The aim of this work is to get a deeper understanding concerning the events following the end of the six party talks 2009, when North Korea decided to withdraw. By using analytical security perspectives, neorealism and neoliberalism a further understanding for the previous members from the six party talks approaches will be discussed in this qualitative case study. By going through books and articles concerning this series of events, a deepening understanding for the security policy in east Asia accurse, and the complexity of nuclear states. The study shows that Russia, China, South Korea, Japan and the US are in some ways eager to have further discussions concerning denuclearisation in North Korea. In this process of maximising their own state security, other states have shown a greater fear if a neorealist security approach is used.

Kryptovalutor är ett mångfacetterat fenomen som har varit allt från libertarianers dröm på grund av sitt oberoende av staten, en ekonomisk frihet för personer som bor i diktaturer till ett verktyg som möjliggör kriminella verksamheter. Den senaste tidens kraftigt ökande handel med olika kryptovalutor har oroat världens centralbanker och nationalstater. Denna oro har skapat ett läge där stater måste ta politiska beslut för att hantera situationen vilket har lett till införande av restriktioner och regleringar. Bakom varje politiskt beslut finns ett motiv som präglas av statens nationella och internationella intressen. Denna studies syfte är att skapa en ökad förståelse för vilka politiska motiv som ligger bakom fem staters kryptopolicy. Studien är strukturerad i tre kapitel. Eftersom kryptovalutor är ett nytt samhällsfenomen ansågs det vara av vikt att beskriva vad kryptovalutor är och hur det fungerar samt förklara varför kryptovalutor är politik, denna del utgör första kapitlet. I andra kapitlet presenteras ett urval av länders kryptopolicy och i tredje kapitlet så analyseras dessa kryptopolicys utifrån studiens teori. För att synliggöra motiven bakom ländernas kryptopolicy har utgångspunkten varit tre antaganden som framställts ur neorealismen som är en dominerande teori inom internationella relationer. För insamlingen av material har litteraturstudie och innehållsanalys använts som metod.  Resultatet har synliggjort att staterna fruktar kryptovalutor främst på grund av att de eliminerar staternas roll som huvudförmedlare i ekonomiska aktiviteter och begränsar deras förmåga att spåra transaktioner. En genomförd analys av ländernas kryptopolicy har bland annat visat att stater tillåter utvinning och innehav av kryptovalutor eftersom det gynnar landets ekonomiska tillväxt men begränsar eller förbjuder användning av dem som betalmedel eftersom det medför en risk att förlora kontrollen över ekonomin.

China and USA in UN Peace Operations in 1989-2010 Mgr. Jitka Evanová Summary The thesis discusses the growing role of China and decreasing role of USA in UN peace operations since 1989 with the aim to find the reasons behind their behavior. First, two chosen theories of international relations - neorealism and its modified version and English school - are described, independent variables determined and consequent hypotheses formulated. Second, the increasing Chinese and decreasing American activities in UN peace operations is shown by describing their gradually changing behavior in three areas: voting in the Security Council, personnel contributions to peacekeeping operations and financial contributions to the UN peacekeeping budget. Third, the hypotheses are tested using the congruence method that examines the explanatory power of the theories. If a reality is consistent with the hypotheses' prediction, there is a possiblity of a causal relationship between independent variable and the dependent one. I conclude that modified neorealim has the highest explanatory power as its predictions are consistent with the outcome in both cases. English school can to a certain degree explain Chinese behavior but is weak in the American case. Neorealist predictions are weak in both cases. In the end, I suggest possible...

The topic of this thesis is a theoretical analysis of the institutional design of the Common Foreign and Security Policy (CFSP) after the adoption of the Lisbon treaty. The main aim of the thesis is to reveal the reasons explaining a development towards centralization of the policy-making process of the CFSP that the Lisbon treaty introduced. Centralization is equated with a delegation of sovereignty from member states to a supranational level - High Representative for the CFSP/European External Action Service. The thesis for this purpose tests three possible explanations built upon three main theories of international relations: the centralisation as a result of the 1.decreasing EU's relative military power (neorealism) 2.deteriorating collaborative problems (neoliberalism) and 3.increasing degree of Europeanization of the nation-state identities and interests of the member states (constructivism) within covered time period from 2001 to 2007. The thesis applies a qualitative method, it is a case study. The conclusion of the thesis is that there are two reasons for the development towards more centralized policy-making process of the CFSP after the Lisbon treaty. Firstly, it is the decreasing EU's relative military power (neorealism) and secondly increasing level of Europeanization of nation-state...

