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To intervene, or not to intervene? Developing an understanding on the relationship between international intervention and the ethnification of politicsBucec, Bianca January 2021 (has links)
This study explores the relationship between international intervention and the ethnification of politics and seeks to explain the degree to which international involvement affects the degree of ethnification of politics. Deriving from explanations that suggest that the ethnification of politics is attributed to the greater interethnic trust facilitated through credible institutions, this study argues that the ethnification of politics is lower in cases where the greater involvement by the international intervention in local institution-building can be observed. Using the method of structure focused comparison, the suggested hypothesis is tested on two cities in Bosnia and Hercegovina – Mostar and Sarajevo. Data was collected through a manual empirical analysis and the tracing of historical institution-building actions by the international community in each city. The main finding shows relative support for the causal relationship; however, the observed causal mechanism is different to the expected one. This signals that the degree of international involvement in local institution-building processes cannot, in isolation, explain variation on the ethnification of politics. Thus, further research is needed to both identify additional causal factors and build the interaction effects that can explain the observed variation.
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La ciudad post-traumática. Marijin Dvor y el monte Trebević, dos espacios urbanos en transición en SarajevoBorelli, Caterina 29 October 2012 (has links)
En este trabajo se analizan las transformaciones ocurridas en la ciudad de Sarajevo después de la guerra de 1992-95. En particular se investiga cómo los cambios ocurridos en los últimos 20 años en el nivel macro (eso es: la doble transición, post-socialista y post-bélica) quedan reflejados, por un lado, en la forma exterior que asume la ciudad (por lo tanto su modificación física, nuevos proyectos urbanos) y, por el otro, cómo dichos cambios afectan a las relaciones sociales, sobre todo las tradicionales relaciones entre vecinos. El céntrico barrio de Marijin Dvor, emblemático por la presencia de las principales instituciones políticas y económicas, es el terreno en el que se desarrolla este primer eje de la investigación. Ahí me he dedicado a desarrollar principalmente dos temas: antes que nada, reconstruir las modificaciones en el régimen de propiedad de la vivienda que ha supuesto la caída del socialismo y la instalación de mecanismos propios del capitalismo neoliberal; en segundo lugar, analizar la institución bosnia del komšiluk -las buenas relaciones entre vecinos pertenecientes a comunidades etnoreligiosas distintas- y las perturbaciones que ha sufrido por efecto de la guerra.
El segundo eje, antitético pero especular al primero, tiene como campo de observación una montaña muy cercana a la ciudad, el monte Trebević, que encarna un poderoso conjunto de complejos que afectan hoy a la sociedad sarajevita y bosnia en general. Antaño el destino favorito de las excursiones de los ciudadanos de Sarajevo, en 1984 sede olímpica (con todo lo que esto supone en un nivel simbólico), en 1992 fue ocupado por las tropas serbio-bosnias que lo convirtieron en uno de los puntos más estratégicos para el asedio. La montaña, de ser uno de los símbolos de la ciudad, se ha convertido en un territorio maldito al que ya no sube casi nadie. En este sentido, el espacio del monte es interpretado como una suerte de subconsciente urbano, allá donde quedan escondidos los traumas de ayer y los problemas de hoy, mientras que más abajo, en el valle de la ciudad, el nuevo capitalismo rampante, en su intento de asentarse establemente en Bosnia Herzegovina, se apodera del paisaje urbano y lo convierte en un escenario para el desfile de su poder y sus expectativas de cara al futuro inmediato.
El título de la tesis hace referencia al trastorno por estrés post-traumático (TEPT), del que se calcula que hasta un 60% de la población de Sarajevo ha mostrado síntomas. Aquí, el TEPT es de entenderse como una metáfora que describe el presente de la ciudad. En años recientes, la reconstrucción post-bélica y el crecimiento urbano, empujados por los nuevos agentes capitalistas, se dan como en un estado de excitación (rápidos, sin planificación, saltándose las leyes), como si semejante frenesí fuera una manera de dejar atrás el evento traumático y librarse de los fantasmas del pasado. Estos, sin embargo, precisamente porque el trauma no ha sido reelaborado del todo, vuelven en forma de –o son somatizados en- los lugares “malditos” de la ciudad, congelados en el tiempo como si la guerra acabara de terminar: un flashbacks constante de la tragedia para todos aquellos –la mayoría de la población- que no se atreven a frecuentarlos y hacen como si no existieran, cuando los tienen siempre ante sus ojos. / RESUME OF THE THESIS “POST-TRAUMATIC CITY. MARIJIN DVOR AND MOUNT TREBEVIĆ, TWO URBAN SPACES IN TRANSITION IN SARAJEVO”
The main aim of this work has been to investigate transformations happened in the city of Sarajevo after the 1992-95 conflict. Particularly, I focused on how recent changes in the macro-level (the double transition: post-socialist and post-war), on the one hand, are reflected in the external form of the city (therefore its physical modifications, new urban projects) and, on the other, how they affect its social fabric, specially traditional relations between neighbours belonging to different ethno-religious communities, and the mental maps of its inhabitants.
