Suchergebnisse

Introduction / Koenraad Verboven, Olivier Hekster -- Culture politique imperiale et pratique de la justice : regards croises sur la figure du prince "injuste" / Stephane Benoist, Anne Gangloff -- The decreta and imperiales sententiae of Julius Paulus : law and justice in the judicial decisions of Septimius Severus / Elsemieke Daalder -- The value of the stability of the law : a perspective on the role of the emperor in political crises / Francesco Bono -- Legal education, realpolitik, and the propagation of the emperor's justice / Matthijs Wibier -- Koinoi nomoi : Hadrian and the harmonization of local laws / Juan Manuel Cortes-Copete -- Justice, res publica and empire : subsidiarity and hierarchy in the Roman empire / Frederic Hurlet -- Substantive justice in provincial and Roman legal argument / Clifford Ando -- Zwischen Theorie und Wirklichkeit : Romische Sicherheitsgesetze und ihre Realisierung / Peter Herz -- Geschlechterrollen im romischen Erbrecht im Spiegel des zeitgenossischen Gerechtigkeitsverstandnisses und am Beispiel der lex Voconia / Elena Kostner -- La femme : objet et sujet de la justice romaine / Pilar Pavon Torrejon -- The spectacle of justice in the Roman Empire / Margherita Carucci.

This paper aims at defining the concept of "geopolitical space of the geopolitics of the Sea" and it analyses the way it is constructed. Given that the notion of geopolitical space in the general sense has been largely neglected in contemporary geopolitical theory, this is not a simple task. The paper deals with a physical space of the World Sea and utilizes the theory of modern human geography in which space is understood as a product of human activity. We argue that there is a significant connection between geopolitics of the Sea and the academic discipline of the International Law of the Sea. This link is taken as the basis for the discussion regarding geopolitical space, which encompasses three teleological elements: the fulfillment of the paper's main objective; the argument regarding the connection of Geopolitics of the Sea with the International Law; and, finally, presenting the political science context of the codification of the modern International Law of the Sea. By using earlier studies, the paper analyses the geopolitical space through ideas of construction within dichotomy, as well as through the process of establishing a community within the international framework. The paper also offers our own theory according to which the geopolitical space is the space of manifestation of geopolitical phenomena. ; Temeljni je cilj rada prikazati na koji način nastaje i šta zapravo jeste "geopolitički prostor geopolitike mora". Argumentacija nije bila jednostavna jer je geopolitički prostor kao pojam u općem smislu zanemaren u recentnoj geopolitičkoj teoriji. U diskusiji smo se bavili fizičkim prostorom Svjetskog mora te koristili teorijom suvremene humanističke geografije u kojoj je prostor proizvod društvene djelatnosti. Iznijeli smo stav da je geopolitika mora posebno disciplinarno povezana s međunarodnim pravom mora. To smo, dalje, iskoristili kao poligon za raspravu o geopolitičkom prostoru, i to s tri teleološka elementa: ispunjenje osnovnog cilja rada; argumentacija veze s pravom; te prikaz politološkog konteksta procesa kodifikacije suvremenog međunarodnog prava mora. Geopolitički prostor smo ispitali kroz postojeće ideje konstrukcije unutar dihotomije, te pri uspostavi zajednice u međunarodnom okviru. Ponudili smo i vlastitu teoriju po kojoj je geopolitički prostor prostor manifestacije geopolitičkih fenomena.

Δεν παρατίθεται περἰληψη στα ελληνικά. ; Lina Venturas – Dimitria Groutsis, The Cold War and international migration regulation: The establishment of the Intergovernmental Committee for European Migration The immediate post WWII period saw the establishment of the Inter-governmental Committee for European Migration (ICEM) (now International Organisation for Migration, IOM), as a key organisation in the management of post WWII migration. This paper examines the debates and policies surrounding the creation of the ICEM as an agent responsible for the facilitation and administration of labour migration from parts of Europe to a variety of overseas countries. At the conclusion of the Second World War, the problems surrounding 'surplus population' and unemployment in Europe were discussed in many international forums. It was from these discussions that a consensus emerged which saw emigration as a viable solution. To this end, in 1951, the International Labour Organisation convened a Migration Conference in Naples, bringing together key stakeholders. The Naples Conference failed, an outcome driven mainly by the US. The US was particularly concerned with economic stagnation and mounting social unrest related to the 'surplus population' in European countries in this Cold War period. At the same time however, it strived at limiting international influence over migration and refugee policies and on receiving countries retaining their sovereign immigration policies. In spite of the disagreements and through a process of negotiation, the US subsequently led the creation of an intergovernmental body, which was established at a conference convened in Brussels in 1951. This newly formed organisation, initially named the Provisional Intergovernmental Committee for the Movement of Migrants from Europe (PICMME), was open only to states with a 'liberal' political regime and had specifically designed functions based on inter-governmental negotiations. The US ensured its predominance in the organization through budgetary control and other means. In 1953, the PICMME became a permanent 'fixture' of migration regulation and was renamed the Intergovernmental Committee for European Migration (ICEM). Hereafter, ICEM offered operational and financial assistance for migrants' transportation, language training, reception facilities, settlement services and labour market placement.

Δεν παρατίθεται περίληψη στα ελληνικά. ; Alexandros N. Teneketzis, Art and Politics in Cold War. The International Sculpture Competition for the Monument to the Unknown Political Prisoner The gradual transfer of the metropolis of the western art world from Paris to New York and specifically in circles around the Museum of Modern Art (MOMA) under the leadership of Alfred H. Barr Jr. and with the theoretical foundation by Clement Greenberg, but practically under the guidance and financing from the CIA, was also visible in the case of public memory and art about the Second World War. The international institution that was the cause for the widespread diffusion of the artistic standards grown in USA was the "International Sculpture Competition for the Monument to the Unknown Political Prisoner", which was organized under the auspices of the Institute of Contemporary Arts (ICA) in London and the Tate Gallery, but actually with the encouragement, blessings and supervision of the CIA. The competition was from the beginning a large turnout and the proposals submitted until January 1953 surpassed 3.500 –mainly abstract or semi­abstract stylistic suggestions. The biggest names at the time in the international arena of sculpture in West took part, while artists from the Eastern Bloc boycotted the process. Therefore were precluded any realistic academic representative works and of course any relationship with socialist realism, giving thus the tone for both the style, and for all other future monuments in the western world. Eventually, the first prize of 2.500 pounds awarded to the British sculptor Reg Butler, unknown to the general public until that time but with a decisive commitment to abstraction. However, the work of Butler was never completed, principally because of the changing international circumstances and relationships after the death of Stalin in '53 and Khrushchev's secret speech in '56. The new "Thaw" era in East­West relations imposed the final rejection in 1960. A public monument like that of Butler's, which would refer to the previous tense situation, was no more possible. Nevertheless, the dual objective of recognition and legitimization of abstract art in the western world and at the same time of the weakening of socialist realism and therefore of communism was promoted and achieved up to a certain degree.