This study deals with attitude of three states - Brazil, India, and South Africa, towards the issue of humanitarian interventions and the principle of the Responsibility to Protect. The aim of this study is to assess what is the real motivation of selected states in the process of creation of their attitudes. Based on three main theoretical approaches - neorealism, liberalism, and constructivism, particular hypotheses are created in order to help determine explanation value of selected theories. All three selected theoretical approaches deal with different sets of variables with different importance. The main focus of the first half of the study is on introduction of humanitarian intervention, the principle of Responsibility to Protect, and selected theoretical approaches. In this part individual hypotheses are defined, and the methodological framework is also introduced. Second part of the study deals with actual analysis of attitudes of selected states and their consequential categorization. The individual variables are assessed, and conclusions are established. Based on analysis Brazil and South Africa seem to be two cases with different understanding of security than India. These two states also have different perception of own state identity and thus their attitude toward intervention/R2P is...

[pt] O presente trabalho procura estabelecer uma análise diacrônica da obra do escritor português Carlos de Oliveira no que diz respeito a evolução de seus mecanismos de escrita tendo como pano de fundo a elaboração de uma estética neo-realista. Da estréia na literatura com a publicação de Casa na duna, em 1943, até a maturação de seu estilo com Uma Abelha na Chuva, em 1953, pode-se perceber a evolução dessa estratégia de escrita, pela qual o autor busca traçar um panorama do período politicamente conturbado que vivia Portugal no início da segunda metade do século XX, bem como oferece ao leitor mais atento uma inúmera quantidade de matizes estilísticas, remetendo, dessa forma, ao quadro estético do Neo-Realismo português. É a partir de um olhar mais atento à superação da análise da referida estética, que este trabalho chegará à conclusão de que o autor transcende os moldes neo-realistas, por construir uma obra cuja opressão física, psicológica e financeira, foi muito bem representada pela operação de uma mimesis mais atenta de Carlos de Oliveira. / [en] The following work aims to establish a diachronic analysis of the process of writing of the Portuguese author Carlos de Oliveira, and it will be held towards the new-realism mechanisms. His first novel published in 1943, Casa na Duna, up to his mature style in the novel Uma Abelha na Chuva, published in 1953, it can be seen the evolution of his strategy of writing in which the author tries to build a perspective from the tough political process that Portugal was going through during the second half of the twentieth century. This analysis objects to present the reader a great amount of stylistic views that has to do with the Portuguese New-Realism. In order to present a wider overview, this thesis will conclude that the author goes beyond the new-realism`s barriers to build a novel whose physical, financial and psychological oppression, was well- represented by Carlos de Oliveira s mimesis operation.

