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No / This book provides a contemporary month-by-month analysis of events in Iraq since May 2005 and assesses how they impact on other countries including Afghanistan, Iran and the wider Middle East. The book charts a tumultuous period in the conflict, including a wider international perspective on the terrorist attacks in London and Sharm al Sheik, and an assessment of how US public opinion has changed as the war drags on. It brings together Paul Rogers' international security monthly briefings as published on the Oxford Research Group website between May 2005 - April 2006, and concludes with a commentary on the significance of the year's events, and an analysis of the current situation. This is the third ORG International Security Report. We have also published reports in 2004 and 2005.

No / This book is about Muslims in Europe and the "War on Terror"--its causes and consequences for European citizenship and exclusion particularly for young people. The rising tide of hostility towards people of Muslim origin is challenged in this collection from a varied and multi national perspective. The book illustrates that Muslims are as diverse a group as those of any other religion; therefore to place all Muslims into one category is wholly unscientific and discriminatory. It shows that there are historical and ideological reasons for viewing Islam as a static, unchanging and regressive force. The chapters illustrate the diversity of societies with Muslim majority populations and challenge the dominant paradigm of what has become to be known since the War on Terror as "Islamophobia."

Terror management theory (TMT) seeks to understand religious worldview adherence, positing that worldview beliefs can abate existential threats such as mortality salience. Most research on TMT has employed young samples, so influences on older adults' experiences of mortality salience are unclear. Simultaneously, research on death anxiety shows that older people may view their own death more favorably than younger individuals do. Guided by the lifespan development perspective, I investigated whether the range of life experiences and interpretation of them might account for perceptions of death in old age. A multi-phase content analysis of in-depth interview transcripts from 16 adults aged 65+ focused on narratives of life events, religious worldviews, and death. The findings suggested how lifespan adversity, such as the death of a loved one, promoted growth in self and religious belief that enhanced participants' reported relationship with the sacred. In turn, participants' views of and beliefs about death were without fear, indicating the influence of highly individualized and deeply spiritual religious worldview beliefs on the abatement of death fear. These findings support extension of TMT to older people by identifying the impact of lifespan experiences with trauma and adversity as contributing to less superficial, more individualized conceptions of religious worldviews. Such worldviews, contingent upon growth from adaptation to lifespan experiences, may indeed lead to less death anxiety and reduce the effects of mortality salience in old age. / Master of Science

The purpose of this thesis is to inquire into the hard decisions that democracies are making in the 21st century in the context of working to spreading democracy and maintaining peace through foreign policy. Ever since the American-led invasions of Afghanistan and Iraq after the 9/11 terror attacks, democratic peace theorists have been pushed further to the sidelines as their theory has been put to the test and struggled to stand up to the challenges of political realities in contemporary world politics. The idea that the diffusion of democracy would help build a Kantian world peace would seem to have taken a severe blow with the rise of populist candidates and policies in the West in recent years. The democratic peace theory (DPT) is in crucial respects about the mechanisms to indirectly control other countries' economies and politics through forcibly installing democratic regimes. Though done in the name of safety and security for western nations, this foreign policy looks an awful lot like an attempt at biopolitical engineering. Has DPT morphed into a form of biopolitics? The goal of this thesis is to delve into this question and to learn what the implications are if this is the case, and what it means for the West, democracies, terrorism, and societies. For if democracies are less and less able to justify their role in driving the proper conditions for peace, we must scrutinize the role they play in international affairs in a much broader political perspective. / Master of Arts / The purpose of this thesis is to see, in the post-Cold War world, what kind of association that democracies have with other states around them. As the world sees more and more democracies take root, it is worth studying what kind of relationship these democracies have formed with both other democracies and non-democracies. Democratic governments have in some cases forced democracy upon parts of the world that have never sought democracy. With this in mind I will look at the spread of democracies all over the globe through the theory of biopolitics. This theory is the idea that a government must control its population, even the reproduction of it. Policies on abortion, the death penalty, and end of life laws might seem controversial to some but to a government are very necessary to ensure the safety and promotion of life in a state. If countries are forcibly spreading democracy to others countries that are not, are they trying to control a population in another place? This thesis seeks to answer that question within the context of the modern world that we live in.

