This thesis is a political history of the trials of wartime collaborators in Norway after 1945. It offers a first scholarly investigation into the central actors behind these trials, looking at the ways in which Norwegian authorities planned, implemented and interpreted the 'reckoning' with wartime collaborators between 1941 and 1964. In doing so, it evaluates the broader political purposes the trials served, how these changed over time, and the mechanisms that brought about these changes. The analysis distinguishes between 'internal' and 'external' influences on the trials. 'Internal' influences are understood to be both the inherent doctrinal and institutional limitations of the law, as well as the personal and political convictions found within the authorities that governed the trials. 'External' influences meanwhile constitute the broader public attitudes and debates surrounding the trials in politics, the media and civil society. This thesis therefore seeks to deepen our understanding of the trials in two ways. Firstly, it goes beyond existing scholarship by focusing not on questions of 'morality' and 'justice', but instead on competing institutional dynamics and political representations of legitimacy and authority. Secondly, unlike most previous scholarship, it provides an encompassing account of the policy decisions underlying the trials by looking at the full timespan of the Norwegian authorities' administrative engagement with them, from their initial conceptualisation to the handling of their legacy. Thereby, individual decisions and events can be seen in relation to one another, allowing us to understand what purposes the trials served at different stages of their implementation, and how legal and administrative measures related to their political purposes. In response to previous scholarship on the trials, this thesis argues that the driving agent of the trials was not the static agenda of any one institution or group, but that their final shape was the result of the complex interaction of demands for legal consistency with a rapidly changing political and social context, both at the national and the international level.

No description available.

Magister Artium - MA / Between the 1917 Russian Revolution and demise of the Soviet Union, the communist Other, as godless deviant and arch enemy of the capitalist state, inhabited a specific space in the minds and imaginations of much of the Western world. S/he was one to be feared, one to be guarded against, and if possible, one to be suppressed by political, ideological, or military means. Such conditions contributed to the widespread suppression and banning of communist and communist aligned organisations. In South Africa this coincided with the rise of Afrikaner nationalism, and the consolidation and reconfiguration of 'white' supremacy in the form of apartheid. After a marginal National Party (NP) victory in 1948, the Suppression of Communism Act (1950) and the 'Rooi Gevaar' became synonymous with dissent and revolution within and beyond the apartheid state. For example, it was on these grounds that a series of high profile political trials – the Treason, Rivonia, and Fischer Trials – would be fought and lost on the first occasion. Each trial was based upon the assertion that the accused were communists or involved in a Soviet conspiracy that intended to depose the apartheid government through violent revolution. Conversely, communism is now popularly invoked in relation to narratives of struggle and the ‘triumph of the human spirit over adversity', in which new and now old allies defeated the evil of apartheid, and ushered in an era of freedom, democracy, and reconciliation. As a result, communism and the SACP (the dominant political organisation associated with communism) have been incorporated into national histories that narrate the African National Congress' (ANC's) struggle and victory over apartheid, which culminated in Nelson Mandela and other political leaders returning to supposedly fulfil their destiny by ‘freeing the people’ from totalitarian rule.Having said this, I argue that the suppression of communism goes far beyond the limiting horizons of popularised political and ideological discourse, or indeed, violent acts of torture and murder directed towards those deemed to be a threat to the ‘nation’. In other words, debates surrounding communism are not merely representative of the state’s oppressive policies towards anti-apartheid activists, the global conflict between capitalism and communism, or popular narratives of suffering and struggle against apartheid. Alternatively, they were (and are) intimately linked with a nation-building project which, unlike violence sanctioned by the state or reconciled – at least on the surface – through symbolic acts like the Truth and Reconciliation Commission (TRC), has been difficult to exorcise, come to terms with, and diminish in the contemporary. Put another way, although communism is intrinsically associated with the class struggle and class politics in South Africa, it was in fact driven by and interwoven with racist ideologies upon which apartheid and British colonialism before that were founded. With these debates in mind, this mini-thesis will attempt to remove communism from conventional discourses and re-place it within debates surrounding nation-building, and the formation of different subjectivities. This will be carried out not only as an attempt to "overcome the limitations of ideology" and further deconstruct legacies of oppression and violence, but also to think with the ways in which different groups perceive, mobilise and appropriate ideology as a means to foreclose resistance and reaffirm and maintain nationalist hierarchies of power within society. This mini-thesis will begin by exploring the ways in which communism has been perceived in South Africa. More specifically, it will consider how the idea of communism was mobilised and appropriated in relation to apartheid's nation-building project. It will also thematically engage with the ways in which mythologies surrounding communism traversed the supposedly rational and irrational worlds, and, in the latter stages of this mini-thesis, will attempt to develop an argument – using Bram Fischer as subject – based upon Jacques Derrida’s notion of the communist spectre, and the importance of the messianic or, more importantly, the prophet in history. / Centre for Humanities Research (CHR), University of the Western Cape

