Foreign policy of Germany has gained due to its special development in the post-war period some unique traits -- strong multilateral and westward orientation and civilian character. German unification became a turning point in this respect. The country was confronted with the necessity to find its new place within the changing international system. This paper focuses on the subsequent changes of foreign policy. Its purpose is to evaluate the change or continuity of these unique traits on one side and to describe Germany's new role in the international relations on the other. The initial step is to picture the function of bodies involved in shaping the foreign policy - government, parliament, individual federal countries and president. Further on the paper outlines the main events of German unification, restoring its full international subjectivity. The core descriptive part is divided in three main segments in terms of the personality leading the government, the chancellor. It first gives an account of foreign policy of the "Kohl era", continues with Schröder government and closes with foreign policy of Angela Merkel. With the view of the complexity of such a task the paper focuses on selected policy areas only -- European integration, transatlantic cooperation and partnership with Russia being among them.

This thesis analyzes the management of refugee crisis in the Federal Republic of Germany in relation to the applicable law of the European Union. In theoretical introduction, the thesis focuses on the definition of key concepts and the related areas of EU law. The second part is devoted to the policy of the Federal Republic of Germany led by Federal Chancellor Angela Merkel and the actions adopted. In the last part, these actions are analyzed in accordance with the main research question of this thesis, namely whether Germany is dealing with the immigrant crisis in accordance with the law of the European Union.

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O presente trabalho tem como objetivo estudar a obra de Angela Lago, escritora e ilustradora de livros infantis, partindo da seleção de títulos que têm em comum a temática do assombro e da morte, a saber: De Morte! (1992), Charadas Macabras (1994), Sete Histórias para Sacudir o Esqueleto (2002) e Minhas Assombrações (2009). Considerada um dos grandes nomes da Literatura Infantil e Juvenil contemporânea, Angela Lago há mais de três décadas tem oferecido aos seus leitores títulos instigantes, muitos dos quais já foram objeto de pesquisa no âmbito acadêmico. Da análise de algumas dissertações de mestrado e teses de doutorado, verificamos a possibilidade de investigação de sua obra sob diferentes perspectivas teóricas. Entre os vieses possíveis, nossa abordagem considerou os conceitos teóricos desenvolvidos por Mikhail Bakhtin, já apontados em alguns trabalhos, e o estudo da oralidade e da cultura escrita, propostos por Walter Ong e Eric Havelock. Reverberam nas obras os conceitos de plurilinguismo, dialogismo e a estética do grotesco, discutidos por Bakhtin, e características da oralidade, do advento da escrita e da impressão, apresentados especialmente por Ong. Realizando o entrecruzamento das teorias, procuramos demonstrar como a artista propõe o processar da interação autor/leitor de forma gradativa no corpus selecionado, passando do riso ao assombramento, do convite ao ato de contar à inserção do leitor como personagem da história. Partindo do estudo comparativo dos livros selecionados, observamos semelhanças entre os projetos estéticos, o que nos fez agrupá-los em duas categorias: obras nas quais a autora se posiciona ao lado de seu leitor, convocando-o a transmitir as histórias; obras em que a autora e leitor tornam-se personagens, com novas formas de participação. / The purpose of the present study is to analyse the work of Angela Lago, book writer and children\'s books illustrator, based on a selection of books that have haunting and death as common themes, namely: De Morte! (1992), Charadas Macabras (1994), Sete Histórias para Sacudir o Esqueleto (2002) and Minhas Assombrações (2009). Considered one of the biggest names in contemporary juvenile and children\'s literature, Angela Lago has provided readers, for over three decades, with exciting books, many of which have been the object of research in the academic field. While analysing some master\'s and doctorate\'s dissertations, we realized the possibility of investigating her work under different theoretical perspectives. Among the possible biases, our approach contemplated the theoretical concepts developed by Mikhail Bakhtin, already cited in other works, and the study of the oral tradition and written culture, proposed by Walter Ong and Eric Havelock. The concepts of multilingualism, dialogism and the aesthetic of the grotesque, discussed by Bakhtin, as well as characteristics of the oral tradition, the advent of writing and the press, presented especially by Ong, reverberate through her works. By interchanging these theories, we attempted to demonstrate how the artist proposes the gradual processing of the reader/author interaction in the selected corpus, going from laughter to haunting, from the invitation of the act of storytelling to introducing the reader as a character in the story. Starting with the comparative study of the selected books, we observed similarities among the aesthetic projects, which led us to group them into two categories: works in which the author gets together with the reader, inviting him/her to convey the stories; works in which the author and the reader become characters themselves, allowing new ways of participation.

