sovyetlerin incisi Azerbaycan, Dağlık Karabağ sorunu arifesinde, değil topraklarını korumak, köy ve mezralarının güvenliğini sağlamaktan aciz, gönüllü vatanseverlerin eline verecek herhangi bir silahın, ayağına geçirecek asker botunun sahibi dahi değildi. Bunu o dönemin, belirli sayısı kadın olan, bir avuç kadar gönüllülerin fotoğraflarına baktığınız zaman, buruk bir sızı içinde anlıyorsunuz.

İki yönde gerçekleştirilen politikalarla şuurumuz etki altına alınmaya çalışıldı. Biri güzel bir hayat sunma yoluyla, diğeri ise bize kim olduğumuzu unutturma çabasıyla. Üstelik toplum bu politika doğrultusunda mütemadiyen iki bölüme ayrıştırılıyor; oğulun annesinden Rusça değil de Azerbaycan dilinde konuştuğu için utanması sağlanıyor; Rusça okursa geleceğinin parlak, Azerbaycanca okursa vasat olacağı bilinci, ders müfredatı üzerinden manipulasyonlarla topluma aşılanıyordu.  Bu sistem, Azerbaycan’ın Sovyetlerden önce geri kalmış, umutsuz, aciz, hiç bir kazanımı olmamış, günümüze kadar bu kanı ile hala yaşamaya devam eden, bu gaflet uykusundan bir türlü uyanmak istemeyen kimi insanları yetiştirdi. Bu kanıya varmalarını garantilemek için, Sovyet dönemi arifesinde sağlanan ve çoğu zaman Müslüman Şark’ta ilklerin ilki olan, iftihar edilecek somut başarıları, tarih ve edebiyat kitaplarımızdan tek çırpıda “sistem karşıtı” nitelemesiyle silerken, nesillerin tarihlerini öğrenmeden yetişmesini sağladı.

https://apa.az/en/politics_of_azerbaijan/Deliberate-disinformation-of-millions-or-the-truth-swept-under-the-rug-colorredANALYTICScolor-334929

On October 31, 2020, German TV channel ARD interviewed Ilham Aliyev, President of the Republic of Azerbaijan.

The way the journalist formulated his questions was quite disturbing, in that, such a sarcastic mixture of sense of superiority and self-righteousness perfectly embodies the tendentious approach that the many uninformed and misinformed “experts on the matter” have had since decades. Thus, the chance to face and answer questions asked by someone with fierce negativity towards Azerbaijan is of the highest importance.

We must divide the mass media groundless sensation seeking hysteria from the academic knowledge based on historical documents. It's been decades that countless false claims made through mass media, became the truth in the eyes of those whom such claims were addressed to, and this all was just accepted without checking the facts.

https://apa.az/en/politics_of_azerbaijan/Witnessing-and-understanding-historic-recurrence-a-long-awaited-glimpse-of-hope-colorredANALYTICScolor-335744

Amidst striking similarities that can be found in history, and not only of Poland, so far the words Armenia and capitulation have been officially paired, standing just there as the embodiment of delusive aspirations beyond logic, and crowning the reciprocal particularity of the historic recurrence.

As documented by various international reporters: Armenians, prior to their departure, were burning houses, destroying monuments, taking away historical artifacts, cutting trees, killing animals, putting down electric supply lines, settling mines, opening graves of their own relatives and destroying nearby graves of Azerbaijanis.

This article is written with attempt to show striking similarities between historical events because “Those who cannot remember the past are condemned to repeat it”. But when they do, it is just "the first time as a tragedy, the second time as a farce."(Karl Marx)

Needless to say, Germany is still delivering back to Poland pieces of art defined as objects taken away during the Nazi robbery. Even today, in various cities of Poland, primarily in Warsaw, mines are found under residential and official buildings, while the country from time to time is fighting against misnomers such as “Polish concentration camp” or “Polish death camp”, which are nothing more than shameless misleading attempts to exploit the ignorance of masses and misrepresent the historical truth.

Again, isn’t this very much alike the accusation of Armenian authorities when they claim that Khojaly genocide was made by Azerbaijanis themselves?

Azerbaijani and Armenians lived together peacefully during the Soviet times, external manipulations destroyed that peace. Time will show how realistic it is to start over, at this point though the international law in every aspect will be implemented.

Wars and conflicts affect everyone; especially the children the most. Civil wars have been not only costly and they have crippled social infrastructures including education and other basic and necessary social services (Waal and Vines 1992; Malecela 1999). The war in 2011 and subsequent conflicts in Libya have affected almost every Libyan. The most affected have been the children. This study attempted to investigate how the war affected Libyan students particularly in the city of Sebha with special reference to their environment, education system, their learning habits, their thinking ability as well English language learning ability. To this end, the relevant research data was collected from the teachers (06), students (19), parents (06) and guardians (05) from Sebha using observation and interview as data collection techniques. The analysis of the data revealed that the Libyan conflict had direct impacts on education. There were school closures due to targeted attacks, collateral damage, military use of school buildings, and use by displaced populations. Death and injury to teachers and students were also noted which affected the education process. On the part of parents, fear of sending children to school, recruitment of teachers and students by armed forces and thus reduced public capacity to deliver education were notable findings of the study.

