In 1997 the Labour Party introduced the White Paper Rights Brought Home: The Human Rights Bill. Bringing rights home was considered necessary to significantly influence rights conception in the UK and internationally. Rights Brought Home argued that incorporation would allow human rights to become a more prominent feature of society. The Human Rights Act 1998 (HRA) was brought into force with optimism and expectations. However, the war of terror has significantly impacted the way in which rights have been understood and appreciated. National security issues have clashed with Convention rights. There is mounting concern that British judges must blindly follow the rulings established by the European Court of Human Rights. There have been problems of public disengagement and hostility. The HRA is characterized by a story of failure. Understanding the relationship between the war on terror and the HRA is central to human rights development.

In 1997 the Labour Party introduced the White Paper Rights Brought Home: The Human Rights Bill. Bringing rights home was considered necessary to significantly influence rights conception in the UK and internationally. Rights Brought Home argued that incorporation would allow human rights to become a more prominent feature of society. The Human Rights Act 1998 (HRA) was brought into force with optimism and expectations. However, the war of terror has significantly impacted the way in which rights have been understood and appreciated. National security issues have clashed with Convention rights. There is mounting concern that British judges must blindly follow the rulings established by the European Court of Human Rights. There have been problems of public disengagement and hostility. The HRA is characterized by a story of failure. Understanding the relationship between the war on terror and the HRA is central to human rights development.

The purpose of this study was to describe and explain Veteran students’ perspectives on academic success as they enter or reenter the university setting. Recent research applied to Veteran students has focused on social integration and to a lesser extent on academic integration and student success. For this qualitative study grounded in social constructivism, the primary method of data collection was the recording, transcription, and analysis of oral interviews with 11 Veteran students. The findings were aligned to the theoretical framework which was adapted from Tinto’s Conditions for Student Success (2012). The results contribute to the current body of scholarly literature that highlights positive attributes that Veteran students possess including leadership skills, maturity, and acquired skills related to global and cultural awareness, and motivation. Other findings include the effectiveness of having specific programming efforts for Veteran students. As for research implications for practice, the results of this study suggest that Veteran students are not necessarily familiar with support services offered. They prefer face-to-face program delivery and may need assistance with meeting University requirements such as providing immunization records, establishing in-state residency, providing sufficient documentation for receiving support services, and options if benefits eligibility run out prior to graduation. Results also reaffirm that colleges and universities need to continue to develop and improve conditions that are known to promote student success for Veteran students.

The rise of terrorism and transnational organised crime (TOC) post-9/11, two previously separate phenomena, are now both a plague of the 21st century. The emergence of unconventional forms of terrorist organisations such as the Islamic State (IS) indicates new features in the crime-terror nexus. This requires rethinking of the conventional crime-terror convergence frameworks; including the crime-terror continuum (CTC) model, which is used to explain and categorise the relationships between organised crime (OC) and terrorism. The original 2003-2004 CTC model suggests that the relationship between crime and terrorism is not static but has evolved into a continuum. The CTC tracks down how the organisational dynamics and operational nature of both terrorism and OC changes over time. A single group can slide up and down between OC and terrorism, depending on the operational environment. Contemporary terrorism practices suggest that post-9/11 terrorist organisations have undergone significant transformations, and that the boundaries between organised crime and terrorism have become blurred. This brings into question the explanatory power and applicability of the conventional convergence trends, which are depicted in the 2003-2014 versions of the CTC model, to the reality of the transformation of terrorist organisations post-9/11. The conventional convergence trends revolve around ‘realities’ of relationships between OC and terrorism in the form of alliances, appropriation of tactics, integration, hybridisation, and transformation from terrorist to criminal entities or vice versa. The current realities raise several questions about the applicability of the CTC model, as an explanatory tool. Terrorist organisations can originate as criminal organisations, using ideological motives as a recruiting poster for criminal activities. This points to gaps in the relationship of contemporary terrorism and OC, which are found in the crime-terror nexus and its discourse. These gaps pave the way for rethinking and critical evaluation of the explanatory power of the CTC model in the post-9/11 period and lay the basis for the development of an alternative framework as a foundation for further research. This study aims to critically rethink the explanatory power and revisit the applicability of the CTC to changes in the relationship between crime and terrorism post-9/11. This study employs a systematic literature overview design followed by critical evaluation. It isolates key works on the crime-terror nexus and convergence phenomenon, and assesses their limitations, so as to better understand and tackle terrorism in the post-9/11 period. / Mini Dissertation (MSS)--University of Pretoria, 2018. / Political Sciences / MSS / Unrestricted