[pt] A dissertação tem como objetivo apresentar e comparar as trajetórias e pensamento de Angela Yvonne Davis (Alabama/EUA, 1944) e Lélia Almeida Gonzalez (Minas Gerais/Brasil, 1935 - Rio de Janeiro/Brasil, 1994) - duas intelectuais e militantes dos movimentos negros nos EUA e no Brasil. Angela destacou-se internacionalmente na década de 1960 como símbolo da luta negra nos EUA, o impacto da sua imagem se inscreveu na memória daqueles que viveram aqueles anos. Lélia foi militante importante do movimento negro brasileiro de finais dos anos 1970, quando também participou ativamente luta política pela redemocratização do país. Minha discussão das obras dos autores enfatiza as teorizações desenvolvidas acerca da inserção das mulheres negras em seus países, com destaque para o debate a respeito das experiências das mesmas com a escravidão. Explora-se, ao longo da dissertação, o legado conceitual que deixaram para os estudos contemporâneos sobre relações raciais. / [en] My goal with this thesis to present and compare the trajectories and thoughts of Angela Yvonne Davis (Alabama/USA, 1944) and Lélia Almeida Gonzalez (Minas Gerais/Brasil, 1935 - Rio de Janeiro/Brasil, 1994) - both women intellectuals and activists of the Black movements in the US and Brazil. Angela became internationally known in the 1960s as a Black struggle symbol in the US. The impact of her figure still lingers on in the memory of those who lived in those years. Lélia was an important activist in the Brazilian Black movement of the late 1970s, when she intensively took part in the political struggle for the return of democracy in Brazil. My discussion of the authors´ main works emphasizes the theoretical essays they developed on the social insertion of black women in their countries. It specially highlights the debate forwarded on black women experiences under slavery. Throughout the thesis I call attention for the contribution of their conceptual legacy for contemporary studies on racial relations.

O presente trabalho tem como objetivo estudar a obra de Angela Lago, escritora e ilustradora de livros infantis, partindo da seleção de títulos que têm em comum a temática do assombro e da morte, a saber: De Morte! (1992), Charadas Macabras (1994), Sete Histórias para Sacudir o Esqueleto (2002) e Minhas Assombrações (2009). Considerada um dos grandes nomes da Literatura Infantil e Juvenil contemporânea, Angela Lago há mais de três décadas tem oferecido aos seus leitores títulos instigantes, muitos dos quais já foram objeto de pesquisa no âmbito acadêmico. Da análise de algumas dissertações de mestrado e teses de doutorado, verificamos a possibilidade de investigação de sua obra sob diferentes perspectivas teóricas. Entre os vieses possíveis, nossa abordagem considerou os conceitos teóricos desenvolvidos por Mikhail Bakhtin, já apontados em alguns trabalhos, e o estudo da oralidade e da cultura escrita, propostos por Walter Ong e Eric Havelock. Reverberam nas obras os conceitos de plurilinguismo, dialogismo e a estética do grotesco, discutidos por Bakhtin, e características da oralidade, do advento da escrita e da impressão, apresentados especialmente por Ong. Realizando o entrecruzamento das teorias, procuramos demonstrar como a artista propõe o processar da interação autor/leitor de forma gradativa no corpus selecionado, passando do riso ao assombramento, do convite ao ato de contar à inserção do leitor como personagem da história. Partindo do estudo comparativo dos livros selecionados, observamos semelhanças entre os projetos estéticos, o que nos fez agrupá-los em duas categorias: obras nas quais a autora se posiciona ao lado de seu leitor, convocando-o a transmitir as histórias; obras em que a autora e leitor tornam-se personagens, com novas formas de participação. / The purpose of the present study is to analyse the work of Angela Lago, book writer and children\'s books illustrator, based on a selection of books that have haunting and death as common themes, namely: De Morte! (1992), Charadas Macabras (1994), Sete Histórias para Sacudir o Esqueleto (2002) and Minhas Assombrações (2009). Considered one of the biggest names in contemporary juvenile and children\'s literature, Angela Lago has provided readers, for over three decades, with exciting books, many of which have been the object of research in the academic field. While analysing some master\'s and doctorate\'s dissertations, we realized the possibility of investigating her work under different theoretical perspectives. Among the possible biases, our approach contemplated the theoretical concepts developed by Mikhail Bakhtin, already cited in other works, and the study of the oral tradition and written culture, proposed by Walter Ong and Eric Havelock. The concepts of multilingualism, dialogism and the aesthetic of the grotesque, discussed by Bakhtin, as well as characteristics of the oral tradition, the advent of writing and the press, presented especially by Ong, reverberate through her works. By interchanging these theories, we attempted to demonstrate how the artist proposes the gradual processing of the reader/author interaction in the selected corpus, going from laughter to haunting, from the invitation of the act of storytelling to introducing the reader as a character in the story. Starting with the comparative study of the selected books, we observed similarities among the aesthetic projects, which led us to group them into two categories: works in which the author gets together with the reader, inviting him/her to convey the stories; works in which the author and the reader become characters themselves, allowing new ways of participation.

