Die Beiträge des vorliegenden Sammelbandes widmen sich vorrangig den finanz- und sozialrechtlichen Problemen von Georgien im Transformationsprozess, bieten wichtige Informationen zur aktuellen Situation von Haushalten und zum Steueraufkommen, zu Fragen der Armut und der Einkommensverteilung, zur rechtlichen Fundierung der Finanz- und Sozialpolitik sowie zur Ausgestaltung der gebietskörperschaftlichen Struktur. Die Autoren vermitteln weitgehende Vorschläge zur Reform des Steuer- und Transfersystems sowie zum Aufbau eines friedensstiftenden Föderalstaats, welcher die Kenntnisse über die Wertgrundlagen einer offenen Gesellschaft vertieft, damit den zivilgesellschaftlichen Ansatz unterstützt, eine Stärkung des demokratischen Marktsystems fördert und zugleich das friedliche Zusammenleben in einer unruhigen Region erleichtert.

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2008年的俄喬戰爭是俄羅斯自解體以來第一次境外用兵，本文試圖透過守勢現實主義 ( defensive realism ) 的角度來解釋這一場俄羅斯的對外衝突。守勢現實主義國家的行為模式包括維持守勢現狀、對外尋求合作，因此得以處理安全困境難題，而在威脅等級過高時可能採取預防性戰爭來消除威脅。本文藉由守勢現實主義的觀點與行為模式來解釋俄羅斯的外交行為，透過檢視俄羅斯自解體以來的國家行為模式確立俄羅斯為守勢現實主義國家。再者藉由探討俄喬衝突中分離主義問題與俄喬關係中的矛盾以說明衝突的遠因與近因。最後探討俄羅斯在外高加索地區的利益與衝突以解釋俄羅斯在俄喬戰爭中的出兵動機。俄羅斯在解體之後的外交政策大多採取不衝突與合作的策略，隨著喬治亞的政權更替，俄羅斯對喬治亞的關係從合作走向以政策制衡，最後基於俄羅斯南部的地緣安全與北約東擴等等來自西方的威脅之下，俄羅斯採取了協助喬治亞分離地區的軍事行動來解決自身威脅。本論文認為俄羅斯不僅在2008年前屬於守勢現實主義國家，以守勢現實主義的觀點來看，俄喬戰爭更是一場為了應對歐美威脅的防禦性戰爭。 / The 2008 Russo – Georgian war was the first military action outside borders since the collapse of USSR. In this thesis, I describe the conflict using the perspective of Defensive Realism. The behavior of a state using a defensive realism perspective includes remain status-quo of defensive, seeking cooperation, therefore are able to manage the security dilemma. When the threat level is too high, a state using a defensive realism perspective may launch a preventive war to eliminate the threat. First, by examining Russia’s state behavior between 1992 to 2008. We are able to determine that Russia follows defensive realism behavior. Secondly, by studying the separatism of South Ossetia and Abkhazia in Georgia and the change of relationship between Russia and Georgia, we are able to elucidate the factors that caused the Russo-Georgian war. Finally, we explore Russia’s interests and threats in South Caucasus area that reveal the motivation for Russia the launch the counter strike against Georgia. Russia has tended to take the non-conflict route and cooperative strategy in diplomacy after Soviet-era ended. Due to the regime change in Georgia, Russia changed its policy toward Georgia from cooperative to containment. Finally, as the threat from the West rose and another round of NATO enlargement occurred, while it’s threating the geopolitical security of the southern border, Russia decided to launch a preventive war to assist the separatist states within Georgia. In conclusion, not only Russia is a defensive realism state, from the perspective of defensive realism, the 2008 Russo-Georgia war is a preventive war against the threat of the West.

