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Uncovering the Virtues of Peace within Visual Culture: The Case for Nonviolence and Imperfect Peace in the Western Tradition
Abstract
Artworks are both artifacts and agents of history that offer their own proposals about the realities that surround them, including conflict and the possibilities for peace. In so doing, they present a framework for reflection that may reveal underexamined didactic texts on alternative ways of dealing with conflicts. Our academic fields are art history and ancient history, and in this essay, we argue that any attempt to locate the contributions of art to the history of peacemaking must begin by rethinking the questions we normally ask ourselves about visual culture (whether archaeological or artistic) and the values that we choose to emphasize. To this end, we first explain the connections between art and peace, and the benefit of the study of art history in researching historical perspectives on peace. We then focus on the analysis of one specific case: the images of the virtues in the ancient Greek and Roman world and their relationship to what we consider to be an enduring culture of peace within the Western tradition. Finally, we show how this classical heritage of peace and the virtues has been kept alive as a useful discourse that has provided an accessible guide to the habits and behaviors (or, as we call them, “virtues”) necessary to achieve the desired peace that artworks have long envisioned.
... Resulta pertinente preguntarse si no sería más efectivo concentrar la investigación, acción y educación para la paz desde una mirada integral que abarque tanto la violencia como la paz existentes en la realidad estudiada. Desde la historiografía se sostiene que incluso en el contexto de la ideología patriarcal hubo prácticas pacíficas en las relaciones entre hombres y mujeres (Jorge y Muñoz, 2016). Con base en estos autores, reconocer las experiencias de paz allí donde se han dado se circunscribe a un esfuerzo de reconciliarnos con nuestro pasado y contribuye a construir una cultura de paz. ...
... O lo que Muñoz llama «interacciones de los espacios donde se potencia la regulación pacífica de los conflictos» (Muñoz y Molina, 2004: 36). Hay que recordar que desde la propuesta de paz imperfecta, los medios para alcanzar la paz (los habitus positivos) son prácticas de paz en sí mismas (Jorge y Muñoz, 2016). ...
... En definitiva, aun siendo imperfecta, la violencia obstaculiza el desarrollo de las potencialidades humanas e interviene de manera arbitraria en la armonía, rompiendo ese equilibrio dinámico con la Naturaleza y con los demás seres humanos. Como se ha examinado con las relaciones hombres-mujeres, la construcción de una cultura de paz demanda actuaciones complejas: implica a la vez recuperar, hacer visibles los testimonios de paz en la existencia de la humanidad y criticar la consolidación de la violencia y del sistema patriarcal (Jorge y Muñoz, 2016). Se requiere «ser profundamente críticos y combativos con la violencia» (Muñoz, 2001: 35) a la hora de recuperar y explicitar las experiencias de paz, la capacidad de paz de los seres humanos. ...
El concepto de paz positiva se ha alejado de la perspectiva original de integración de la sociedad humana y se suele entender actualmente como ausencia de violencia estructural. En un esfuerzo por contribuir hacia la integración del pensamiento de paz en cuanto a las dinámicas positivas de la paz, la autora explora los procesos y causas de este movimiento. El análisis destaca la distinción entre paz estructural y paz positiva, haciendo hincapié en el carácter complejo de ambas, y recupera la última tal y como esta se ha enriquecido con nuevos significados desde la década de los 80. A partir de ello se inicia el diálogo entre paz positiva y paz imperfecta, buscando puntos de unión entre los dos conceptos, y se señalan algunos retos que la propuesta de paz imperfecta plantea en el proceso madurativo del concepto de paz. Entre ellos, refinar las regulaciones pacíficas de conflictos para concretar los elementos definitorios de la paz imperfecta y hacer explícito el papel de los valores.
... These visual languages 'set the bar for human aspirations' (Jorge & Munoz Munoz, 2016, p. 331) and enable stories to be told. Art can act as a conduit for social criticism offering a mixture of "objective representation and subjective intentionality" (Staples, 2016, p. 13) (Jorge & Munoz Munoz, 2016) every society, every body, and contribute to the gathering of collective intelligence (Rudolf & Wright, 2015) but also bring the potential to bind or divide opinion (Staples, 2016). ...
