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1000 tulosta hakusanalla Bryan W. Strong

Human Rights and the End of Empire

Human Rights and the End of Empire

A. W Brian Simpson

Oxford University Press
2004
nidottu
The European Convention on Human Rights, which came into force in 1953 after signature, in 1950, established the most effective system for the international protection of human rights which has yet conme into existence anywhere in the world. Since the collapse of communism it has come to be extended to the countries of central and eastern Europe, and some seven hundred million people now, at least in principle, live under its protection. It remains far and away the most significant achievement of the Council of Europe, which was established in 1949, and was the first product of the postwar movement for European integration. It has now at last been incorporated into British domestic law. Nothing remotely resembling the surrender of sovereignty required by accession to the Convention had ever previously been accepted by governments. There exists no published account which relates the signature and ratification of the Convention to the political history of the period, or which gives an account of the processes of negotiation which produced it. This book, which is based on extensive use of archival material, therefore breaks entirely new ground. The British government, working through the Foreign Office, played a central role in the postwar human rights movement, first of all in the United Nations, and then in the Council of Europe; the context in which the negotiations took place was affected both by the cold war and by conflicts with the anti-colonial movement, as well as by serious conflicts within the British governmental machine. The book tells the story of the Convention up to 1966, the date at which British finally accepted the right of individual petition and the jurisdiction of the Strasbourg Court of Human Rights. It explores in detail the significance of the Convention for Britain as a major colonial power in the declining years of Empire, and provides the first full account of the first cases brought under the Convention, which were initiated by Greece against Britain over the insurrection in Cyprus in the 1950s. It also provides the first account based on archival materials of the use of the Convention in the independence constitutions of colonial territories.
Corridor of Darkness

Corridor of Darkness

Patrick W O'Bryon

Brantome Press
2013
pokkari
1930's Berlin is unrestrained, decadent, and torn by political and social strife. Young American reporter Ryan Lemmon intends to savor every thrilling moment and loses himself in the dark underbelly of the German capital. Then a violent death brings him face-to-face with the growing Nazi menace. As Hitler's stranglehold further grips the nation, Ryan helps an ex-lover steal intelligence which may save innumerable lives, but only should it reach the right hands in Washington. First they must escape a nightmarish pursuit by a sadistic foe and his all-powerful Gestapo. Inspired by the contemporary journals of the author's late father, Corridor of Darkness evokes the cruel heart of pre-World War II Germany, where any missed beat could be the protagonists' last."The novel is rife with historical intrigue and captures the flavor of mid-century Europe...a keen eye for detail... An intriguing early WWII spy yarn set in a well-researched, authentic Germany." -Kirkus ReviewsCorridor of Darkness has received the AIA Gold Seal of Excellence, the B.R.A.G. Medaillion, and a bronze medal in the international 2014 Independent Publisher Book Awards.
Brian Friel and Theodor W. Adorno

Brian Friel and Theodor W. Adorno

Christa Mrowka

Peter Lang International Academic Publishers
2023
nidottu
This book discusses how from their different backgrounds and on different levels, the German philosopher, sociologist and musicologist,Theodor W. Adorno, (1903-1969) and the Irish playwright, Brian Friel,(1929-2015) came to the conclusion that the modern crisis rendered art’s affirmative essence, like all positivistic fixations, obsolete. Only a new conception of dialectics, based on the reciprocity of opposites, rather than on antitheses, is capable of healing modern dichotomies. Independent of Adorno’s Negative Dialectics and Critical Theory, Friel is aware that with the processual character of life this requires of the artist in particular an attitude both critical and conciliatory and a persistent readiness to change. Reality is in need of possibility, its dialectic other. Uncertainty, in Friel’s Theatre of Hope and Despair is no longer a defect of our time, but a source of creation in art as well as in life.