Cette thèse a pour ambition de montrer dans quelle mesure la presse géorgienne de la seconde moitié du XIXe siècle qui constitue une source historique précieuse sur cette période, permet de suivre l’évolution des transferts culturels européens et de cerner le profil social et politique des médiateurs géorgiens de ces transferts. Elle s’intéresse aux discours qui accompagnent l’introduction du mode de vie moderne et du progrès technique, aux réactions suscitées par le regard que les Européens portent sur la Géorgie, mais aussi à l’expérience que les Géorgiens rapportent de leurs séjours en Europe. En effet, ces voyages, qui leur permettent d’observer la vie politique et sociale européenne et d’établir des contacts avec les milieux intellectuels, s’inscrivent dans la perspective de contribuer, de retour dans leur patrie, au succès du projet politique auquel, désormais, ils s’identifient. Notre travail accorde une place importante à l’étude des mécanismes qui rendent possibles les flux d’importation dans le domaine de la littérature et des sciences : institution d’un champ intellectuel, élaboration d’une nouvelle terminologie, mise en place de critères de sélection des textes étrangers et stratégies discursives facilitant leur diffusion. En élucidant ces critères, qui conduisent à la sélection des textes et des auteurs européens ou au choix des références à l’Europe, nous nous attachons à analyser dans quelle mesure les transferts se font le reflet d’un contexte historique caractérisé par la formation d’une conscience nationale et d’idéologies concurrentes qui, dès les premières années du XXe siècle, conduiront la Géorgie de la révolution à l'indépendance. / This dissertation aims to show in what measure the Georgian press of the second half of the nineteenth century, which constitutes a precious historical resource for study of this time period, allows us to follow the evolution of cultural transfers from Georgia to Europe and to understand the political and social profile of the Georgian mediators of these transfers. It manifests an interest in the discourses that accompany the introduction of modern living and technological progress in the country, in the reactions inspired by the European perspective on Georgia, and also in the experience that the Georgians bring back home after their travels in Europe. In fact, these travels allow them to observe European political and social life and to establish contacts with intellectual milieus in order to contribute, when they return to their country, to the success of the political projects with which they would identify. My work centers on the mechanisms that have made possible the flow of foreign cultural transmission in the fields of literature and science: the institution of an intellectual field, the elaboration of a new terminology, the establishment of selection criteria for foreign texts, and the establishment of discursive strategies facilitating the diffusion of such texts. In elucidating these criteria, which lead to the selection of European texts and authors or to the choice of references to Europe, I will analyze in what measure the transfers reflect a historical context characterized by the formation of a national consciousness and competing ideologies that, from the beginning years of the twentieth century, would lead Georgia from revolution to independence.

Cette thèse a pour ambition de montrer dans quelle mesure la presse géorgienne de la seconde moitié du XIXe siècle qui constitue une source historique précieuse sur cette période, permet de suivre l’évolution des transferts culturels européens et de cerner le profil social et politique des médiateurs géorgiens de ces transferts. Elle s’intéresse aux discours qui accompagnent l’introduction du mode de vie moderne et du progrès technique, aux réactions suscitées par le regard que les Européens portent sur la Géorgie, mais aussi à l’expérience que les Géorgiens rapportent de leurs séjours en Europe. En effet, ces voyages, qui leur permettent d’observer la vie politique et sociale européenne et d’établir des contacts avec les milieux intellectuels, s’inscrivent dans la perspective de contribuer, de retour dans leur patrie, au succès du projet politique auquel, désormais, ils s’identifient. Notre travail accorde une place importante à l’étude des mécanismes qui rendent possibles les flux d’importation dans le domaine de la littérature et des sciences : institution d’un champ intellectuel, élaboration d’une nouvelle terminologie, mise en place de critères de sélection des textes étrangers et stratégies discursives facilitant leur diffusion. En élucidant ces critères, qui conduisent à la sélection des textes et des auteurs européens ou au choix des références à l’Europe, nous nous attachons à analyser dans quelle mesure les transferts se font le reflet d’un contexte historique caractérisé par la formation d’une conscience nationale et d’idéologies concurrentes qui, dès les premières années du XXe siècle, conduiront la Géorgie de la révolution à l'indépendance. / This dissertation aims to show in what measure the Georgian press of the second half of the nineteenth century, which constitutes a precious historical resource for study of this time period, allows us to follow the evolution of cultural transfers from Georgia to Europe and to understand the political and social profile of the Georgian mediators of these transfers. It manifests an interest in the discourses that accompany the introduction of modern living and technological progress in the country, in the reactions inspired by the European perspective on Georgia, and also in the experience that the Georgians bring back home after their travels in Europe. In fact, these travels allow them to observe European political and social life and to establish contacts with intellectual milieus in order to contribute, when they return to their country, to the success of the political projects with which they would identify. My work centers on the mechanisms that have made possible the flow of foreign cultural transmission in the fields of literature and science: the institution of an intellectual field, the elaboration of a new terminology, the establishment of selection criteria for foreign texts, and the establishment of discursive strategies facilitating the diffusion of such texts. In elucidating these criteria, which lead to the selection of European texts and authors or to the choice of references to Europe, I will analyze in what measure the transfers reflect a historical context characterized by the formation of a national consciousness and competing ideologies that, from the beginning years of the twentieth century, would lead Georgia from revolution to independence.