This chapter documents the journey of the authors, two Australian artists and arts educators as they explore the current and entrenched rationales for art education. These popular and pervasive global narratives offer an often unchallenged justification for engaging in art in educational contexts. Delivered through an unusual yet progressive form of narrative inquiry, this article is framed by emails shared between the authors over a four year period. They serve as an archive of stories, thoughts, and ideas, one which facilitates frank discussion, interpretation, and reflection. The authors explore reasons for art education at a fundamental level; a critical reflection that evolves to become transformative, and which places the ‘common good’ of humanity at its centre. Using the popular rhetoric as a starting point for their investigation, the authors seek to contribute to a global conversation about a ‘counter-curriculum’ for teaching art. They invite others to provide their perspectives and ideas with a view to looking outwards to a potential infinity, and a transformed approach to learning in visual arts.
... Beyond the visualisation of war and conflict, the visualisation of peace has gained far less attention. Only a handful of scholars in various disciplines such as History, Political Science, Media Studies or Psychology have engaged in researching the visualisation of peace in a number of media, including paintings, drawings, political posters and photography (Díez Jorge and Muñoz Muñoz 2016) . For example, Thomas Hippler (2013) examines images of peace and political iconography in paintings from the Middle Ages to the 17 th century showing how representations of peace change over time, dependent on context and underlying conceptualisations of peace. ...
The debate about the use of specific methods of analysing visual material has gained great momentum in International Relations (IR). This paper suggests an interpretive method that has received little attention: visual metaphor analysis. While metaphor analysis has a been frequently used discourse analytical method in IR, little attention has been given to study visual metaphors. Taking on insights from cognitive linguistics, this paper introduces visual metaphor analysis to examine a process of double visualisation in film. On the first level, this includes the visualisation of phenomena in
the film itself, the pictures we see on screen. This can be likened to what in the literature is commonly referred to as metaphorical expressions. On the second level, this also includes the visualisation of the underlying metaphorical theme itself. Such conceptual metaphors are not necessarily explicit but necessary to understand the narrative of the story unfolded in the film.
To develop a method of visual metaphor analysis, this chapter examines metaphors of peace in the independent feature film Mango Dreams, which narrates a story of overcoming painful memories of separation and suffering in the wake of the partition between India and Pakistan. The chapter is structured as follows: the first part discusses research on the visualisation of peace and conflict. The second part articulates a method of visual metaphor analysis combining insights from cognitive linguistics and film studies. Part three applies the method to the film Mango Dreams drawing out three fundamental metaphors of peace which constitute the phenomenon conceptually as HOME, JOURNEY and BRIDGE. The analysis shows that a more holistic conceptualisation of peace in film is possible through the engagement of visual metaphors.
This article aims to analyze the using of different color in visual communication of social media especially Instagram used by yukngaji communities in Yogyakarta and Riau. These different colors are some kind of representing the different religion madzab that tried to be removed in the realm of unity in diversity and peace. We use virtual ethnography to analyze the content of Instagram accounts @ynjogya and @yukngajipku. The finding of the study indicates that there are three finding related to the research questions. First, the use of dynamic colors. Second, the visualization of religious learning activities, as analyzed in this research, namely the activities of conveying religious teachings by the community via social media is divided into several things. Last, the use of vocabulary containing anti-SARA, such as all forms of preaching content uploaded on social media platforms.
The primary aim of this paper is to identify the best practices for multicultural communities looking to co-exist in the same territory, using Catur village as a case study. Society brings together people of different cultures, and, for people to stay in harmony concerning each other's culture, there must be crucial practices that make such harmonious living possible. This research, therefore, explored the concept of acculturation and its effect on the Balinese and Chinese communities living in Catur village in the Kintamani district of Bali, Indonesia. Data were collected using pre-prepared unstructured questionnaires administered verbally to five different groups of respondents involved in the study. The researcher also observed the values and practices of both communities during the interview period. The data collected were analysed using the thematic analysis method. The study revealed religious, cultural, language and local administration acculturation effects on the Balinese and Chinese communities living in Catur village. The Chinese community has adapted to the practices and values of the Balinese community, whose members are indigenous to the region, such as adopting the Balinese naming system for their children. This study's findings provide a foundation for the government authorities to promote harmonious relationships in the diverse community within their jurisdictions.