The title of this study comes from Posttraumatic Stress Disorder (PTSD): recent studies calculated that up to 60% of Sarajevo population has shown symptoms of this disease. Here, PTSD is to be understood as a metaphor which describes the present of the city, and also helps to better understand the relation between such different spaces, as the central district of Marijin Dvor and wild Mount Trebević, that constitute our observation fields. In recent years, post-war reconstruction and urban growth, boosted by new capitalist agents, were happening in a sort of frenzied state of excitement (quickly, without any planning, breaking or conveniently manipulating the existing rules, as it can be seen in Marijin Dvor, "Sarajevo's new financial and commercial quarter"), as if such acceleration was a way to leave the traumatic event behind, to get rid of the phantoms of the past. These, nonetheless, precisely because the trauma has not been fully reworked, come back in form of –or are somatized in the “damned” places of the city, frozen in time as if war just ended: Mount Trebević is one of them, the place for the hidden, the forgotten and the painful, a constant flashback of the tragedy for all those -the majority of population- who don’t dare to frequent them anymore and pretend not to see them when they’re always in front of their eyes.
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There is a new sheriff in town and he is Swedish : En kvalitativ studie om de svenska utlandsmissionerna i Bosnienkonflikten och hur händelserna rapporterades till det civila Sverige. / There is a new sheriff in town and he is Swedish : A qualitative study of the Swedish foreign missionsSvensson, Arvid January 2015 (has links)
In this paper, a discussion and analysis on the Swedish participation in the UN-mission in the Balkan conflict versus the reporting from the Swedish news press Dagens Nyheter (DN) of the same action is held. From a ground in survey questions to Swedish soldiers that took part in the conflict ,what they thought of the conflict and what got reported back to the Swedish civilians via the press and their differences is later held. A question in the survey also treats what the soldiers think got changed in the Swedish Armed Forces due to their actions in the conflict and what the soldiers thought of the view in the 1990s, national and international, on the Swedish Armed Forces. This survey and the articles from DN that is analyzed is the ground in this papers issues, discussion and results. The paper overall and later the analysis is based on a theory in Oral history taken of Malin Thor's previous researches in the field and also strengthened with other researchers in the same field of studies. The title to this paper is from the English press reporting about the Swedes taking charge of the UNPROFOR-mission in the Balkan conflict and is about the Colonel Ulf Henricsson, commander of the UN Nordic battalion (NordBat2) in central Bosnia and his firm hand and authority against the local warlords. Later the title went famous international and a lot of different newspapers used it as a headline when reporting about the Swedish soldiers acting aggressively and firmly towards the war-criminals when protecting civilians and their properties in Bosnia.
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Die Entwicklung des Kapitalmarktes in Transitionsländern Beispiel Bosnien und HerzegowinaKurbegovic, Tarik 23 December 2011 (has links) (PDF)
Ziel dieser Arbeit ist, einen historischen Überblick über den Aufbau des Kapitalmarktes in BuH zu geben und einen kritischen und wissenschaftlichen Beitrag zu der noch relativ jungen Diskussion rund um den Transformationsprozess und dessen Auswirkungen und Ergebnissen zu leisten. Durch die Transformation des gesellschaftlichen Eigentums, die sogenannte Privatisierung, wurde der Kapitalmarkt ins Leben gerufen. Als Fazit wird auf die Auswirkungen des Transformationsprozess in Hinblick auf die gesamtwirtschaftliche Situation näher eingegangen. Die Arbeit bezieht sich auf die Entwicklung, die Besonderheiten und die Probleme des Kapitalmarktes sowie die gesetzlichen Rahmenbedingungen in BuH. Vor dem Hintergrund dieses Transformationsprozesses versucht diese Arbeit den Aufbau und die weitere Entwicklung der Börse in Sarajewo zu untersuchen und zu analysieren. Letzendlich soll beurteilt werden, ob der Transformationsprozess erfolgreich war und wo ein eventueller Nachholbedarf besteht.