A 1755 advert in the Gloucester Journal listed for sale, 'A MODERN-BUILT HOUSE, with four rooms on a floor, fit for a gentleman'. In the late-seventeenth and eighteenth centuries, 'gentlemen's houses' like the one described evolved as a cultural norm. This thesis offers a social and cultural reading of an under-studied group of small free-standing classical houses built in the west of England between 1680 and 1770. By developing a profile of eighty-one gentlemen's houses and one hundred and thirty-four builders and owners, this study unites subjects such as the history of architecture, landscapes, domestic interiors, objects and social development that are often treated separately. The design, spatial arrangement, and furnishings of gentlemen's houses precisely defined the position of their builders and owners in the social hierarchy. The 1720s marked an important shift in the location and meaning of building that corresponded to an alteration in the background of builders. Small classical houses moved from a relatively novel form of building for the gentry to a conventional choice made by newcomers often from commercial and professional backgrounds. Gentlemen's houses projected status in a range of settings for both landed and non-landed elites, highlighting the house as a form of status-enhancing property rather than land. Moreover, gentlemen's houses had adaptable interior spaces and were furnished with an array of objects that differed in number and quality from those lower and higher in society. The connections between gentlemen's houses and important processes of social change in Britain are striking. House-building and furnishing were measured strategic activities that calibrated social status and illustrated mobility. This thesis demonstrates that gentlemen's houses are one key to understanding the permeability of the English elite as well as the combination of dynamism and stability that characterized eighteenth-century English society.

Cette thèse a pour ambition de montrer dans quelle mesure la presse géorgienne de la seconde moitié du XIXe siècle qui constitue une source historique précieuse sur cette période, permet de suivre l’évolution des transferts culturels européens et de cerner le profil social et politique des médiateurs géorgiens de ces transferts. Elle s’intéresse aux discours qui accompagnent l’introduction du mode de vie moderne et du progrès technique, aux réactions suscitées par le regard que les Européens portent sur la Géorgie, mais aussi à l’expérience que les Géorgiens rapportent de leurs séjours en Europe. En effet, ces voyages, qui leur permettent d’observer la vie politique et sociale européenne et d’établir des contacts avec les milieux intellectuels, s’inscrivent dans la perspective de contribuer, de retour dans leur patrie, au succès du projet politique auquel, désormais, ils s’identifient. Notre travail accorde une place importante à l’étude des mécanismes qui rendent possibles les flux d’importation dans le domaine de la littérature et des sciences : institution d’un champ intellectuel, élaboration d’une nouvelle terminologie, mise en place de critères de sélection des textes étrangers et stratégies discursives facilitant leur diffusion. En élucidant ces critères, qui conduisent à la sélection des textes et des auteurs européens ou au choix des références à l’Europe, nous nous attachons à analyser dans quelle mesure les transferts se font le reflet d’un contexte historique caractérisé par la formation d’une conscience nationale et d’idéologies concurrentes qui, dès les premières années du XXe siècle, conduiront la Géorgie de la révolution à l'indépendance. / This dissertation aims to show in what measure the Georgian press of the second half of the nineteenth century, which constitutes a precious historical resource for study of this time period, allows us to follow the evolution of cultural transfers from Georgia to Europe and to understand the political and social profile of the Georgian mediators of these transfers. It manifests an interest in the discourses that accompany the introduction of modern living and technological progress in the country, in the reactions inspired by the European perspective on Georgia, and also in the experience that the Georgians bring back home after their travels in Europe. In fact, these travels allow them to observe European political and social life and to establish contacts with intellectual milieus in order to contribute, when they return to their country, to the success of the political projects with which they would identify. My work centers on the mechanisms that have made possible the flow of foreign cultural transmission in the fields of literature and science: the institution of an intellectual field, the elaboration of a new terminology, the establishment of selection criteria for foreign texts, and the establishment of discursive strategies facilitating the diffusion of such texts. In elucidating these criteria, which lead to the selection of European texts and authors or to the choice of references to Europe, I will analyze in what measure the transfers reflect a historical context characterized by the formation of a national consciousness and competing ideologies that, from the beginning years of the twentieth century, would lead Georgia from revolution to independence.