Der Beitrag formuliert eine interpretative Methode der Visuelle Metaphernanalyse (VMA). Er argumentiert, dass Metaphern die Lücke zwischen Text und visuellen Repräsentation füllen, in dem sie als linguistisches Mittel verstanden werden können welches von Natur aus Text kognitiv visualisiert. Metaphern sind Bilder. Bezugnehmend auf Erkenntnisse der kognitiven Linguistik stellt dieses Kapitel die ‚Visuelle Metaphernanalyse‘ als eine Methode zur Untersuchung eines Prozesses doppelter Visualisierung in Filmen vor. Auf der ersten Ebene beinhaltet dies die Veranschaulichung von Phänomenen im Film selbst – die Bilder, die wir auf dem Bildschirm sehen. Dies kann verglichen werden mit dem, was in der Literatur als metaphorischer Ausdruck bezeichnet wird. Auf der zweiten Ebene umfasst dies die Visualisierung des zugrundeliegenden metaphorischen Themas selbst. Diese konzeptionellen Metaphern sind nicht notwendigerweise eindeutig, aber wichtig, um das in der Erzählung des Films offengelegte Narrativ zu verstehen. Um die vorgeschlagene Methode zu illustrieren untersucht das Kapitel Metaphern für Frieden in dem Spielfilm Mango Dreams, der eine Geschichte des Überwindens schmerzlicher Erinnerungen an Trennung und Leid infolge der Teilung Indiens und Pakistans erzählt. Hierbei werden drei fundamentale Friedensmetaphern identifiziert, welche das Phänomen konzeptuell als HEIMAT, REISE und BRÜCKE bezeichnen. Die Analyse zeigt, dass im Gegensatz zu dem größten Teil der Forschung über Visualisierungen von Frieden, welche sich überwiegend auf die Darstellung von negativem Frieden fokussiert, eine ganzheitlichere Konzeptualisierung von Frieden im Film durch das Einbeziehen von visuellen Metaphern möglich ist.
Visual metaphors stand at the border between text and image, as they are linguistic figures that visualize the spoken. Based on this assumption and on the existing knowledge on the discourse analytical method of metaphor analysis, Part One of the article develops a method of visual metaphor analysis (VMA). Part Two uses this method to examine the metaphors of peace found in the acclaimed movie Mango Dreams, the winner of the Peace on Earth Film Festival 2017. The film by John Upchurch tells a story of Dr. Amit Singh, whose family was killed by Muslims during the partition of India and who is suffering from the onset of dementia. In order to confront his fading memories and in pursuit of peace, he commences on a journey to his childhood home in what today is Pakistan. On his travel, he is aided by Muslim rickshaw driver Salim, whose wife was raped and murdered by Hindus. During the long journey across India in a rickshaw, the two form a close friendship and help each other find the peace they have been searching for. Based on our visual metaphor analysis (VMA) of the film, as well as an interview with the director, the article demonstrates how metaphors are employed to visualize a positive concept of peace, particularly HOME, JOURNEY, and BRIDGE, which has a specific temporal, spatial, and moral dimension. In contrast to much of the international relations research on visualization of peace and conflict, the conceptualizations of peace in Mango Dreams metaphorically envision positive peace, instead of the more familiar conceptualization of negative peace, through a representation of PEACE not only in terms of a place (HOME) or process (JOURNEY) but as practice (BRIDGE).
This patchwork‐style article on peace aesthetics is based on the twin idea that it is possible to represent peace visually and that such representation can contribute to peace. Indeed, visual depictions of peace can be found across space and over time. However, they radically differ from one another and are not always easily recognizable as images of peace. The article identifies six problem areas with which visual peace research should engage: (i) representations of peace in the visual arts; (ii) photographic approaches to the aftermath of violent conflict, especially to the aftermath‐as‐event; (iii) peace photography as discussed and practiced in photojournalism; (iv) appropriation as a method in visual peace research; (v) digitization and machine–machine cultures; and (vi) the relationship between imaging and imagining. The analysis suggests that peace aesthetics, as a dissident practice, is both political and critical; it is interdisciplinary and based on an episodic understanding of the relationship between images and peace. It combines empirical, theoretical, and conceptual knowledge produced in the social sciences, art history, and media and communication studies, both with one another and with artistic practice.
This chapter explores the importance of developing the teachable personality dispositions of empathy and compassion in higher education. Here, empathy is considered as the ability to ‘feel into’ the situation of another, and compassion as the motivation to improve the wellbeing of another. Using the qualitative approaches of narrative injury and ethnography, the author navigates the constraints of a ‘crowded curriculum’ experienced by ‘time-jealous’ educators and students, to offer six guiding principles which may be considered by educators of all disciplines as a starting framework for making empathy and compassion core business and not mere by-products of curriculums focused on knowledge and skills. The author presents three social narratives or ‘happenings’ which are then reflected on with connections to the literature. This analysis reveals the need for holistic development of dispositions such as empathy and compassion that engender care, peace, and wellbeing for stakeholders in higher education.
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