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Gewiss, die Verbrechen des Abendlandes sind Legion. Und doch ist es das Land, wo die bösen Dinge einen Paradieses-Schatten werfen. Mein Abendland erschöpft sich nicht im Terror des Geschichtlichen. Es ist nicht das Land einer Verkommenheit namens Establishment, das seine Machenschaften der armen dummen verführbaren Masse als Gemeinwohl auftischt. Stattdessen ist es das Land des Menschenmöglichen: der unverbrüchlichen Rechte des Menschen und einer würdigen Gemeinschaft der Gleichen. Meinem Abendland erwächst der höchste ethische Gedanke: die Menschheit als Gemeinschaft der Völker, die umeinander besorgt sind. Mein Abendland ist das Land der ort-losen Sehnsucht: Die Gewalt und das Böse mögen für immer von uns weichen! Im Morgengrauen lässt uns dies unerreichbar Nahe auf ein gutes Ende aller Tage hoffen: darauf, dass unsere unglücklichen, gequälten Seelen endlich Ruhe finden.
Establishment --- Gemeinschaft --- Gesellschaftsanalyse --- Menschheit --- Sehnsucht --- Terror --- Zeitanalyse --- Völker
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In a moment of intense uncertainty surrounding the means, ends, and limits of (countering) terrorism, this study approaches the recent theatres of war through theatrical stagings of terror. Theatre on Terror: Subject Positions in British Drama charts the terrain of contemporary subjectivities both 'at home' and 'on the front line'. Beyond examining the construction and contestation of subject positions in domestic and (sub)urban settings, the book follows border-crossing figures to the shifting battlefields in Iraq and Afghanistan. What emerges through the analysis of twenty-one plays is not a dichotomy but a dialectics of 'home' and 'front', where fluid, uncontainable subjects are constantly pushing the contours of conflict. Revising the critical consensus that post-9/11 drama primarily engages with 'the real', Ariane de Waal argues that these plays navigate the complexities of the discourse - rather than the historical or social realities - of war and terrorism. British 'theatre on terror' negotiates, inflects, and participates in the discursive circulation of stories, idioms, controversies, testimonies, and pieces of (mis)information in the face of global insecurities.
English drama --- Theater --- History and criticism. --- History --- 9/11. --- Contemporary British Theatre. --- Drama. --- Subject Positions. --- Terror.
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TERROR -- 301.182.3 --- YOUNG PEOPLE -- 301.182.3 --- INNOVATION -- 301.182.3
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Erebus (Ship) --- Terror (Ship) --- John Franklin Arctic Expedition --- Northwest Passage --- Canada, Northern --- Discovery and exploration --- British.
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Negli ultimi tre anni l’Europa e il Nord America sono state colpite da un’ondata senza precedenti di attacchi terroristici, eseguiti da individui ispirati dall’ideologia jihadista. Chi sono gli autori di questi attentati? Sono nati e cresciuti in Occidente o sono rifugiati e migranti? Come si sono radicalizzati? Erano ben istruiti e integrati o, al contrario, vivevano ai margini della società? Hanno agito da soli? Quali erano le loro connessioni con lo Stato Islamico? Rispondere a questi e altri interrogativi è utile per comprendere la natura e la portata della minaccia e per riuscire a individuare soluzioni politiche adeguate, basate sull’evidenza empirica. Lo studio – il primo di questo tipo – mira ad analizzare il profilo demografico, le traiettorie di radicalizzazione e i legami con lo Stato Islamico degli individui che hanno compiuto attacchi di matrice jihadista in Europa e Nord America dalla proclamazione del sedicente Califfato nel giugno del 2014.
Terrorism --- Acts of terrorism --- Attacks, Terrorist --- Global terrorism --- International terrorism --- Political terrorism --- Terror attacks --- Terrorist acts --- Terrorist attacks --- World terrorism --- Direct action --- Insurgency --- Political crimes and offenses --- Subversive activities --- Political violence --- Terror
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La "terreur" est une notion inspirée de l'histoire de France abondamment déclinée dans le monde : terreur rouge, terreur brune, terreur islamiste... alors que les historiens ne s'accordent toujours pas sur la nature de cet épisode de la Révolution française. S'il est admis que la Terreur prend fin le 10 thermidor an II (28 juillet 1794), avec l'exécution de Robespierre, une multitude de questions demeurent. Quand a-t-elle réellement débuté ? Qui a utilisé le terme, et dans quel but ? Doit-on l'écrire avec une majuscule ? Est-elle le produit d'une politique ou la conséquence de la vacance du pouvoir ? A-t-elle été inventée pour disqualifier Robespierre, voire toute l'oeuvre de la Révolution ? A-t-elle été plus meurtrière que les crises contemporaines, en Europe et en Amérique ? Plus de deux cents ans après les faits, il est temps de faire le tri entre la légende et la vérité, afin de mieux comprendre ce que fut la Révolution, période clé de notre histoire nationale.
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