Chevalier D'Eon

Here's an entertaining passage from J. S. Goldstein's War and Gender: How Gender Shapes the War System and Vice Versa;

Commonalities across cultures do not prevent individuals from breaking the mold, either. For example, the fluidity of male gender roles around war is illustrated by Chevalier D'Eon in the eighteenth century. He had a successful military and diplomatic career, and then - as a public personality, prominent in the press - hinted and finally confessed that he was a woman in male disguise. She then lived her last three decades in women's clothing - forbidden to cross-dress as a man, by order of the French king. Nonetheless, D'Eon's autopsy found "unquestionably male" genitalia. His decision... "[made] because he deeply admired the moral character of women and wanted to live as one of them"

Nechayev and the Black Hand

I finished my essay for the History of War subject, which compared the experiences of Aborigines and Maoris in their conflicts with European settlers. I should receive the results in the next few days. Right now I'm in the thick of an essay on Russian anarchist terrorism of the late nineteenth century - this is for my other current subject; Terrorism: Causes & Consequences. There was something else I was going to write about, but it now escapes me. Last week I picked up Alice Coltrane's Illuminations LP for $5, which was quite a find. Anyway, here's a couple of excerpts I enjoyed from Andrew Sinclair's An Anatomy of Terror: A History of Terrorism... On the shifty Nechayev, the "godfather of nihilism";

Nechayev left Switzerland to bring about a revolution in Russia. He formed a society and a newspaper named The Retribution of the People. He organized groups of conspirators on the principles of the Illuminanti - each cell of five members had a chief who reported to a central committee, which was responsible to Nechayev alone. Defied for his authoritarianism by Ivanov, a member of the committee, Nechayev killed him in a park, where his body was weighted with bricks and thrown into a pond. Nechayev implicated other revolutionaries in a blood brotherhood of the crime.

...and on the Pan-Slavist secret society the Black Hand;

Its initiation ceremonies were ghoulish. The insignia was a clenched hand around a skull and crossbones beside a dagger, a bomb and a phial of poison. The oath was not Christian, but 'by the sun which warms me, by the earth which feeds me, by God and by the blood of my ancestors, by my honour and my life.' The cell pattern of the Illuminanti and the Obladina was reproduced: each recruit had to enlist five new members. These small groups were known as a 'hand' and were led by a 'thumb', the only one in contact with other groups. All were sworn in across a table covered with black cloth, which held a candle and a cross, a poniard and a revolver. Death was the instant answer to any treachery.

Clausewitz

From John Keegan's A History of Warfare:

In short, it is at the cultural level that Clausewitz's answer to his question, What is war?, is defective. That is not altogether surprising. We all find it difficult to stand far enough outside our own culture to perceive how it makes us, as individuals, what we are. Modern Westerners, with their commitment to the creed of individuality, find the difficulty as acute as others elsewhere have. Clausewitz was a man of his times, a child of the Enlightenment, a contemporary of the German Romantics, an intellectual, a practical reformer, a man of action, a critic of his society and a passionate believer in the necessity for it to change.. He was a keen observer of the present and a devotee of the future. Where he failed was in seeing how deeply rooted he was in his own past, the past of the professional officer class of a centralised European state. Had his mind been furnished with just one extra intellectual dimension - and it was already a very sophisticated mind indeed - he might have been able to perceive that war embraces much more than politics: that it is always an expression of culture, often a determinant of cultural forms, in some societies the culture itself.