<p>Tema ovog rada bazira se na neorealističkom pokretu i istraživanju uzročnika koji su doveli do njegovog nastanka, specifičnostima koje on, kao intenzivan umetnički pokret, poseduje i korelaciji između dela koje čine njegovo jezgro. Poseban osvrt načinjen je ka analizi odnosa i interpoziciji fotografske i filmske umetnosti kao vizuelnim, ontolo&scaron;ki bliskim, medijima.<br />Istraživanje fenomena italijanskog neorealizma, ukazalo je na ogromni izvor raznovrsnog sadržaja koji se mogu istraživati i analizirati na vi&scaron;e različitih principa. Stoga su i ciljevi istraživanja postavljeni prema potrebama pitanja pozicioniranja neorealističkog pokreta u istorijski i umetnički kontekst: ispitivanje uzročnika koji su doveli do stvaranja i egzistiranja neorealističkog pokreta, istorijskih činilaca, izvora i prethodnicama u literaturi, &scaron;tampanim medijima i filmskoj i fotografskoj umetnosti.&nbsp;<br />Za polaznu tačku istraživanja, termin neorealizam postavljen je u svoj istorijski kontekst da bi se postavila tačka &quot;oslonca&quot; za dalje analize, na koju su se kasnije mogli bazirati svi zaključci izvedeni iz pojedinih oblasti: neorealizam u filmu i fotografiji, internacionalni uticaj na autore neorealizma filma i fotografije, socijalno-istorijski uticaj na tlu Italije u periodu pre, tokom i neposredno nakon trajanja neorealističkog pokreta, kao i analiza filmskih i fotografskih neorealističkih dela.<br />Svaka oblast istraživanja pružila je određene činjenice i saznanja koja su, postavljena u kontekst teme ovog rada, omogućila sagledavanje jedne nove, &scaron;ire slike o neorealističkom pokretu, zasnovanom ne samo na postulatima uslovljenim i oblikovanim socijalno-fizičkim uslovima, kao primarnim pri nastanku neorealizma, nego uzima u obzir i sve ostale činioce i pozicionira ih u istu ravan sa gore navedenim, pro&scaron;irujući tako op&scaron;ti pogled na dela nastala u ovom periodu. Sledeći tragove istraživanja koji su ukazivali na nove bitne elemente, stvorila se &scaron;ira mreža relacija i informacija koja je uputila na dublju povezanost uzročnika neorealizma. Prožimanje istorijskih činjenica, dokazane relacije, poznanstva i saradnje autora, uticaj književnosti, filmske i fotografske umetnosti, vodile su do daljih zaključaka koji su se udaljavali od ustaljene teze o neorealizmu kao pokretu koji je eksplodirao stvaralačkom energijom i kreativnim izrazom, kao posledica terora fa&scaron;ističke diktature tokom Drugog svetskog rata, a potom oslobođenja, i sirovog izraza uslovljenog nema&scaron;tinom i oskudicom materijala, koji su diktirali formu i teksturu filmske i fotografske neorealističke forme.<br />Prilikom sumiranja činjenica koje su se izdvajale kao krucijalni delovi analiza, pokazalo se da se mnoge od njih sistematski ponavljaju i potvrđuju svoje prisustvo u ostalim kategorijama, kao i to da svaka od njih ima korene koji se prepliću i time ukazuju i na dublju povezanost u istorijskom kontekstu. Ovakav &quot;bihejviorizam&quot; podataka postepeno je doveo do realizacije zaključka, postavljenog ne samo na osnovu uporedne gramatike ovih podataka i kreiranja lingvistike filmskog i fotografskog neorealizma nego i na uporednoj analizi najkarakterističnijih dela filmskog i fotografskog neorealizma.<br />Ukratko, rezultati sumirani u formi zaključka, donose nov osvrt na umetnost neorealizma, pozicioniran na uporednoj analizi gore pomenutih činilaca i utemeljenog na faktivnim tvrdnjama i zaključcima, kao i na subjektivnom doživljaju i analizi dela. Neorealizam se, nakon ovakve analize, pojavio u svetlu umetničkog pokreta koji je svoje korene imao u periodu koji mu je neposredno prethodio, ali i u socijalno-istorijskim uticajima na tlu Italije, umetnostima filma, fotografije i književnosti, &scaron;tampanim i vizuelnim medijima u tridesetim i četrdesetim godinama dvadesetog veka, kao i specifičnom italijanskom nacionalnom duhu koji je neorealizmom odgovorio na specifične te&scaron;ke uslove u državi u ratnom i posleratnom periodu. Pored toga, dokazana je veza između fotografske i filmske umetnosti, koja zalazi i izvan granica teoretske povezanosti samih tehnolo&scaron;kih karakteristika medija. Ove dve umetničke discipline dokazano su egzistirale kao samosvesne oblasti (i vi&scaron;e od fromalne povezanosti u doba neorealizma), ali sa velikom i snažnom vezom koja je obostrano uticala na njih putem saradnje autora, preplitanja uticaja, interakcije medija.</p> / <p>The subject matter of the doctoral thesis is the origin, international influence and mutual factor of the cinematic and photographic neorealist art.</p>