O poema icônico de T. S. Eliot The Waste Land, publicado em 1922, é indiscutivelmente o texto principal de poesia moderna em inglês. Eliot residia em Londres no momento da sua composição, e embora o poema contenha numerosas citações literárias e culturais, The Waste Land não é considerado como tendo sido influenciado por nenhum dos poetas ingleses que foram contemporâneos de Eliot. Pelo contrário, o poema é tido como um afastamento radical e uma reação contra, a poesia inglesa escrita antes e durante a Primeira Guerra Mundial (1914-1918). Neste artigo, eu argumento que The Waste Land contém ecos da obra dos poetas ingleses Harold Monro e Herbert Read, ambos os quais conheciam Eliot bem. Olhando retrospectivamente a partir de 1922, tendo The Waste Land como meu texto modernista base e ponto de partida crítico, eu conduzo uma reavaliação da cena poética inglesa do período 1910- 1922, a partir dos Georgian Poets do pré-guerra até o aparecimento, no pós-guerra, da obraprima de Eliot. Ambos Monro e Read foram influenciados pelo movimento radical 'Imagism' de Ezra Pound, que formou um elemento central na cena da poesia progressiva de Londres nos anos que antecederam a guerra. Portanto, utilizo ambos The Waste Land e os experimentos 'Imagist' de Pound como modelos de prática modernista através dos quais comparar e contrastar a obra dos Georgian Poets (especificamente Wilfrid Gibson), a poesia produzida durante a Primeira Guerra Mundial, e a obra de Monro e Read. Os princípios orientadores da minha abordagem analítica são dois: em termos de prática poética, eu avalio o trabalho de Eliot e seus contemporâneos, comparando as suas abordagens quanto à forma, a fim de demonstrar como a forma poética não apenas define o conteúdo, mas também revela mudanças nos valores culturais. Em segundo lugar, minha abordagem teórica é baseada nos conceitos mutantes da função estética da poesia, buscando demonstrar como valores estéticos estão historicamente relacionados a, e determinam, a produção e a recepção da poesia, expondo como os experimentos modernistas de Eliot e Pound estão historicamente relacionados com princípios estéticos românticos. / T. S. Eliot’s iconic poem The Waste Land, published in 1922, is indisputably the key Modernist poetry text in English. Eliot was living in London at the time of its composition, and although the poem contains numerous literary references, The Waste Land is not thought to have been influenced by the poetry of Eliot’s English contemporaries. On the contrary, the poem is regarded as a radical departure from, and reaction against, the English poetry being written before and throughout the Great War (1914-1918). In this paper, I argue that The Waste Land contains echoes of the work of English poets Harold Monro and Herbert Read, both of whom knew Eliot well. Looking back retrospectively from 1922, with The Waste Land as my exemplary Modernist text and critical starting point, I carry out a reassessment of the English poetry scene from 1910 to 1922, from the pre-war Georgians to the post-war appearance of Eliot’s masterpiece. Both Monro and Read were influenced by Ezra Pound’s radical ‘Imagism’ movement, which formed a central plank in the progressive London poetry scene in the years leading up to the war. I therefore employ both The Waste Land and Pound’s ‘Imagist’ experiments as models of Modernist practice by which to compare and contrast the work of the Georgians (particularly Wilfrid Gibson), the poetry produced during the Great War, and the work of Monro and Read. The guiding principles of my analytical approach are twofold: firstly, in terms of poetic practice, I evaluate the work of Eliot and his contemporaries by comparing their approaches to form, assessing how poetic technique both defines content and offers insight into shifts in cultural values; secondly, my theoretical approach is based on changing concepts of the aesthetic function of poetry, revealing how aesthetic values are historically relative to, and determine, the production and reception of poetry, ultimately exposing how Eliot and Pound’s Modernist experiments are historically related to Romantic aesthetic principles.

