Thesis (doctoral)--Justus-Liebig-Universität, Giessen, 1980. / Includes bibliographical references (p. 228-236).

This paper aims to inquire whether Somaliland’s secession from Somalia is morally right considering Buchanans theories regarding secession. The paper analyses the notion of self-determination and secession from the perspective of Somaliland. Further the analysis also discusses the deficiencies when it comes to international law and secession. The analysis also inquires regarding the insubstantial criteria for the right to secede and the unwillingness from the outside world to shed light on the case of Somaliland. The material for this paper consists mainly of literature, published work and research from political scholars. The paper concludes that Somaliland does in fact have a moral right for secession and formal statehood. However, the absence of a negotiating partner (Somalia) and geopolitical location suppresses the chances for international recognition.

This thesis represents an attempt to explain the phenomenon of secession through the role of political leadership in the Partition of India in 1947 and the secession of East Pakistan from West Pakistan in 1971. Although there is no single factor, which by itself, adequately explains secession, it is assumed in this thesis that political leadership, as one factor in many, is one of the more important, if not the most important, variables in understanding the occurrence of secession and of movements directed toward that goal. One of the two major hypotheses underlying this analysis is that the primary goal of political leaders is to obtain and maintain positions of political power and authority from where they can affect the polity which they seek to rule. The second hypothesis is that secession is a means or a leadership strategy in the struggle for authority whereby political leaders seek to gain their primary goal. Given this perspective on secession, the body of the thesis is concerned mainly with leadership interaction and with the bargains and negotiations between leaders which focus and limit their course of action in the struggle for authority. It is this narrowing down of alternative courses of action which ultimately propels leaders into adopting secessionist-oriented policies. / Arts, Faculty of / Political Science, Department of / Graduate

The aim of diploma thesis ,,Split of Sudan: Possible scenario for other African countries?" is to analyze internal and external causes of South Sudan's secession and to find out, if these causes have secessionist potential in the cases of Somaliland in Somalia and Biafra in Nigeria. Among the internal causes, we can find for example nationalism or human rights abuses, while the external causes are represented primarily by the role of international community. After South Sudan's declaration of indendence, many scholars what African countries were going to follow Sudan's scenario. For the same purpose, this thesis is aimed at analyzing the cases of Somalia and Nigeria or Somaliland and Biafra to be more precise. Somaliland has been de facto independent from Somalia since 1991 but it hasn't been recognized by any country yet. Although Biafra only exists on the paper, the local secessionist movement has been seeking an actualization of this political unit existing in the 1960s for many years now. First partial goal of this thesis is to analyze the secession of South Sudan according to set theories of secession and to create a hypothesis about suitable condiditons for other secessions. The rest of the thesis is dedicated to testing given hypothesis in the cases of Somaliland and Biafra.

Self-determination as a concept within political philosophy has developed exponentially in the last few decades. This thesis maps the most prominent conceptions and establishes three main arguments. Firstly, that self-determination is a universal right for all self-identified peoples. Secondly, that secession should not be universal, but instead is dependent on the level of cohesiveness of a given people, as well as historical or contemporary injustice. Third, that while Palestine does have a right to secession, there is a risk of neglecting the refugees and their right of return in the quest for statehood. Alternatives to secession, i.e. power-sharing solutions, are discussed as well, and applied to Palestine. Critiques of nationalism, intergenerational justice and group rights are evaluated as well.

No description available.

No description available.

Henry Clay once called John Janney the "first man of Virginia." Janney sat as the President of the Virginia Secession Convention, a meeting that would help decide the fate of the United States. The story of Janney is crucial to American history because the entire nation watched the convention to see which way Virginia would side. Janney's story can also help answer two questions that have long plagued civil war historians: why the South or Virginia seceded, and why southerners fought in the war. Janney was a stanch Unionist, and fought to stay in the Union until the end. Both times the Convention voted on the question of secession, he voted against it. However, in the end, when Virginia seceded Janney stayed loyal to his state. His insights give a rare look into the Convention proceedings, and human reaction to the outcomes. / Master of Arts

This thesis describes the history of the Southern unity movement beginning in the mid nineteenth century, with a focus on the legal and political conflicts that surrounded it.

