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This thesis examines the deep bilateral tensions surrounding the East China Sea (ECS) disagreements between Japan and the People’s Republic of China (PRC) in the period from August 19th 2003 to June 18th 2008 from an actor-centred constructivist liberal viewpoint. The East China Sea disputes could be described as a conflicting difference of opinion over a) the demarcation of maritime territory and Exclusive Economic Zones (EEZ) in which potentially significant energy deposits exist and b) the ownership of the strategically important and historically sensitive Pinnacle (Senkaku/Diaoyu) Islands. This research addresses the question of why, given the fact that China and Japan have a strong interest in co-operation and stable relations with each other, small incidents in the ECS blow up into larger problems, cause approaches to the East China Sea to wax and wane, and move the relationship in a direction that goes against preferred national objectives? In attempting to unravel this puzzle, this work argues that domestic politics and popular negative sentiment have been the major issues that have greatly amplified and politicised the ECS problems and have significantly affected positive progress in negotiations aimed at managing and stabilising these disputes. By examining these, the thesis addresses the question of why China and Japan have been so constrained in their attempts to find a workable bilateral agreement over disputed energy resources and demarcation in the East China Sea. It also indirectly deals with the question of why the conflicting legal complexities surrounding these disagreements contributed to both states so fervently maintaining and defending their claims.

中華民國紅十字會為我國從事國際人道救援主要組織之一。由於我國特殊的國際地位，中華民國紅十字會並非國際紅十字會的一員。1999年921地震後，我國紅十字會得到紅十字會與紅新月會國際聯合會的幫助，開始發展救災備災計畫。2004年的南亞海嘯，則是我國紅十字會首次實地進行國際人道救援工作。唯近年來，隨著我國從事國際人道救援的非政府組織蓬勃發展，我國紅十字會則逐漸面臨許多挑戰。 本論文分析的重點，包括我國紅十字會與國際紅十字會的關係，我國紅十字會從事國際人道救援的策略，以及我國紅十字會面臨的挑戰。 / The Red Cross Society of the Republic of China is one of the country’s major organizations in charge of international humanitarian assistance. Yet, the Red Cross Society of the Republic of China is not a member of the International Committee of the Red Cross (ICRC). After the 921 earthquake in 1999, International Federation of Red Cross and Red Crescent Societies not only offered emergent aid to Taiwan but also helped develop the “Disaster Preparedness Project of the Red Cross Society of the Republic of China.” The recovery program for the Tsunami in South Asia in 2004 is the first time that The Red Cross Society of the Republic of China participated in international humanitarian actions. In recent years, the number of humanitarian NGOs in Taiwan is rising and flourishing. Meanwhile, the Red Cross Society of the Republic of China is facing a lot of challenges. This thesis will first analyze the strategy of the Red Cross Society of the Republic of China in carrying out humanitarian assistance. Then, the effectiveness of this strategy will be evaluated. Finally, the thesis will examine the challenges that have confronted the Red Cross Society of the Republic of China.