Can Americans who join terrorist organizations and fight against United States troops be charged with treason? Does the January 6th riot in Washington D.C. constitute “levying war”? Despite ongoing acts of levying war, and providing aid and comfort to enemies, the United States has not had a treason conviction since the 1950's. Courts and prosecutors actively avoid the charge, leading to a substantial lack of case law and legal guidance. Today, legal scholars disagree on how the Treason Clause should be applied. In this thesis, I discuss the disappearance of treason, and analyze opposing views on how the treason charge should be utilized in the twenty-first century. Specifically, I argue that treason holds significant constitutional importance, and should return as a viable charge in criminal law.

Not available / text

Thèse--Lyon. / "Bibliographie": p. [215]-217.

No description available.

The theme of this dissertation is the "Political trial with Dagmar Šimková and others". The aim of my work was to deal with this case of a young condemned in a political trial, to observe it in a larger context and to describe in general an important period of Czechoslovakia history, the fifties and sixties of 20th century on this concrete example. In my work I dealt with four hypothesis. The first one was that the case of Dagmar Šimková as a part of a larger action called "Deserters" was provocated by States security. Second hypothesis was that there was no statewide organised spy group lead by Bohumil Klíma or anyone else whose Dagmar Šimková had been a member and that there were only many people who - in some cases - only knew each other and with no other intention helped two deserters to hide. The third hypothesis I set in my work was that the trial was a political one which fulfiled the main characteristics of a political trial. And the last hypothesis I worked with was that althoug Dagmar Šimková was sentenced in a political trial, she intentionally did an illegal activity she was sentenced for. However, her social dangerousness was not as big as it was described in the sentence. The disertation is divided into three main parts. In the first part, I tried to focus in general on the basis which...