The State of Northern Ireland has been home to a significant amount of violence between a minority of Catholic Irish nationalists and a majority of Protestant British unionists. As a result, violence has plagued the region, with the loss of over three thousand five hundred lives during the course of three decades, colloquially known as "the troubles." In 1998, the Belfast or "Good Friday" Agreement was signed by officials from The United Kingdom and The Republic of Ireland to ensure a diplomatic means of cooperation amongst the various political parties of Northern Ireland, and disarmament of paramilitary groups. However, the desire for nationalists to unify the island and to seek total independence from the United Kingdom still endures. In spite of a significant decrease in violence, dissident republicans continue to target the Police Service of Northern Ireland, with the intent to disrupt the peace process; the people of Northern Ireland are still polarized regarding their political and national standings, which decrease the chances of Irish reunification in the near future. The intent of this thesis is to explore the feasibility of Irish reunification in the 21st century, and its reasons why a united Ireland will not be obtained. By examining the global policy towards terrorism after September 11th 2001, the recent net-immigration to Ireland preceded by the "Celtic Tiger" period in The Republic of Ireland's economic boon, and the complexities of the perceived identities in Northern Ireland, the unlikelihood of reunifying Ireland under one government, independent from the United Kingdom will be reiterated.

No description available.

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There is limited research on the Post-9/11 Veterans Educational Assistance Act of 2008, known as the 9/11 GI Bill, which provides educational benefits to veterans who have served in the United States military on active duty for 90 days. While outcomes for public and nonprofit universities are well known, less is known about whether proprietary universities are successful in recruitment and enrollment of veterans under the 9/11 GI Bill. The purpose of this phenomenological study was to examine the experiences that veterans who were Post 9/11 Bill beneficiaries had with recruitment strategies and institutional public policy practices from for-profit institutions. Ten veterans who participated in this study received Post-9/11 GI Bill educational benefits and enrolled in a for-profit institution based in Florida. Data was collected using the transcripts of the responses from the face-to-face interviews. These data were inductively coded and analyzed using a modified Van Kaam analysis procedure. The findings indicated that for-profit institutions used excessive recruitment strategies and aggressive targeting to attract veterans who received Post-9/11 GI Bill educational benefits. The findings also suggested that for-profit universities appear to need institutional policy changes and programs to assist veterans in transitioning from academic to civilian life. Recommendations to Veterans' Affairs Offices, legislators, and leaders of proprietary institutions that support positive social change include mandatory reporting of federal funds, development of civilian transition programs, and adopting of key collaborations within departments. These recommendations may promote successful educational outcomes and sustainable employment for veterans.

'Snap Shot' is a Young Adult novel centred around two main characters – 16 year-old Bel and her older step-sister, Diane, who was living in New York on September 11, 2001. The novel begins with a bus crash on a city freeway, and the narrator, who we later learn is Bel, unfolds the story that leads up to the crash. There are many plotlines that run through the novel, narrated in a variety of voices by Bel. She tells the story of her step-sister, who witnessed the September 11 attack from a distance (in Queens). She reveals her sister's story in the weeks following the attack. Diane is inspired by the image of one of the victims of the attack, a woman named Sena. She sees her photo in one of the desperate fliers that popped up around the city after the attack, and recognises a bracelet the woman is wearing as similar to one owned by her mother. Diane acts on an impulsive idea to somehow bring redemption to the family of this woman by creating a false photograph of the bracelet at Ground Zero, but she is detained by the National Guard. This is an incident that leads to her mother's decision to return to Australia to live. Back in Australia, Diane makes contact with her father, who is distant and dishonest with her. Diane asks to see her younger step-sister, Bel, but she is met with strong resistance. It is obvious that she is being kept from her sister. Bel also learns that her step-sister is back, but her attempts to make contact are blocked by her parents. Eventually the two sisters get together, and the younger forms a fascination and powerful admiration for her older sister, who is now a photographer. She takes images of men she has never met and posts them on her website with emotive labels such as 'victim' or 'terrorist'. Bel's fascination with her older sister leads her to want to emulate her. She sets out to take a photograph of a stranger, and stalks a young man for two days, working up the courage to approach him and interact with him. The fact that she wants to interact with her subject creates tension with her sister, who never speaks with her subjects. They argue about Bel's safety and Diane's courage. Bel eventually approaches the young man, Robert, and forms a connection with him. The coming together of these three characters sets in motion an idea, impulsive and provocative, driven by Bel, to create an artificial moment of terror on a bus as a means to shock the passengers and shake them from a 'dream'. This story is told through counter-voices that offer harmony and dissonance, and at times perspective, to the unfolding plotline. There is Shahrazade, an evocation of Bel's imagination, who is the ultimate in the courageous storyteller. Shahrazade uses narrative to divert her audience away from murderous revenge and into empathic connection. There are the short passages depicting the moments in the bus from the points of view of several passengers. There are the chapters where Bel is interrogated by two police officers, who slowly slide from being realistic characters to figments of Bel's overactive imagination. At the beginning of the novel, Bel tells the reader, 'You are witness to a tragedy, but you don’t call it that.' (Bone 2008) By the end, the verdict is left open. Are the three guilty of creating terror on the bus? Was it a tragedy? Is there redemption in the act of telling a story? The exegetical component of this thesis explores the social, literary and political context of the writing of 'Snap Shot'. It is in three parts, predicated on my research enquiry about the nature of the world we now live in post-September 11, a day that was supposed to have changed history. I explore whether there is a consistent and unified narrative that, as members of the public, we are engaging with. I look at the use of fear by the terrorists, and explore how this fear has manifested itself post-September 11. I ask whether there is an ongoing narrative of fear, and if so, what is its nature? How is it perpetuated? How does the public engage with this narrative? And what implications does this have for the writing of 'Snap Shot'? I explore literary and artistic responses to September 11, and explore the role of the artist as provocateur. What are the taboos and sore points that provocative art can touch on when looking at the subject of the world that has emerged post-September 11? The exegesis also explores how fear and terror are communicated, with a particular reference to symbolism and frames. What imaginings emerged from the subterranean consciousness prior to September 11, and what imaginings are at play today? Significantly, I explore what implications this imagination has for communicating an anti-terrorism message within the context of writing 'Snap Shot'. / Thesis (Ph.D.) - University of Adelaide, School of Humanities, 2008