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Alija Kucukalic: El legado de uno de los clásicos de la escultura moderna de Bosnia y Herzegovina.Kucukalic Ibrahimovic, Lejla 02 September 2021 (has links)
[ES] La presente tesis doctoral surge como respuesta a la problemática de la destrucción de la memoria histórica de Bosnia y Herzegovina, comenzada con la guerra de 1992 e institucionalizada a través de la legislación de los Acuerdos de Paz de Dayton. Se exponen en ella las causas históricas de esta destrucción y sus consecuencias, tanto las más inmediatas, a saber, la destrucción física del patrimonio del país, como las más remanentes, esto es, la descripción de la historia según las aspiraciones etnonacionalistas que causaron el conflicto. Sobre estos hechos, se ha hecho un estudio doble: por una parte, una investigación histórica hasta la actualidad sobre la escultura de Bosnia y Herzegovina, de la cual la figura de Alija Kucukalic destaca como máximo exponente y como prueba de que la tradición escultórica de Bosnia y Herzegovina tiene una evolución clara hacia la modernidad; por otra, un conjunto de propuestas prácticas que han permitido divulgar la obra artística y el legado cultural del escultor Alija Kucukalic, con el fin de exponer la importancia que tuvo su trabajo, tanto escultórico como pedagógico, para el desarrollo artístico de Bosnia y Herzegovina. En particular, la revisión política e histórica de Bosnia y Herzegovina realizada en esta investigación ha permitido mostrar que las ideologías etnonacionalistas que se han respetado en los Acuerdos de Paz de Dayton, según el cual Bosnia y Herzegovina ha quedado dividida en dos Entidades, una de etnia serbia, y otra de mayoría de etnia bosnia y croata, suponen un impedimento absoluto tanto en el avance de la cultura como en la misma preservación de la misma. Afirmando los Acuerdos de Paz de Dayton que los ciudadanos de Bosnia y Herzegovina forman tres pueblos constituyentes, y dejando el gobierno de las instituciones culturales a las Entidades, divididas según las etnias mayoritarias de las respectivas zonas, la cultura en Bosnia y Herzegovina depende de acuerdos entre las tres divisiones étnicas del país, cuyos desacuerdos fueron el origen del último conflicto. Sobre este contexto político, el caso particular de Alija Kucukalic se ve en una suerte de ostracismo, en tanto que es un artista al que no se puede adscribir a ninguna de las ideologías políticas vigentes en el país, sino que su obra representa a todo el pueblo bosnio por igual. Este hecho favorece el progresivo deterioro de su obra, que hasta la realización de esta tesis doctoral estaba totalmente olvidada por parte de las instituciones de Bosnia y Herzegovina. En concreto, Alija Kucukalic fue asesinado durante la guerra como parte de la estrategia de elitocidio que constaba en el asesinato individual y en masas de las élites intelectuales de Bosnia y Herzegovina, su obra fue robada y destruida durante la guerra, su atelier del escultor invadido, y en la actualidad, el vacío legal que dejaron los Acuerdos de Paz de Dayton sobre el cuidado del patrimonio cultural ha provocado que el vandalismo se apodere de la obra pública de Alija Kucukalic. Como solución a este problema, se ha demostrado con la presente tesis doctoral que es necesario llevar a cabo acciones de salvaguardia del legado cultural y artístico de Alija Kucukalic , mediante la justificación de que con su obra Bosnia y Herzegovina adquirió renombre artístico internacional y de que con su labor pedagógica como profesor de escultura en la Academia (Facultad) de Bellas Artes de Sarajevo, de la que fue fundador, la tradición artística del país renació y sigue creciendo. Esta justificación se ha reforzado con el mencionado conjunto completo de actividades prácticas, que han tenido como resultados más importantes la apertura de la Fundación Atelier Memorial Alija Kucukalic, unida a la recuperación del atelier del escultor y a la primera exposición póstuma de su obra, y el inicio del proyecto de restauración de la obra de Alija Kucukalic, que ha comenzado con la restauración del parque memorial Vra / [CA] La present tesi doctoral sorgeix com a resposta a la problemàtica de la destrucció de la memòria històrica de Bòsnia i Hercegovina, començada amb la guerra de 1992 i institucionalitzada en la legislació dels Acords de Pau de Dayton. S'exposen les causes històriques d'aquesta destrucció i les seues conseqüències, tant les més immediates, és a dir, la destrucció física del patrimoni del país, com les més romanents, això és, la descripció de la