A traição é um tema que temos estudado já faz algum tempo, utilizando como fontes as Canções de Gesta, um gênero literário poético corrente nas regiões que compunham o reino da França, entre o século XI e o século XV. O período áureo dessa poesia coincidiu com o governo da dinastia conhecida como dos Capetos diretos, cujo reinado e sucessão de pai para filho persistiu sem interrupção de 987 até 1328. Criadas e difundidas nos diversos senhorios territoriais da França, em especial no norte do reino, as Canções de Gesta tratavam em seus enredos de vários problemas de ordem moral e política vigentes na época. Em uma sociedade cuja coesão, ao menos na sua camada governante, era baseada na fidelidade e na criação de laços vassálicos, a traição constituía uma grave ameaça à estabilidade e à paz. Tanto a moral cristã quanto a moral cavaleiresca condenavam quem a praticasse, mas isso não evitou a sua constante ocorrência. Estudamos cinco poemas épicos: a Chanson de Roland (c. 1100), o Girart de Vienne (1180-1185), o Renaut de Montauban (início do século XIII), o Gaydon (1230- 1240) e o Jehan de Lançon (metade do século XIII). O Roland, sendo o mais antigo desses poemas, apresenta um monarca respeitado e difere dos poemas posteriores, cujos enredos valorizam os personagens conhecidos desde o século XIX como Vassalos Rebeldes. Da análise da traição nessa poesia e da relação entre vassalos e o rei pudemos extrair alguns pontos importantes. De início o ligado à questão vocabular, pois traïson / traïtre / traïr designam um dos mais graves crimes ali descritos, graças a sua ligação com a tradição neotestamentária da entrega de Jesus por Judas Iscariotis, suplantando outros termos de origem latina ou não (proditio, felonie). Nas Canções, a traição é dirigida primeiramente contra os barões e cavaleiros sendo os seus executores da mesma condição social de suas vítimas. Só tardiamente ela denomina um atentado contra o monarca. Outro ponto é a defesa, nos poemas, do direito à guerra ao senhor caso este não cumprisse suas obrigações de justiça para com seu vassalo. Assim, os heróis em luta contra Carlos Magno não eram mostrados pelo poeta como traidores e sim como vítimas de uma perseguição. Esses cavaleiros conservavam o respeito pelo seu senhor e aspiravam ser perdoados e reintegrados à corte régia. A responsabilidade pelas traições era direcionada para uma linhagem específica, a de Ganelon, responsável pelo desastre de Roncesvales na Chanson de Roland. Mas se aqui a traição fora um crime individual, desde fim do século XII há um trabalho de readaptação no qual o fato de se pertencer a essa família já tornava o personagem passível de ser um traidor. As suas traições podiam ir da falsa acusação até ao envenenamento de outros personagens. A prova da traição se dava frequentemente através do duelo judicial e os culpados, além de condenados à morte, podiam ter os corpos destruídos para evitar a ressurreição no final dos tempos. / Treason is a theme that we have been studying for some time, using as sources the Songs of Geste, a poetic genre current in the regions that made up the Frances kingdom, between the eleventh and the fifteenth centuries. That poetrys golden period coincided as the dynasty of government known as the \"direct Capetian\" which reign and father to son succession persisted without interruption from 987 to 1328. Created and disseminated in the various Frances territorial manorials, especially in the northern kingdom, the Songs of Geste treated in their plots of various problems of moral and political force at that time. In a society whose cohesion, at least in its ruling layer, was based on loyalty and creating vassalian ties, treason constituted a serious threat to stability and peace. Both Christian morality as the moral chivalry condemned those who practiced it, but that did not stop their constant occurrence. We studied five epic poems: the Chanson de Roland (C1100), the Girart de Vienne (1180-1185), the Renaut de Montauban (early thirteenth century), the Gaydon (1230-1240) and Jehan de Lançon (half of the century XIII). Roland, is the oldest of those poems, has a respected monarch, and differs from the later poems whose plots value the characters known since the nineteenth century as \"Vassals Rebels\". From the analysis of treason in this poetry and the relationship between vassals and the king, we could draw some important points. Initially the connected to the vocabulary question because traïson / traître / traïr designate one of the most serious crimes described there, thanks to its connection with the neo testamentary tradition of Jesus delivery by Judas Iscariot, supplanting other terms Latin or not (proditio, felonie). In Chansons, the treason is primarily directed against the barons and knights and the executors are of the same social condition of their victims. Only belatedly it calls an attack against the monarch. Another point is the defense, in the poems, from the right to the war to the lord if he does not achieve his justices obligations to his vassal. Thus, the heroes in the fight against Charlemagne were not shown by the poet as traitors but as victims of persecution. Those knights keep respect for their master and aspire to be forgiven and reintegrated to the royal court. Responsibility for treason is directed to a specific lineage, that of Ganelon, responsible for Roncesvales disaster in the Chanson de Roland. But if here the treason was an individual crime, since the end of the twelfth century there is a readjustment work in which the fact of belonging to that family already makes the character capable of being a traitor. Their treasons can go from false accusation to the poisoning of other characters. The proof of treason is often done through the judicial duel and the guilty, beyond sentenced to death, they might have their bodies destroyed to prevent the resurrection at the end of time.