O poema icônico de T. S. Eliot The Waste Land, publicado em 1922, é indiscutivelmente o texto principal de poesia moderna em inglês. Eliot residia em Londres no momento da sua composição, e embora o poema contenha numerosas citações literárias e culturais, The Waste Land não é considerado como tendo sido influenciado por nenhum dos poetas ingleses que foram contemporâneos de Eliot. Pelo contrário, o poema é tido como um afastamento radical e uma reação contra, a poesia inglesa escrita antes e durante a Primeira Guerra Mundial (1914-1918). Neste artigo, eu argumento que The Waste Land contém ecos da obra dos poetas ingleses Harold Monro e Herbert Read, ambos os quais conheciam Eliot bem. Olhando retrospectivamente a partir de 1922, tendo The Waste Land como meu texto modernista base e ponto de partida crítico, eu conduzo uma reavaliação da cena poética inglesa do período 1910- 1922, a partir dos Georgian Poets do pré-guerra até o aparecimento, no pós-guerra, da obraprima de Eliot. Ambos Monro e Read foram influenciados pelo movimento radical 'Imagism' de Ezra Pound, que formou um elemento central na cena da poesia progressiva de Londres nos anos que antecederam a guerra. Portanto, utilizo ambos The Waste Land e os experimentos 'Imagist' de Pound como modelos de prática modernista através dos quais comparar e contrastar a obra dos Georgian Poets (especificamente Wilfrid Gibson), a poesia produzida durante a Primeira Guerra Mundial, e a obra de Monro e Read. Os princípios orientadores da minha abordagem analítica são dois: em termos de prática poética, eu avalio o trabalho de Eliot e seus contemporâneos, comparando as suas abordagens quanto à forma, a fim de demonstrar como a forma poética não apenas define o conteúdo, mas também revela mudanças nos valores culturais. Em segundo lugar, minha abordagem teórica é baseada nos conceitos mutantes da função estética da poesia, buscando demonstrar como valores estéticos estão historicamente relacionados a, e determinam, a produção e a recepção da poesia, expondo como os experimentos modernistas de Eliot e Pound estão historicamente relacionados com princípios estéticos românticos. / T. S. Eliot’s iconic poem The Waste Land, published in 1922, is indisputably the key Modernist poetry text in English. Eliot was living in London at the time of its composition, and although the poem contains numerous literary references, The Waste Land is not thought to have been influenced by the poetry of Eliot’s English contemporaries. On the contrary, the poem is regarded as a radical departure from, and reaction against, the English poetry being written before and throughout the Great War (1914-1918). In this paper, I argue that The Waste Land contains echoes of the work of English poets Harold Monro and Herbert Read, both of whom knew Eliot well. Looking back retrospectively from 1922, with The Waste Land as my exemplary Modernist text and critical starting point, I carry out a reassessment of the English poetry scene from 1910 to 1922, from the pre-war Georgians to the post-war appearance of Eliot’s masterpiece. Both Monro and Read were influenced by Ezra Pound’s radical ‘Imagism’ movement, which formed a central plank in the progressive London poetry scene in the years leading up to the war. I therefore employ both The Waste Land and Pound’s ‘Imagist’ experiments as models of Modernist practice by which to compare and contrast the work of the Georgians (particularly Wilfrid Gibson), the poetry produced during the Great War, and the work of Monro and Read. The guiding principles of my analytical approach are twofold: firstly, in terms of poetic practice, I evaluate the work of Eliot and his contemporaries by comparing their approaches to form, assessing how poetic technique both defines content and offers insight into shifts in cultural values; secondly, my theoretical approach is based on changing concepts of the aesthetic function of poetry, revealing how aesthetic values are historically relative to, and determine, the production and reception of poetry, ultimately exposing how Eliot and Pound’s Modernist experiments are historically related to Romantic aesthetic principles.