No description available.

The diploma thesis examines the political narrative of German Chancellor Angela Merkel during the EU migration crisis in 2015-2016. The aim of the thesis is to show, how Chancellor Merkel justified her policy and the approach of the Federal government in matters of European migration policy. What priorities and motives can be seen in the keynote speeches of the German Chancellor? Which of the arguments were crucial? The thesis is based on the fact that Merkel took on two levels of argument. On the one hand, she understands her political actions in the European Union from a normative point of view, on the other hand some political steps could be seen from a pragmatic strategic point of view. The aim of the study is also to examine the role of Germany in the EU from the perspective of the so-called dividual actor. After the introductory section, the third chapter outlines the development of the migration crisis in the EU. The following chapter brings an overview of the solution to the migration crisis in terms of developments in Germany. The fifth chapter is an analytical part of the thesis, which aims to identify and interpret the various narratives of Angela Merkel in the field of German European policy and the solution to the migration crisis. In conclusion the results of analysis are introduced.

This essay attempts to listen to meaning in the borderland, and asks in between which faculties and senses, through which we see and/or listen to the world, do we seek sense? My writing is located on this border, or more precisely on the erased border that I call an interspace or an interval, the place where we look for sense in the relation between language, philosophy, politics, and music. I have done this through the reading of three contemporary philosophers: Jacques Derrida, Jean-Luc Nancy, and Angela Davis. Derrida and Nancy have provided me with a theoretical and philosophical background for my approach to Davis’s philosophic and political claims. My analysis sets out from Derrida’s différance and what it reveals in the sign system of language. This is continued through a discussion of Nancy’s question: Is philosophy capable of listening, in all senses of the word? Is the philosopher not someone who always hears? In my reading, this connection is established through the blue notes. Davis, finally, provides me with a support for my claim that we, in the political significance of blues, in the traces of meaning that it contains, might be able to listen to Derrida’s différance. Keywords: Listening, meaning, différance, blues, sonority, blue notes, in between, border, subject, Jacques Derrida, Angela Y Davis, Jean-Luc Nancy. / Denna uppsats syftar till att försöka lyssna till meningen i gränslandet – mellan vilka relationer i våra förmågor och sinnen, av att se och/eller lyssna till världen, söker vi mening? Jag vill skriva om den gränsen, eller mer kanske den utsuddade gränsen i platsen jag kallar mellansfär och mellanrum, som den plats där vi söker mening i relationen mellan språk, filosofi, politik och musik. När vi idag söker mening och talar om varat, om individen och subjektivitet, kan det vara så att vi inte längre kan göra det genom fasta tecken, system och former? Istället för att stanna kvar i ett tillstånd av upprepande och separerande som landar i uteslutande och förtryck, i värdeskalor och normer, istället för att endast höra klassiska notsystem, eller förstå språkliga regler hos fasta teckensystem; kan det vara så att vi idag får vända oss till lyssnandet och mellansfären i de blå tonernas différance för att förstå olika individer och subjektivitet i relation till världen? Genom att göra en analys av Derridas term différance i hans text med samma namn: ”Différance” ur boken Margins of philosophy, ska jag försöka närma mig Nancys bok Listening samt läsa hans text genom tanken på différance i Nancys teori och förståelse om lyssnandet.  För att undersöka hur lyssnande och musik kan få ett praktiskt uttryck, av de teoretiska meningarna vi söker i différance, vill jag använda musikgenrerna blues och jazz och de blå toner som bluesen förhåller sig i och mellan. Min teori är att bluesen kan ge en plats (av flera) för var skillnader möts mellan text, värld och musik; platsen där différance kan lyssnas till, synliggöras och hörs. I den teorin vänder jag mig till Angela Davis bok Blues Legacies and Black Feminism som stöd för bluesens utveckling. Det jag ämnar närma mig hos Davis är just bluesens meningssökande och plats i samhället