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War & peace
4 min read

Just War and Just Peace

As the Ukraine War passes another milestone, can any war be considered just? Christine Schliesser explores Just War theory and a possible path to Just Peace.

Christine Schliesser lectures in Theology and Ethics at Zurich University, and is a scientific collaborator with the Center for Faith & Society at Fribourg University.

Civilian evacuation across Irpin River during the Ukraine War.
Civilian evacuation across Irpin River during the Ukraine War.
Yan Boechat/VOA via Wikimedia Commons.

Will Germany deliver Leopard 2 tanks to Ukraine? No? Yes? When? Media discussion of the war that the Russian Federation started against Ukraine in 2014 and that entered a new stage one year ago, currently centres on questions of weaponry. Who else will send tanks? And what about fighter aircrafts? No? Yes? When?  

In classical military ethics, which has long been dominated by the so called Just War Theory, these questions fall under ius in bello, the right conduct in war. This also includes discussions on proportionality, military necessity and the differentiation between combatants and non-combatants. 

Just War Theory has a long tradition in Christian thought. Church Father Ambrose argued that whoever does not ward off injustice from his fellow man (or woman for that matter) when he can, is as guilty as he who commits it. Ambrose’s student, Augustine, then developed this thought in more detail as he laid the foundations for what could be called a bellum iustum, a just war.  

Even before going to war, the criteria of the ius ad bellum, the right to go to war, must be satisfied. These include, for instance, a just cause, legitimate authority, prospect of success, right intention and last resort. We encounter these criteria again in slightly modified form in our modern international law. In view of these guidelines, of Russia’s breach of international law, and of Ukraine’s right to self-defence, the on-going war in Ukraine clearly seems to be a just war. Or is it?   

Nothing holy or just 

Two points need to be made in this discussion. Firstly, there are no just or holy wars. Period. Or as 150 churches, after the horrors of the Second World War, put it in Amsterdam in 1948: ‘War is contrary to the will of God.’ Wars are always an evil and an expression of the failure of human beings to strive for peace. This also holds true for the war in Ukraine. And this means that we need a new dimension in the debate, namely guilt.  

Every action – and inaction – here involves guilt. As the German pastor Dietrich Bonhoeffer, who was killed by the Nazis for his engagement in a plot against Hitler, put it:  

‘everyone who acts responsibly becomes guilty’.  

And even if we become guilty for the sake of the other person, our guilt remains just the same. Yet, as Bonhoeffer concludes, we trust in the grace of God, who calls us to responsible action. , Bonhoeffer’s ideas have been considered dangerous and easily misused to justify any crime, as forgiveness is always available.  Nevertheless, we must acknowledge the reality of guilt that pervades any war, including the war in Ukraine.  

Just Peace 

Secondly, recent years have seen a new kid on the block: Just Peace Theory. While Just War Theory looks at a conflict from the perspective of violence, Just Peace Theory puts the focus on peace. This includes adding a third set of criteria. Ius post bellum looks at justice after a war. We know that after a conflict is before a conflict. We therefore need to pay more attention to what happens after the weapons finally fall silent.  

Here, the experiences of truth and reconciliation processes worldwide can help. Both dimensions belong inseparably together and both already begin during a conflict, not just after it. Truth, for example, requires the documentation of war crimes committed by all parties to ensure the prosecution of war criminals later on. And reconciliation is the conditio sine qua non for sustainable peace.  

Russia’s war against Ukraine and its threats against NATO and Western countries demonstrate, not least that after the end of the Cold War, opportunities for genuine and sustainable reconciliation were missed as latent hatred, prejudices and stereotypes were allowed to linger.  

Just Peace Theory emphasizes that building peace is an art and a craft. It requires specific skills, training and preparation. It also requires virtues of grace, persistence and forgiveness, Countless documented examples world-wide supply empirical proof that these methods actually work. Perhaps it is worth devoting some of the $2,113 billion (2021) of global annual military expenditure for training non-military approaches to address conflict resolution? To learn how to build peace as much as how to wage war? No? Yes? When?  

Pathways to Peace

One such initiative is Pathways to Peace. Aiming at peace, justice and reconciliation in times of war, this initiative is currently being developed through the Conference of European Churches, a group of some 120 member churches in 38 countries. With their long-term involvement and intimate knowledge at the grassroot level, faith actors in civil society seem uniquely positioned to connect people, heal relationships, offer a new social imaginary and facilitate practical help.  

The objectives of Pathways to Peace include among others to facilitate safe spaces for honest exchange between Ukrainian and Russian church leaders, to develop a network of church leaders and other civil society leaders for exchange on the preparation of peace or to bring together European youth, in particular Ukrainian and Russian young refugees. 

The immense potential of faith actors in transforming conflict and building sustainable peace seems to have gone largely unnoticed in the public sphere. Given the prominence of faith in this conflict, it is about time that all relevant actors in our societies, including faith-based initiatives, joined forces to counter this major crisis of our time.  

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5 min read

I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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