història segons les aspiracions ètnic-nacionalistes que van causar el conflicte. Sobre aquests fets, s'ha fet un estudi doble: d'una banda, una recerca històrica fins a l'actualitat sobre l'escultura de Bòsnia i Hercegovina, de la qual la figura d'Alija Kucukalic destaca com a màxim exponent i com a prova que la tradició escultòrica de Bòsnia i Hercegovina té una evolució clara cap a la modernitat; de l'altra, un conjunt de propostes pràctiques que permeten divulgar l'obra artística i el llegat cultural de l'escultor Alija Kucukalic, per tal d'exposar la importància que va tindre el seu treball, tant escultòric com pedagògic, per al desenvolupament artístic de Bòsnia i Hercegovina. Concretament, la revisió política i històrica de Bòsnia i Hercegovina realitzada en aquesta investigació mostra que les ideologies ètnic-nacionalistes que s'han respectat en els Acords de Pau de Dayton, segons els quals el país ha quedat dividit en dues Entitats, una d'ètnia sèrbia, i una altra d'ètnia bosniana i croata, suposen un impediment absolut tant en l'avanç de la cultura com en la mateixa preservació d'aquesta. Afirmant els Acords de Pau de Dayton que els ciutadans de Bòsnia i Hercegovina formen tres pobles constituents, i cedint el govern de les institucions culturals a les entitats, dividides segons les ètnies majoritàries de les respectives zones, la cultura a Bòsnia i Hercegovina depèn d'acords entre les tres divisions ètniques del país, els desacords dels quals van ser l'origen de l'últim conflicte. En aquest context polític, el cas particular d'Alija Kucukalic es veu en una mena d'ostracisme, en tant que és un artista a qui no es pot adscriure a cap de les ideologies polítiques vigents al país, sinó que la seua obra afirma a tot el poble bosnià per igual. Aquest fet afavoreix la progressiva deterioració de la seua obra, que fins a la realització d'aquesta tesi estava totalment oblidada per part de les institucions de Bòsnia i Hercegovina. En concret, Alija Kucukalic va ser assassinat durant la guerra com a part de l'estratègia d'elitocidi que constava en l'assassinat individual i en masses de les elits intel·lectuals de Bòsnia i Hercegovina, la seua obra va ser robada i destruïda durant la guerra; el seu atelier de l'escultor, envaït; i en l'actualitat, el buit legal que van deixar els Acords de Pau de Dayton sobre la cura del patrimoni cultural ha provocat que el vandalisme s'apoderi de l'obra pública d'Alija Kucukalic. Com a solució a aquest problema, s'ha demostrat amb la present tesi doctoral que cal dur a terme accions de salvaguarda del llegat cultural i artístic d'Alija Kucukalic, mitjançant la justificació que amb la seua obra Bòsnia i Hercegovina va adquirir renom artístic internacional i que amb el seu trevall pedagògic com a professor d'escultura a l'Acadèmia de Belles Arts de Sarajevo, de la qual va ser fundador, la tradició artística del país va renéixer i segueix creixent. Aquesta justificació s'ha reforçat amb l'esmentat conjunt complet d'activitats pràctiques, que han tingut com a resultats més importants l'obertura de la Fundació Atelier Memorial Alija Kucukalic, unida a la recuperació de l'atelier de l'escultor i a la primera exposició pòstuma de la seua obra, i el inici del projecte de restauració de l'obra d'Alija Kucukalic, que ha començat amb la restauració de parc memorial Vraca, a Sarajevo, símbol d'unió nacional contra el feixisme. / [EN] The following doctoral thesis arises as a response to the problem of the destruction of the historical memory of Bosnia and Herzegovina, which began with the war of 1992 and got institutionalized in the legislation of the Dayton Peace Agreement. The historical causes of this destruction and its consequences are exposed, both the most immediate, namely, the physical destruction of the country's heritage, and the most remaining: the description of history according to the ethno-nationalist aspirations that caused the conflict. On these facts, a double study has been made: on the one hand, a historical research to date on the sculpture of Bosnia and Herzegovina, of which Alija Kucukalic stands out as the greatest exponent in the second half of the 20th century and as a proof that the sculptural tradition of Bosnia and Herzegovina has a clear evolution towards modernity; on the other hand, a set of practical proposals that made possible the dissemination of the artistic work and cultural legacy of the sculptor Alija Kucukalic, in order to expose the importance that his sculptural and pedagogical work had for the artistic development of Bosnia and Herzegovina. In particular, the