In dieser Untersuchung wird zum ersten Mal der Versuch unternommen, die private und künstlerische Biografie der Malerin Hedwig Ruetz zu rekonstruieren. Über fünfzig Jahre nach ihrem Tod haben mir die Erben ermöglicht, bisher unbekanntes und unveröffentlichtes Material aus Hedwig Ruetz’ Nachlass zu sichten und auszuwerten. Vorgefunden wurden über 200 Ölgemälde, an die 600 Papierarbeiten mit Aquarellen und Zeichnungen, vier Skizzenblöcke, Gästebücher, Fotoalben, Einlieferungslisten bei Galerien sowie Alben mit Zeitungsartikeln über ihre Ausstellungen. Der Nachlass Hedwig Ruetz ist die wichtigste Quelle und das Fundament, auf dem meine Forschung ruht. Er belegt, dass Hedwig Ruetz eine begabte, wandlungsfähige und lebenslang produktive Künstlerin war. Das Ziel dieser Arbeit ist die erstmalige monografische Erfassung und Einordnung des künstlerischen Werks und die Rekonstruktion des Lebensweges der Künstlerin sowie die kunsthistorische Analyse und Kontextualisierung ihres Schaffens. Gleichwohl ist sie als eine erste Bestandsaufnahme angelegt, die den Grundstein für weitere Forschung legen soll. / Die vorliegende Arbeit basiert auf dem Nachlass der Künstlerin Hedwig Ruetz, der mir zur Erforschung übergeben wurde. Hedwig Ruetz kam nach ihrer Ausbildung an der privaten Zeichenschule für Frauen von Elise von Jung-Stilling in Riga, der Malerinnenschule in Karlsruhe und Stationen in München und Paris um 1902 nach Berlin und galt als Schülerin von Max Liebermann. Sie reüssierte als junge Künstlerin im Umfeld der etablierten Avantgarde der Berliner Secession: Ihre Arbeiten wurde nachweislich zwischen 1902 und 1910 mindestens fünf Mal in den Kunstausstellungen der Berliner Secession gezeigt, sowie 1910 und 1911 in Kollektivausstellungen im Salon Paul Cassirer. Auch in ihrer Heimatstadt Riga war sie ab 1899 in drei aufeinanderfolgenden Jahren in drei Kollektivausstellungen zu sehen sowie in einer Einzelausstellung im Kunstverein 1914. Von besonderer Bedeutung für ihren Werdegang war das Schülerinnen-Lehrerverhältnis zwischen ihr und Max Liebermann, das Hedwig Ruetz zeitlebens betont hat und zahlreichen zeitgenössischen Ausstellungsbesprechungen auftaucht. In diesem Kontext kann auch ihr Porträt „Bildnis Fräulein Hedwig Ruetz“, das Max Liebermann 1903 von ihr gemalt hat, neu bewertet werden. In ihm zeigt sich, dass er ihr Talent erkannt, sie gefördert hat und als ihr Mentor angesehen werden kann: Zum einen ist das Bildnis das erste familienferne Frauenporträt in Öl von seiner Hand, zum anderen verfolgte er mit ihm eine Ausstellungspraxis, die sowohl für ihn als auch für Hedwig Ruetz dienlich war: Er zeigte es werbewirksam für beide Seiten innerhalb von zwei Jahren in fünf Ausstellungen und die Presseresonanz war überwiegend positiv. Damit war Hedwig Ruetz von Anbeginn ihrer Laufbahn keine Unbekannte in der Kunstwelt; sie war als jene junge Künstlerin bekannt, die von Max Liebermann geschätzt wurde. Dessen Porträt von ihr war ihre „Eintrittskarte“ in die Berliner Kunstwelt im Umfeld der Secession. / This paper is based on the estate of the artist Hedwig Ruetz, which was entrusted to me for research. After her education at Elise von Jung-Stilling's private drawing school for women in Riga, the Malerinnenschule in Karlsruhe and stations in Munich and Paris, Hedwig Ruetz came to Berlin around 1902 and was considered a student of Max Liebermann. In the years that followed, the young artist was successful in the cultural environment of the established avant-garde of the Berlin Secession: Her work was shown at least five times between 1902 and 1910 in the art exhibitions of the Berlin Secession, as well as in 1910 and 1911 in collective exhibitions at the Salon Paul Cassirer. From 1899, she was in three consecutive years also on view in her hometown Riga in three collective exhibitions and in a solo exhibition at the Kunstverein in 1914. The student-teacher-relationship between her and Max Liebermann, which Hedwig Ruetz emphasized throughout her life and which was mentioned in numerous contemporary exhibition reviews, was of particular importance for her career. Her portrait "Portrait of Fräulein Hedwig Ruetz", painted by Max Liebermann in 1903, can also be re-evaluated in this context. It shows he recognized her talent, encouraged her and can be regarded as her mentor: First of all the portrait is the first oil portrait of a non-dependant woman, and further he pursued an exhibition practice with it which was useful for both–him and Hedwig Ruetz: he showed it in five exhibitions within two years, which was effective in advertising for both sides, and the press response was mostly positive. Therefore Hedwig Ruetz was no stranger to the art world from the beginning of her career; she was known as the young artist appreciated by Max Liebermann. Her portrait by his hand was her "ticket" to the Berlin art world surrounding the Berlin Secession.