O foco desta dissertação é a construção narrativa audiovisual da violência. A partir de discussões feitas na antropologia sobre narrativa, mimesis e violência se quer pensar a respeito de formas de narrar a experiência da violência política e o conflito armado colombiano. O objeto que será analisado são filmes colombianos, dois especificamente: La sombra del caminante (Ciro Guerra, 2004) e PVC-1 (Spiros Stathoulopoulos, 2007). Obras audiovisuais que se apropriam da tecnologia digital e fazem uso criativo dos recursos cinematográficos para se colocar diante das imagens sobre violência e discutir temas como a verdade e a memória, o tempo e o medo, o intimo e do cotidiano. São formas fílmicas que instigam uma discussão sobre as narrações que a sociedade colombiana constrói para contar o terror de décadas de violência política e conflito armado onde atores à margem da lei, sociedade civil e governo se encontram e se constroem. O procedimento metodológico empregado nesta dissertação é, em um primeiro momento, o da análise fílmica, um modelo teórico definido no campo dos estudos de cinema, que propõe um estudo do filme nos seus múltiplos componentes e atendendo aos espaços e dinâmicas nas quais este se insere. Deste modo, em um segundo momento, indagarei a propósito das narrativas do terror, sendo o terror ato, espaço e cultura, uma situação que se torna estável pela instabilidade que o caracteriza: a experiência da violência, da perda (de parentes, de um lugar de origem, de um passado), do deslocamento forçado, da tortura. Esta é uma tentativa de pensar sobre a mediação do cinema para comunicar efetivamente tal experiência de terror, um fenômeno cuja narração se coloca nas margens do dizível. Neste sentido, o cinema articularia o inarticulável e narraria o inenarrável, incorporando experiências do terror na memória coletiva. / This dissertation\'s main focus is the audiovisual narrative construction of violence. Taking account of the anthropological debates on narrative, mimesis and violence; I pretend to think about the ways in which the experience of the Colombian political violence and armed conflict is narrated. The object are Colombian films, two mainly, La sombra del caminante (Ciro Guerra, 2004) and PVC-1 (Spiros Stathoulopoulos, 2007). Films, which use digital technology and implement creatively cinematographic resources to take place before images of violence and discuss topics such as truth and memory, time and fear, the everyday and the intimate. These are oeuvres that instigate a debate about the narratives that the Colombian society elaborates to tell the terror of decades of political violence and armed conflict where actors at the margins of law, civil society and govern meet and build themselves. The methodological procedure employed in this dissertation is in a first moment, film analysis. A theoretical model defined in the area of cinema studies which proposes a study of the film\'s multiple components and the many ways and places in which a film plays part. Thus, in a second moment, I\'ll inquire about narratives of terror, being that terror is an act, a space and a culture, a situation that stabilizes itself thanks to its instability: the experience of violence, of loss (of relatives, of a place of origin, of a past), of forced displacement, of torture. This is a proposal to think about the mediation of cinema to communicate effectively such experiences of terror, a phenomenon whose narration is on the margins of the speakable. In this sense, cinema would articulate and narrate what is not; and would introduce the experiences of terror in the collective memory.

