During the last decade of his life, Thomas Merton corresponded with numerous people around the globe about world religions and the need for interfaith understanding. Initiating contact with figures like Zen scholar D.T. Suzuki, Thich Nhat Hanh, and Rabbi Abraham Heschel, he sought not only to expand his understanding of other faiths, but to find like-minded friends who might share his dream of a global community of the spirit. Such people, whom he called living "sacraments" or signs of peace, were those "able to unite in themselves and experience in their own lives all that is best and most true in the numerous spiritual traditions."

Can one visualize peace? Are there signs, symbols, and images that present a positive image of peace as opposed to receiving their meanings in opposition to war? Over several years of research, the Design2context Institute has intensively examined the representation and representability of peace and has compiled a comprehensive collection of images. In order to include a number of historical, cultural, and political perspectives, the archival aspect is supplemented by workshops in crisis regions. The encyclopedia--which, as new sociopolitical situations continue to arise and call for new pictures, must inevitably remain incomplete--provides a broad overview of the iconography of peace, and is also intended to assist in gaining an understanding of the concept. This book represents a significant contribution to future discussions on the need and desire for peace in political and social life.

Kolsbun tells the surprising story of the peace sign in words and pictures, from its origins in the nuclear disarmament efforts of the late 1950s to its adoption by the antiwar movement of the 1960s, through its stint as a mass-marketed commodity and its enduring relevance now.

Signs of War and Peace focuses on the role public display plays in the conflict in Northern Ireland. In doing so, it ranges freely over other times, places, and events that shed light on the social and political processes and dynamics involved in public display traditions, such as the Saint Patrick's Day parades in Boston, Massachusetts, and the popular spontaneous shrines to Lady Diana in London. The book is about the nature of public display, its relationships to class-based aesthetics, tradition, and popular style. It is also about contest, conflict, and civil war, and the ways the former are intimately intertwined with the latter, both in Northern Ireland and elsewhere throughout the world. The work is interdisciplinary, combining ethnographic, anthropological, folkloristic, and performance studies approaches. The manuscript benefits from large amount of field work in Ireland, and as a result contains both ethnographic data and revealing interviews with many people in Northern Ireland who have participated in the display events Santino seeks to analyze. The perspective that Santino offers helps to explain the intensity of the conflict as well as the origination, motivations, and justifications of bonfires, murals, commemorative displays, parades, etc. that symbolically articulate what he terms the 'dual master narratives' that underlie and in many ways help to articulate the parameters of that conflict.

This work explores the function of both divisive and uniting symbols in various conflict settings around the world. It takes a fairly broad perspective on what constitutes a symbol, to include objects such as flags, signs, language, and monuments, all of which convey conflicting meanings in a society affected by conflict. In addition, the authors include commemorations and other dynamic events that serve as a means for groups or individuals to connect with past generations, celebrate a heritage, and possibly express religiosity. In order to provide context for the nuances surrounding the symbols, there are brief historical overviews for each conflict featured in the volume. In each chapter, three issues are emphasized: the particular symbols that are divisive in the specific culture; how these symbols were used to perpetuate conflict; and how these symbols can be used or modified to bring unification. Contributions come from authors from around the world that have conducted empirical studies on intergroup relationships or have provided significant academic contributions in the area of symbols and collective memories represented in theoretical publications. Taken together, the contents of the volume provide a rich tapestry of intellectual analyses to the diverse selection of conflict settings from around the globe. In addition to the nine case studies, there is an introductory chapter, which grounds the discussion in current peace psychology literature as well as provides future directions. This volume is a valuable resource to many, as the focus on symbols can span many disciplines such as political science, anthropology, sociology, psychology, and art. Furthermore, it is of significant interest to all scholars and peace activists studying these various countries and their conflicts.

In addition to roomy pages for a 40-week school year, this book also has a built-in calendar of daily writing prompts, information on standards, a student roster, seating chart, and space for notes to help the substitute teacher. 8-1/2" x 11". Spiral-bound.

One line straight down. One line to the right. One line to the left, then a circle. That was all—just three lines in a circle. This bold picture book tells the story of the peace symbol—designed in 1958 by a London activist protesting nuclear weapons—and how it inspired people all over the world. Depicting the symbol's travels from peace marches and liberation movements to the end of apartheid and the fall of the Berlin Wall, Three Lines in a Circle offers a message of inspiration to today's children and adults who are working to create social change. An author’s note provides historical background and a time line of late twentieth-century peace movements.