La présence des artistes chinois en France durant la première moitié du XXe siècle s’est fixée de manière exceptionnelle et durable à l’École des beaux-arts de Paris, au point qu’on puisse, à partir du dépouillement des archives nationales (cote AJ52), parler d’un « phénomène chinois à l’École des beaux-arts de Paris ». Ce phénomène a engagé plus de 130 élèves chinois inscrits dans les galeries et dans les ateliers de peinture et de sculpture entre 1914 et 1955. Aussi, cette présence à l’École des beaux-arts constitua une caractéristique essentielle du mouvement des artistes chinois en France et plus largement en Occident. À ce titre, ce phénomène a joué un rôle important dans l’évolution du champ artistique chinois moderne, sur le plan social,technique et artistique à travers un processus de « transfert culturel ». Ce phénomène fut possible grâce à une relation privilégiée qui exista entre la France et la Chine au début du XXe siècle (le « dialogue entre deux républiques »). Mais l’École des beaux-arts fut aussi un espace de concurrence entre les différentes tendances artistiques modernes chinoises dont beaucoup des chefs de file passèrent par les ateliers de l’École. Parmi eux,Xu Beihong (1895-1953) occupa une place particulière car il développa une stratégie sociale et artistique cohérente qui posait comme fondamentales la formation artistique académique et l’expérience à l’École des beaux-arts de Paris. Cette expérience enrichie par la maîtrise du dessin académique, de l’anatomie artistique et de la peinture d’histoire, fut orientée vers une production inédite à bien des égards en Chine, à l’huile et à l’encre. Aussi, après une période consensuelle des années 1910 aux années 1920, il semble qu’à partir des années 1930, le phénomène chinois à l’École des beaux-arts de Paris alimenta essentiellement le pôle éducatif et artistique de Xu Beihong en France et en Chine. Ce phénomène chinois à l’École des beaux-arts de Paris,attaché à la formation académique et à l’art académique français, fut un élément dynamique dans l’élaboration de la modernité artistique en Chine au XXe siècle. / The presence of Chinese artists in France during the first half of the Twentieth Century was an exceptional and enduring phenomenon at the National School of Fine Arts of Paris (École nationale des Beaux-Arts de Paris). Based on the analysis of the documents from the French National Archives, the number of Chinese students was so substantial that it deserves to be called as the 'Chinese phenomenon at the École des Beaux-Arts'. Between 1914 and 1955, more than 130 Chinese students enrolled at the 'Galeries' (preparatory training in drawing) and at the painting and sculpture studios called 'Ateliers'. This situation at the École des Beaux-Arts essentially reflected the movement of Chinese artists in France and more widely in the West. It played an important role in the changing field of the modern Chinese art, socially, technically and artistically ,through a process of "Cultural Transfer" and was made possible by the privileged relationship between France and China at the beginning of the Twentieth Century (the "Dialogue between two Republics"). Nevertheless, the École des Beaux-Arts also became an area of competition between the various modern Chinese artistic tendencies, as many leaders of different groups studied at the workshops of the École des Beaux-Arts. Amongthem, Xu Beihong (1895-1953), who developed a coherent social and artistic strategies, was especially significant. Xu received fundamental academic artistic training at the École des Beaux-Arts in Paris. Xu’s experience, enriched by his mastery of academic drawing, artistic anatomy and history painting, made his artistic production unprecedented in many respects of Chinese art, in oil and in ink. In addition, after a consensual period from the 1910s to the 1920s, it seems that from the 1930s, the Chinese phenomenon at the École des Beaux-Arts in Paris mainly fostered Xu’s central position in educational and artistic camps inFrance and China. This Chinese phenomenon at the École des Beaux-Arts in Paris, which is attached to academic training and to French academic art, was a dynamic element in the elaboration of artistic modernityin Twentieth Century China.

The main aim of this dissertation is to analyze selected economic activities and economic relations occurring between the European Union and China. This dissertation is divided into four main chapters to ensure coherence and continuity throughout the research. The first chapter deals with the historical development of mutual cooperation between Europe and China. This chapter emphasizes recent events. The most extensive part of this work, the second section, addresses key areas of cooperation between the EU and China. Most of the research focus is devoted to trade economic relations and investment relations. Further, the second chapter addresses controversial areas within the mutual EU-China relations. In contrast with the second chapter, which looks at the mutual relations from the perspective of the whole EU, the third chapter distinguishes bilateral relations between two EU countries and China. The purpose of the third chapter is therefore to highlight the different approach of individual EU member countries. In the last chapter, I try to assess the growing influence of both the EU and China within the global economy. Finally, I outline the possible future development of the research topic.

CHINA IN GLOBAL AND REGIONAL POLITICS IN THE 21ST CENTURY - GEOPOLITICAL CLASH WITH JAPAN, INDIA, USA, RUSSIA AND EUROPE Mgr. Martin Petrtýl Supervisor: Doc. Dr. Bořivoj Hnízdo, PhD. Institute of Political Studies, Faculty of Social Sciences This dissertation discusses the current and future role of China in the 21st century. I worked with the idea to prepare a systematically detailed analytical study of the country in relation to its surroundings as well as its internal environment for more than 8 years, including many interruptions. I, above all, contemplated about the way how to truly scientifically, i.e. credibly, it means in the maximum possible the limits of verifiability, develop a full work that could hold up to the colleagues from the scientific community and myself. It is logical it was and is my attempt to allow minimal possibility of any criticism of this work for its formal, content, or other deficiencies. First, I decided to analyse in some detail the currently known theoretical approaches and methods of study, not only in political sciences, especially those used by political geographers, but also in other related fields, especially in the field of study of international relations, sociology, political science or general security studies. I did not want to study the issue is the...