Christians are in a war, Eph. 6:12. This war culminates in Armageddon, but it starts in Eden, Gen. 3:15. Jesus did not come to bring peace, but the sword, Mat. 10:34. We know there is division between East and West, Good and Evil and between saved and unsaved. We are saved by faith, not works but what is the faith that saves? Where is the line drawn? Not all who cry Lord, Lord are saved, Mat. 7: 21-22, 25:11-12; Luk. 6:46; 13:25. Where is the front line located?

« Homme, soldat qui prend part directement à un combat, à une guerre ». Le Larousse définit ainsi le mot « combattant ». Dans de nombreuses sociétés, le garçon doit faire la preuve de sa vaillance pour s’affirmer comme homme et guerrier. Cette vaillance a été commentée à travers le modèle hoplitique grec (Hanson, 2007 ; Holeindre, 2017).
Qu’en est-il de la femme combattante ? Ayant eu un rôle mineur dans la guerre (Caplow, Vennesson, 2000) ou ayant participé activement aux guerres antiques comme modernes (Ducrey, 2019), la seule représentation historique et populaire d’une combattante armée d’une épée reste Jeanne d’Arc.
Les représentations de la combattante se développent aujourd’hui dans la culture populaire contemporaine, quel que soit le support (films, séries, romans, jeux vidéos, bandes dessinées, etc.). Ces productions sont européennes et nord-américaines, mais aussi asiatiques (Japon). Des sites de streaming (Netflix) diffusent ces images de combattantes certes fictives, mais qui répondent aux attentes d’un public exigeant que les femmes aient aussi leur place parmi les guerriers.
Mais ces scénarios reproduisent un conflit identitaire entre la « femme » et le « combattant » (Héas, Kergoat, Webber, Haddad, 2007). Nous affirmons que la distinction entre genre et sexe se joue à travers l’armement, en particulier avec le port de l’épée qui semble incarner l’attribut ultime de la distinction masculine. Une femme portant l’épée est ainsi présentée comme très marginale. D’autres variables comme la symétrie (et non la parité) avec un personnage masculin ou encore une destinée généralement malheureuse (et fatale) contribuent à la marginalisation de la combattante dans les scénarios.
Nous proposons une analyse comparée de plusieurs représentations corporelles de la combattante à travers l’épée, ainsi que d’autres armes dans quelques fictions populaires contemporaines : Game of Thrones (série inspirée d’un roman américain), 300. Naissance d’un empire (film inspiré d’une bande dessinée américaine), The Witcher 3 (jeu vidéo inspiré d’un roman polonais), Arslan (animation inspirée d’un manga japonais), et Rebelle (film Disney).

« Homme, soldat qui prend part directement à un combat, à une guerre ». Le Larousse définit ainsi le mot « combattant ». Dans de nombreuses sociétés, le garçon doit faire la preuve de sa vaillance pour s’affirmer comme homme et guerrier. Cette vaillance a été commentée à travers le modèle hoplitique grec (Hanson, 2007 ; Holeindre, 2017).
Qu’en est-il de la femme combattante ? Ayant eu un rôle mineur dans la guerre (Caplow, Vennesson, 2000) ou ayant participé activement aux guerres antiques comme modernes (Ducrey, 2019), la seule représentation historique et populaire d’une combattante armée d’une épée reste Jeanne d’Arc.
Les représentations de la combattante se développent aujourd’hui dans la culture populaire contemporaine, quel que soit le support (films, séries, romans, jeux vidéos, bandes dessinées, etc.). Ces productions sont européennes et nord-américaines, mais aussi asiatiques (Japon). Des sites de streaming (Netflix) diffusent ces images de combattantes certes fictives, mais qui répondent aux attentes d’un public exigeant que les femmes aient aussi leur place parmi les guerriers.
Mais ces scénarios reproduisent un conflit identitaire entre la « femme » et le « combattant » (Héas, Kergoat, Webber, Haddad, 2007). Nous affirmons que la distinction entre genre et sexe se joue à travers l’armement, en particulier avec le port de l’épée qui semble incarner l’attribut ultime de la distinction masculine. Une femme portant l’épée est ainsi présentée comme très marginale. D’autres variables comme la symétrie (et non la parité) avec un personnage masculin ou encore une destinée généralement malheureuse (et fatale) contribuent à la marginalisation de la combattante dans les scénarios.
Nous proposons une analyse comparée de plusieurs représentations corporelles de la combattante à travers l’épée, ainsi que d’autres armes dans quelques fictions populaires contemporaines : Game of Thrones (série inspirée d’un roman américain), 300. Naissance d’un empire (film inspiré d’une bande dessinée américaine), The Witcher 3 (jeu vidéo inspiré d’un roman polonais), Arslan (animation inspirée d’un manga japonais), et Rebelle (film Disney).

In this article, I propose that we think of the recent concern over fake news, misinformation, disinformation, and conspiracy theories as a moral panic. I revisit Stuart Hall and his co-authors' concept, updating it in two ways. First, I focus on how the current panic has altered what they called "primary definers" (which now includes professional journalism, as a result of their own waning authority). Second, the new alliance of panic actors (journalism, technology companies, intelligence agencies, politicians, civil society organizations) are expressions of a crisis policing that is now martialized. I assess this new nexus in terms of a breakdown of civil peace into outright hostilities; as a counterinsurgency operation. I draw on Michel Foucault's strategic analysis of power and society that challenges boundaries between politics and war. This nexus is waging what I call a war of restoration, one that has significant implications for dissent and oppositional knowledges.