A traição é um tema que temos estudado já faz algum tempo, utilizando como fontes as Canções de Gesta, um gênero literário poético corrente nas regiões que compunham o reino da França, entre o século XI e o século XV. O período áureo dessa poesia coincidiu com o governo da dinastia conhecida como dos Capetos diretos, cujo reinado e sucessão de pai para filho persistiu sem interrupção de 987 até 1328. Criadas e difundidas nos diversos senhorios territoriais da França, em especial no norte do reino, as Canções de Gesta tratavam em seus enredos de vários problemas de ordem moral e política vigentes na época. Em uma sociedade cuja coesão, ao menos na sua camada governante, era baseada na fidelidade e na criação de laços vassálicos, a traição constituía uma grave ameaça à estabilidade e à paz. Tanto a moral cristã quanto a moral cavaleiresca condenavam quem a praticasse, mas isso não evitou a sua constante ocorrência. Estudamos cinco poemas épicos: a Chanson de Roland (c. 1100), o Girart de Vienne (1180-1185), o Renaut de Montauban (início do século XIII), o Gaydon (1230- 1240) e o Jehan de Lançon (metade do século XIII). O Roland, sendo o mais antigo desses poemas, apresenta um monarca respeitado e difere dos poemas posteriores, cujos enredos valorizam os personagens conhecidos desde o século XIX como Vassalos Rebeldes. Da análise da traição nessa poesia e da relação entre vassalos e o rei pudemos extrair alguns pontos importantes. De início o ligado à questão vocabular, pois traïson / traïtre / traïr designam um dos mais graves crimes ali descritos, graças a sua ligação com a tradição neotestamentária da entrega de Jesus por Judas Iscariotis, suplantando outros termos de origem latina ou não (proditio, felonie). Nas Canções, a traição é dirigida primeiramente contra os barões e cavaleiros sendo os seus executores da mesma condição social de suas vítimas. Só tardiamente ela denomina um atentado contra o monarca. Outro ponto é a defesa, nos poemas, do direito à guerra ao senhor caso este não cumprisse suas obrigações de justiça para com seu vassalo. Assim, os heróis em luta contra Carlos Magno não eram mostrados pelo poeta como traidores e sim como vítimas de uma perseguição. Esses cavaleiros conservavam o respeito pelo seu senhor e aspiravam ser perdoados e reintegrados à corte régia. A responsabilidade pelas traições era direcionada para uma linhagem específica, a de Ganelon, responsável pelo desastre de Roncesvales na Chanson de Roland. Mas se aqui a traição fora um crime individual, desde fim do século XII há um trabalho de readaptação no qual o fato de se pertencer a essa família já tornava o personagem passível de ser um traidor. As suas traições podiam ir da falsa acusação até ao envenenamento de outros personagens. A prova da traição se dava frequentemente através do duelo judicial e os culpados, além de condenados à morte, podiam ter os corpos destruídos para evitar a ressurreição no final dos tempos. / Treason is a theme that we have been studying for some time, using as sources the Songs of Geste, a poetic genre current in the regions that made up the Frances kingdom, between the eleventh and the fifteenth centuries. That poetrys golden period coincided as the dynasty of government known as the \"direct Capetian\" which reign and father to son succession persisted without interruption from 987 to 1328. Created and disseminated in the various Frances territorial manorials, especially in the northern kingdom, the Songs of Geste treated in their plots of various problems of moral and political force at that time. In a society whose cohesion, at least in its ruling layer, was based on loyalty and creating vassalian ties, treason constituted a serious threat to stability and peace. Both Christian morality as the moral chivalry condemned those who practiced it, but that did not stop their constant occurrence. We studied five epic poems: the Chanson de Roland (C1100), the Girart de Vienne (1180-1185), the Renaut de Montauban (early thirteenth century), the Gaydon (1230-1240) and Jehan de Lançon (half of the century XIII). Roland, is the oldest of those poems, has a respected monarch, and differs from the later poems whose plots value the characters known since the nineteenth century as \"Vassals Rebels\". From the analysis of treason in this poetry and the relationship between vassals and the king, we could draw some important points. Initially the connected to the vocabulary question because traïson / traître / traïr designate one of the most serious crimes described there, thanks to its connection with the neo testamentary tradition of Jesus delivery by Judas Iscariot, supplanting other terms Latin or not (proditio, felonie). In Chansons, the treason is primarily directed against the barons and knights and the executors are of the same social condition of their victims. Only belatedly it calls an attack against the monarch. Another point is the defense, in the poems, from the right to the war to the lord if he does not achieve his justices obligations to his vassal. Thus, the heroes in the fight against Charlemagne were not shown by the poet as traitors but as victims of persecution. Those knights keep respect for their master and aspire to be forgiven and reintegrated to the royal court. Responsibility for treason is directed to a specific lineage, that of Ganelon, responsible for Roncesvales disaster in the Chanson de Roland. But if here the treason was an individual crime, since the end of the twelfth century there is a readjustment work in which the fact of belonging to that family already makes the character capable of being a traitor. Their treasons can go from false accusation to the poisoning of other characters. The proof of treason is often done through the judicial duel and the guilty, beyond sentenced to death, they might have their bodies destroyed to prevent the resurrection at the end of time.