political and historical review of Bosnia and Herzegovina carried out in this research shows that the ethno-nationalist ideologies respected in the Dayton Peace Agreement, according to which the country has been divided into two Entities, one of Serbian ethnicity and another of Bosnian and Croatian ethnic groups, represent an absolute impediment both in the advancement of culture and in its preservation. By affirming the Dayton Peace Agreement that the citizens of Bosnia and Herzegovina form three constituent peoples and handing over the control of cultural Institutions to the Entities, which are divided according to the ethnic groups of their respective areas, culture in Bosnia and Herzegovina depends on agreements between the three ethnic divisions of the country, whose disagreements originated the last conflict. Within this political context, the case of AlijaKucukalic is found in a kind of ostracism, being he an artist who cannot be related to any of the political ideologies in force in the country, but whose work rather affirms the whole Bosnian people alike. This fact favors the progressive deterioration of his artworks, which until the completion of this thesis was totally forgotten by the Institutions of Bosnia and Herzegovina. Specifically, Alija Kucukalic was assassinated at the beginning of the siege of Sarajevo as part of the elitocide strategy that consisted of the individual and mass murder of Bosnian intellectual elites; his work was stolen and destroyed during the war; his atelier, invaded; and at present the legal loophole left by the Dayton Peace Agreement on the care of cultural heritage has caused vandalism to seize his public work. As a solution to this problem, it is shown the need to carry out actions to safeguard the cultural and artistic legacy of Alija Kucukalic, by justifying that with his work Bosnia and Herzegovina acquired international artistic renown and that with his pedagogical work as a Professor of Sculpture at the Sarajevo Academy of Fine Arts, of which he was a founder, the country's artistic tradition was reborn and continues to grow. This justification has been reinforced with the aforementioned practical work, whose most important results are the legal constitution and registration of a cultural entity in the form of the Atelier Memorial Alija Kucukalic Foundation, joined to the recovery of the sculptor's atelier and the first posthumous exhibition of his work, everything focused on the lasting safeguarding of the memory of the sculptor Alija Kucukalic and his work, as well as on the protection of his works and his copyright; and the start of the restoration project of the artwork of Alija Kucukalic, which has begun with the restoration of the Vraca memorial park in Sarajevo, symbol of national union against fascism. / Kucukalic Ibrahimovic, L. (2021). Alija Kucukalic: El legado de uno de los clásicos de la escultura moderna de Bosnia y Herzegovina [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/171587 / TESIS
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Identita a mezietnické vztahy mladých Sarajevanů: Kdo stojí na opačných stranách mostu? / The identity of young Sarajevans: Who is standing at the opposite sides of the bridge?Tučková, Sabina January 2016 (has links)
Sarajevo is a city in which, for centuries, people of different religions and ethnicities have lived together. But the war in the early 1990s partitioned the country into almost ethnically homogenous parts. The aim of this work is to find out, how young people between the ages of 18 - 29 years old perceive the identity of contemporary Sarajevo and to what extent they identify with the official narrative of Sarajevo as a multi-ethnic city. An online survey was conducted in March 2016 by a sample of 66 young Bosniaks, Bosnian Serbs, and Bosnian Croats. The research examines how they identify with the Sarajevan urban identity and the influential factors, such as ethnic categorization, religious beliefs, origin, or dominant information sources. To provide a deeper insight, the online survey was extended to include 15 in-depth interviews with young Sarajevans. There, the author uses a metaphor of a bridge to analyze the young Sarajevans' point of view regarding inter-ethnic relations and identity of their city. The outcome of the research is recognition that young Sarajevans often deny the ethnic categorization and perceive the every- day contact between different ethnic groups as non-problematic. As a consequence, the participants see Sarajevo as a unique city in the Bosnian context and typically distinguish...