Tesis

Orientador: Arthur Hunold Lara / Dissertação (mestrado) - Universidade de Camopinas, Instituto de Artes / Made available in DSpace on 2018-08-14T18:05:02Z (GMT). No. of bitstreams: 1 Santana_IsabellaOliveira_M.pdf: 2999025 bytes, checksum: 17e3c7904e5ba7e9450a3b837f6ddc4f (MD5) Previous issue date: 2009 / Resumo: Este trabalho de caráter teórico-prático na área da performance art, tem como escopo (res)significar estudos realizados acerca de notícias e imagens de terror veiculadas nos meios de comunicação de massa - principalmente na rede internet - no topos da performance art. Constatamos que as notícias e imagens de terror propagadas nos meios massivos, assim como também as vivências traumáticas, podem ocasionar disfunções psicológicas e fisiológicas nas pessoas. Além disso, a mensagens midiáticas imediatistas, editadas e banalizadas da televisão e, mais recentemente da internet, podem ocasionar um embotamento das nossas sensibilidades diminuindo conseqüentemente nosso poder de reflexão e percepção. O psicólogo norte-americano Timothy Leary (1920-1996), que fez estudos como substâncias psicoativas para observar as capacidades expansivas da consciência, nos fala sobre como as mensagens e imagens transmitidas na tela podem formar e controlar nossa mente através da visão e audição. É a partir daí e da vivência do nosso corpo com a prática da performance, que questionamos como esta pode funcionar como a lente de aumento que irá mostrar onde está a imagem e onde está o simulacro, alargando deste modo as capacidades perceptivas do homem. Notamos ainda, o poder de transmutação próprio do ato criativo, a mudança emocional que ele gera além do estado fisiológico do corpo diferente daquele do cotidiano. Deste modo, aliar o tema do terror ao da prática performática nos faz averiguar a funcionalidade da performance enquanto agente de transmutação, tanto no performer, como no espectador. Neste caso, foi fundamental pesquisarmos o tema do trauma e da cura, assim como retomarmos o conceito de catarse, que estão de certa maneira vinculados ao tema que nos propomos a (res)significar no topos da ação. A metodologia a ser aplicada e a precisão dos resultados são um tanto difíceis no campo das artes, principalmente no que tange ao processo de criação artística, pelo fato de lidarmos com questões muito subjetivas que estão no âmbito da emoção, da sensação. Por isso, ao invés de utilizarmo-nos de metodologias mais precisas como os questionários, optamos por fazer a nossa pesquisa baseando-se em estudos bibliográficos para que assim complementassem o conhecimento obtido através da própria vivência artística em processo. Dentre os teóricos que nos detemos a pesquisar destacamos o diretor teatral Richard Schechner, que se dedicou ao estudo da teoria da performance, abordando os aspectos antropológicos que esta linguagem abarca e trazendo significativas contribuições às pesquisas do campo da performance art. Além disso, tivemos como referência estudos na área dos meios de comunicação de massa, psicologia, antropologia e sociologia. Concomitante à pesquisa teórica, realizamos sete apresentações artísticas que fortaleceram as nossas hipóteses acerca das potencialidades da performance art enquanto agente de transmutação. Por fim, conjeturamos que o paradigma holográfico pode funcionar como a espoleta do stress do terror e que a visão periférica está para o pedaço holográfico da memória e pode tanto despertar o terror quanto curá-lo. / Abstract: This theoretical and practical research in the speciality of performance art, has the purpose to (re)signify studies about terror news and images transmitted by the mass media - mainly on the internet - on the topos of performance art. We verify that the news and images of terror diffused at the mass media, as well as traumatic experiences, may cause psychological and physiological disturb on people. Besides, the immediate, edited and banal news transmitted on television, and nowadays on the internet, may decrease our sensibility and our power of reflection and perception. The north-American psychologist Timothy Leary (1920-1996), who studied psychoactive substances with the purpose to observe the consciousness expansion capacities, talk about how messages and images on the screen may form and control our mind through vision and hearing. It is through it and the experience of our body in performance art practice that we question how performance may function as the lens that will show us the image and the simulacrum helping to amplify the human perception. We also realize, the transformation power of creative acting, the emotional changing that its beget besides the different physiological body state from that we use in our daily life. Thereby, combine terror subject with performance practice make us verify performance function as a transformation agent in the performer and in the spectator. On this case, it was fundamental that we research the trauma and the cure subject, as we needed to retake catharsis concept, which are linked with the subject that we propose to (re)mean at the topos of the action. The method applied and the precision of the results are so difficult in arts field, mainly when we treat about artistic creative process, by the fact that we lead with subjective questions in the ambit of emotion and sensation. That is why we chose to make our research founded in bibliographical studies that could complement the knowledge we obtained through our own artistic experience, instead of make use of more precise methods as questionnaires. One of the researchers that we choose to analyze is the theater director Richard Schechner, who dedicates studies to performance theory broaching anthropological aspects of this artistic language and bringing to us significant contributions to performance art researches. Moreover, we use as reference studies from mass media, psychology, anthropology and sociology fields. Concomitant theory research, we presented seven performances that strengthen our hypothesis about transformation power of performance art. Besides, we suppose that holographic paradigm may function as the agent of terror stress and that periphery vision is related to the holographic memory piece and must as excite terror as cure it. / Mestrado / Mesttre em Artes