'Snap Shot' is a Young Adult novel centred around two main characters – 16 year-old Bel and her older step-sister, Diane, who was living in New York on September 11, 2001. The novel begins with a bus crash on a city freeway, and the narrator, who we later learn is Bel, unfolds the story that leads up to the crash. There are many plotlines that run through the novel, narrated in a variety of voices by Bel. She tells the story of her step-sister, who witnessed the September 11 attack from a distance (in Queens). She reveals her sister's story in the weeks following the attack. Diane is inspired by the image of one of the victims of the attack, a woman named Sena. She sees her photo in one of the desperate fliers that popped up around the city after the attack, and recognises a bracelet the woman is wearing as similar to one owned by her mother. Diane acts on an impulsive idea to somehow bring redemption to the family of this woman by creating a false photograph of the bracelet at Ground Zero, but she is detained by the National Guard. This is an incident that leads to her mother's decision to return to Australia to live. Back in Australia, Diane makes contact with her father, who is distant and dishonest with her. Diane asks to see her younger step-sister, Bel, but she is met with strong resistance. It is obvious that she is being kept from her sister. Bel also learns that her step-sister is back, but her attempts to make contact are blocked by her parents. Eventually the two sisters get together, and the younger forms a fascination and powerful admiration for her older sister, who is now a photographer. She takes images of men she has never met and posts them on her website with emotive labels such as 'victim' or 'terrorist'. Bel's fascination with her older sister leads her to want to emulate her. She sets out to take a photograph of a stranger, and stalks a young man for two days, working up the courage to approach him and interact with him. The fact that she wants to interact with her subject creates tension with her sister, who never speaks with her subjects. They argue about Bel's safety and Diane's courage. Bel eventually approaches the young man, Robert, and forms a connection with him. The coming together of these three characters sets in motion an idea, impulsive and provocative, driven by Bel, to create an artificial moment of terror on a bus as a means to shock the passengers and shake them from a 'dream'. This story is told through counter-voices that offer harmony and dissonance, and at times perspective, to the unfolding plotline. There is Shahrazade, an evocation of Bel's imagination, who is the ultimate in the courageous storyteller. Shahrazade uses narrative to divert her audience away from murderous revenge and into empathic connection. There are the short passages depicting the moments in the bus from the points of view of several passengers. There are the chapters where Bel is interrogated by two police officers, who slowly slide from being realistic characters to figments of Bel's overactive imagination. At the beginning of the novel, Bel tells the reader, 'You are witness to a tragedy, but you don’t call it that.' (Bone 2008) By the end, the verdict is left open. Are the three guilty of creating terror on the bus? Was it a tragedy? Is there redemption in the act of telling a story? The exegetical component of this thesis explores the social, literary and political context of the writing of 'Snap Shot'. It is in three parts, predicated on my research enquiry about the nature of the world we now live in post-September 11, a day that was supposed to have changed history. I explore whether there is a consistent and unified narrative that, as members of the public, we are engaging with. I look at the use of fear by the terrorists, and explore how this fear has manifested itself post-September 11. I ask whether there is an ongoing narrative of fear, and if so, what is its nature? How is it perpetuated? How does the public engage with this narrative? And what implications does this have for the writing of 'Snap Shot'? I explore literary and artistic responses to September 11, and explore the role of the artist as provocateur. What are the taboos and sore points that provocative art can touch on when looking at the subject of the world that has emerged post-September 11? The exegesis also explores how fear and terror are communicated, with a particular reference to symbolism and frames. What imaginings emerged from the subterranean consciousness prior to September 11, and what imaginings are at play today? Significantly, I explore what implications this imagination has for communicating an anti-terrorism message within the context of writing 'Snap Shot'. / Thesis (Ph.D.) - University of Adelaide, School of Humanities, 2008