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Oázy v srdci Evropy. Orientalismus v české architektuře 19. století / Oasis in the heart of Europe. Orientalism in Czech architecture of the 19th centuryVránová, Veronika January 2016 (has links)
Europe of the early 19th century is searching for its new artistic persona. Several new and distinct directions come into being, all vying for a spot on the landscape of arts and for the leading position. This desire to search for new directions deepens Europe's interest in the Orient. Meeting of the West with the East goes all the way back to early Middle Ages and manifests through several phases all the way to the present day. Fascination by the Orient in the 19th century was connected mainly to Napoleon's Egypt campaign, Greek uprising against the Turks, France's conquest of Northern Africa, World Exhibition in London and excursions into exotic lands themselves undertaken by contemporary enthusiasts. The wave of orientalism permeated all levels of fine art. It is most often seen in painting, graphic arts and photography and seen the least in sculpture. The thesis follows the orientalism phenomenon from the end of 18th century to the First World War. The goal is to provide some insight into its influence on areas of the fine arts in central Europe and provide background for future research in doing so. Key focus of the thesis is the research of exotic tendencies in architecture in the Kingdom of Bohemia and presenting it in the context of oriental architecture of other countries under the...
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Architecture, 'coming to terms with the past' and the 'world in common' : post-war urban reconstruction in Belgrade and SarajevoBadescu, Gruia January 2018 (has links)
This dissertation discusses the rebuilding of cities after war in the context of the changing character of warfare and the increased expectations for societies to deal with difficult pasts. Departing from studies that approach post-war reconstruction focusing on the functional dimension of infrastructural repair and housing relief or on debates about architectural form, this dissertation examines reconstruction through the lens of the process of 'coming to terms with the past'. It explores how understandings of victimhood and responsibility influence the rebuilding of urban space. Conversely, it argues that cities and architecture, through the meanings ascribed to them by various actors, play an important role in dealing with the past. Building on the moral philosophy of Theodor Adorno and Hannah Arendt, it discusses the potential of reconstruction for societies to work through the past, then it engages with frictions highlighted by three situations of rebuilding after different types of war. First, it examines the rebuilding of Belgrade as the capital of socialist Yugoslavia after the aerial bombings typical of the Second World War. Second, it analyses reconstruction debates in the same city after the 1999 NATO bombings, a high-tech operation, framed by NATO as a preventative, humanitarian intervention against a 'perpetrator' state. Third, it discusses rebuilding processes in Sarajevo, where destruction was inflicted between 1992 and 1995 by actors internal to the country, albeit with international ramifications, exemplary of Mary Kaldor's 'new wars'. Based on thirteen months of fieldwork conducted in Belgrade and Sarajevo between 2012 and 2015, it analyses intentions and consequences of reconstruction acts. It suggests the potential and the challenges of a reflective reconstruction, which engages critically with the past, and of a syncretic place-making reconstruction, which focuses on place and its agonistic promise. Its main contribution is to highlight the essential relationship between reconstruction and coming to terms with the past, arguing for an understanding of reconstruction with regards to conflict itself.
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Modely politické reprezentace etnických menšin na komunální úrovni: případové studie vybraných evropských měst / Models of Representation of Ethnic Minorities at Local Level: Case Studies of Selected European CitiesVimmr, Martin Kryšpín January 2014 (has links)
This thesis further analyses the question of political representation of ethnic minorities. Its main theoretical framework is created by theory of cleavages by S. Rokkan and S.M. Lipset, which describes conflict lines within the society and its influence on the party system. Further on, different definitions and approaches to the topic of ethnic identity, ethnic conflict and and ethnic and regional parties are introduced. Second part of this thesis is composed of four case studies of selected European cities with relevant ethnic minorities. These are Leicester in United Kingdom, Espoo in Finland, German Frankfurt am Main and Romanian Cluj-Napoca. These cases are firstly analyzed by context of political representation of ethnic minorities. That is in the first place the share and nature of minority population and in the second place attributes of local political systems within both horizontal and vertical dimension. Factors with direct impact on political representation of ethnic minorities like electoral system, election right and any other special measures are analyzed further on.
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The Man Who DisappearedNealon, Brian J. 19 August 2004 (has links)
No description available.
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