O foco desta dissertação é a construção narrativa audiovisual da violência. A partir de discussões feitas na antropologia sobre narrativa, mimesis e violência se quer pensar a respeito de formas de narrar a experiência da violência política e o conflito armado colombiano. O objeto que será analisado são filmes colombianos, dois especificamente: La sombra del caminante (Ciro Guerra, 2004) e PVC-1 (Spiros Stathoulopoulos, 2007). Obras audiovisuais que se apropriam da tecnologia digital e fazem uso criativo dos recursos cinematográficos para se colocar diante das imagens sobre violência e discutir temas como a verdade e a memória, o tempo e o medo, o intimo e do cotidiano. São formas fílmicas que instigam uma discussão sobre as narrações que a sociedade colombiana constrói para contar o terror de décadas de violência política e conflito armado onde atores à margem da lei, sociedade civil e governo se encontram e se constroem. O procedimento metodológico empregado nesta dissertação é, em um primeiro momento, o da análise fílmica, um modelo teórico definido no campo dos estudos de cinema, que propõe um estudo do filme nos seus múltiplos componentes e atendendo aos espaços e dinâmicas nas quais este se insere. Deste modo, em um segundo momento, indagarei a propósito das narrativas do terror, sendo o terror ato, espaço e cultura, uma situação que se torna estável pela instabilidade que o caracteriza: a experiência da violência, da perda (de parentes, de um lugar de origem, de um passado), do deslocamento forçado, da tortura. Esta é uma tentativa de pensar sobre a mediação do cinema para comunicar efetivamente tal experiência de terror, um fenômeno cuja narração se coloca nas margens do dizível. Neste sentido, o cinema articularia o inarticulável e narraria o inenarrável, incorporando experiências do terror na memória coletiva. / This dissertation\'s main focus is the audiovisual narrative construction of violence. Taking account of the anthropological debates on narrative, mimesis and violence; I pretend to think about the ways in which the experience of the Colombian political violence and armed conflict is narrated. The object are Colombian films, two mainly, La sombra del caminante (Ciro Guerra, 2004) and PVC-1 (Spiros Stathoulopoulos, 2007). Films, which use digital technology and implement creatively cinematographic resources to take place before images of violence and discuss topics such as truth and memory, time and fear, the everyday and the intimate. These are oeuvres that instigate a debate about the narratives that the Colombian society elaborates to tell the terror of decades of political violence and armed conflict where actors at the margins of law, civil society and govern meet and build themselves. The methodological procedure employed in this dissertation is in a first moment, film analysis. A theoretical model defined in the area of cinema studies which proposes a study of the film\'s multiple components and the many ways and places in which a film plays part. Thus, in a second moment, I\'ll inquire about narratives of terror, being that terror is an act, a space and a culture, a situation that stabilizes itself thanks to its instability: the experience of violence, of loss (of relatives, of a place of origin, of a past), of forced displacement, of torture. This is a proposal to think about the mediation of cinema to communicate effectively such experiences of terror, a phenomenon whose narration is on the margins of the speakable. In this sense, cinema would articulate and narrate what is not; and would introduce the experiences of terror in the collective memory.