O presente trabalho tem como objetivo estudar as diferentes facetas da recepção e da divulgação da obra de Graciliano Ramos em Portugal ao longo dos anos de 1930, 1940 e 1950. Trata-se de um período marcado, entre outros aspectos, 1) pela ampliação, em termos editoriais, da indústria do livro brasileira, o que teria dado início a um processo de inversão de influência tipográfica entre Portugal e Brasil; 2) pela emergência, no âmbito artístico, do neorrealismo luso e pela singular presença da literatura brasileira em terras portuguesas; 3) e, em termos políticos e culturais, pelo esforço de aproximação formal entre os governos de Getúlio e Salazar. Com ênfase nas dimensões jornalística, epistolar e editorial relativas à chegada e à ressonância de Graciliano em Portugal, procurou-se observar como, para além de leituras e apropriações neorrealistas, presencistas e estadonovistas, as produções do autor alagoano se firmaram no panorama cultural português e consolidaram seu nome como um dos principais prosadores de nosso idioma. / This work aims to study the different aspects of the reception and dissemination of the literary work of Graciliano Ramos in Portugal over the years 1930, 1940 and 1950. It is a period marked, among other things, 1) by the expansion, in editorial terms, of the Brazilian book industry, which would have initiated a process of inversion of the publishing influence between Portugal and Brazil; 2) by the emergence, in the artistic context, of the Portuguese neorealism and the singular presence of Brazilian literature in Portuguese lands; 3) and in political and cultural terms, by the effort of a formal approach between the governments of Vargas and Salazar. With an emphasis on journalistic, epistolary and editorial dimensions relating to the arrival and resonance of Graciliano in Portugal, this research tried to observe how, for beyond the readings and appropriations made by neorealists, presencistas and estadonovistas, the productions of this author from Alagoas that was consolidated as one of the greatest prose writers in the Portuguese language.

La présente thèse étudie la transformation de l’Italie vers la postmodernité (1957-1978) à travers le cinéma de trois auteurs : Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini. Elle explore l’historicité du cinéma, en interrogeant la manière par laquelle le septième art constitue une mise en forme et une écriture de l’histoire. Dans la convergence de deux histoires, celle humaine et celle du cinéma, elle met en récit l’expérience de la transformation sociétale et artistique. En dernière analyse, il est question d’étudier le cas italien comme un paradigme. En réactualisant les propositions des trois cinéastes dans le contexte contemporain de la mondialisation, de l’hypermédiatisation et de la domination technologique, le présent travail nous invite à repenser la vie humaine et la création artistique face aux défis de la postmodernité. / This thesis examines the transformation of Italy towards postmodernity (1957-1978) through the cinema of three film directors: Michelangelo Antonioni, Federico Fellini, and Pier Paolo Pasolini. It explores the historicity of cinema, by questioning the concrete means through which film constitutes a form and a writing of history. In the coming together of two histories, the human one and that of the cinema, the thesis recounts the experience of a societal and artistic transformation. In the final analysis, it is a question of studying the Italian case as a paradigm. By updating the proposals of the three filmmakers in the contemporary context of globalization, hypermedia and technological domination, this work invites us to rethink human life and artistic creation, facing the challenges of postmodernity.

[pt] A escrita de Carlos de Oliveira é profundamente marcada por mecanismos que particularizam o seu posicionamento como artista e intelectual comprometido com a cena política da sociedade portuguesa na segunda metade do século XX, articulando um engajamento na reflexão sobre o processo de criação literária com a sua atuação política e cultural. Dessa forma, a presente dissertação propõe identificar, com base nas questões programáticas definidas pelo movimento neorealista, o projeto de ficção do escritor Carlos de Oliveira no romance Casa na Duna e o seu propósito de estabelecer um critério de interpretação da realidade social, política e econômica da sociedade portuguesa nas primeiras décadas do século XX, estimulando uma transformação radical do homem pela transformação radical da sua vida. / [en] Carlos de Oliveira’s way of writing is profoundly composed by mechanisms which characterize his position as an artist and intellectual committed with the Portuguese society political scene of the middle twentieth century, articulating a reflective political engagement concerning the process of literary production regarding cultural and political actions. In this way, the following thesis aims to identify, according to the issues enhanced in the Neo- Realism movement, the fictional issue raised by the Portuguese writer Carlos de Oliveira in Casa na Duna as well as his purpose of establishing some comprehension criteria in order to understand the social, the political and the economic reality of the Portuguese society in the first decades of the twentieth century, stimulating a complete transformation in men through a radical transformation in their lives.