O poema icônico de T. S. Eliot The Waste Land, publicado em 1922, é indiscutivelmente o texto principal de poesia moderna em inglês. Eliot residia em Londres no momento da sua composição, e embora o poema contenha numerosas citações literárias e culturais, The Waste Land não é considerado como tendo sido influenciado por nenhum dos poetas ingleses que foram contemporâneos de Eliot. Pelo contrário, o poema é tido como um afastamento radical e uma reação contra, a poesia inglesa escrita antes e durante a Primeira Guerra Mundial (1914-1918). Neste artigo, eu argumento que The Waste Land contém ecos da obra dos poetas ingleses Harold Monro e Herbert Read, ambos os quais conheciam Eliot bem. Olhando retrospectivamente a partir de 1922, tendo The Waste Land como meu texto modernista base e ponto de partida crítico, eu conduzo uma reavaliação da cena poética inglesa do período 1910- 1922, a partir dos Georgian Poets do pré-guerra até o aparecimento, no pós-guerra, da obraprima de Eliot. Ambos Monro e Read foram influenciados pelo movimento radical 'Imagism' de Ezra Pound, que formou um elemento central na cena da poesia progressiva de Londres nos anos que antecederam a guerra. Portanto, utilizo ambos The Waste Land e os experimentos 'Imagist' de Pound como modelos de prática modernista através dos quais comparar e contrastar a obra dos Georgian Poets (especificamente Wilfrid Gibson), a poesia produzida durante a Primeira Guerra Mundial, e a obra de Monro e Read. Os princípios orientadores da minha abordagem analítica são dois: em termos de prática poética, eu avalio o trabalho de Eliot e seus contemporâneos, comparando as suas abordagens quanto à forma, a fim de demonstrar como a forma poética não apenas define o conteúdo, mas também revela mudanças nos valores culturais. Em segundo lugar, minha abordagem teórica é baseada nos conceitos mutantes da função estética da poesia, buscando demonstrar como valores estéticos estão historicamente relacionados a, e determinam, a produção e a recepção da poesia, expondo como os experimentos modernistas de Eliot e Pound estão historicamente relacionados com princípios estéticos românticos. / T. S. Eliot’s iconic poem The Waste Land, published in 1922, is indisputably the key Modernist poetry text in English. Eliot was living in London at the time of its composition, and although the poem contains numerous literary references, The Waste Land is not thought to have been influenced by the poetry of Eliot’s English contemporaries. On the contrary, the poem is regarded as a radical departure from, and reaction against, the English poetry being written before and throughout the Great War (1914-1918). In this paper, I argue that The Waste Land contains echoes of the work of English poets Harold Monro and Herbert Read, both of whom knew Eliot well. Looking back retrospectively from 1922, with The Waste Land as my exemplary Modernist text and critical starting point, I carry out a reassessment of the English poetry scene from 1910 to 1922, from the pre-war Georgians to the post-war appearance of Eliot’s masterpiece. Both Monro and Read were influenced by Ezra Pound’s radical ‘Imagism’ movement, which formed a central plank in the progressive London poetry scene in the years leading up to the war. I therefore employ both The Waste Land and Pound’s ‘Imagist’ experiments as models of Modernist practice by which to compare and contrast the work of the Georgians (particularly Wilfrid Gibson), the poetry produced during the Great War, and the work of Monro and Read. The guiding principles of my analytical approach are twofold: firstly, in terms of poetic practice, I evaluate the work of Eliot and his contemporaries by comparing their approaches to form, assessing how poetic technique both defines content and offers insight into shifts in cultural values; secondly, my theoretical approach is based on changing concepts of the aesthetic function of poetry, revealing how aesthetic values are historically relative to, and determine, the production and reception of poetry, ultimately exposing how Eliot and Pound’s Modernist experiments are historically related to Romantic aesthetic principles.