Suchergebnisse

Domestic and international research reveal the following fact: sometimes there are false identity parades behind justizmord cases. So, there is a crucial meaning of the legally and criminalistically correct implementation of the proofing act. In the light of this, the study examines its types, delimitation from confrontation, criteria, and tactical requirements.

The present case study points to the arguments of those lawsuits that lasted for years, which resulted multilingual town nameplates on the city limits of Cluj-Napoca, after decades of omissions. In addition to describing the related rules of both domestic and international law, the study not only explores the legal arguments developed on the basis of them but also points out the controversial points of the regulation and the omissions of the Cluj-Napoca municipality. It also presents the activities of civic initiatives and organizations that, in addition to legal conditions and mere statistics, demonstrate a real societal need for multicultural cooperation and peaceful coexistence.

This essay offers a succinct but comprehensive overview of Icelandic cinema from its early 20th-century emergence to the present day. Split into two parts, the first half focusses on filmmaking in Iceland prior to the founding of the Icelandic Film Fund in 1978, which was to establish a continuous local film production for the first time. Prior to that filmmaking in Iceland boiled down to the occasional efforts of local amateurs, albeit often quite skilled ones, and professional filmmakers visiting from abroad. Indeed, the few silent feature films made in the country all stemmed from foreign filmmakers adapting Icelandic literature and taking advantage of its photogenic landscapes. The first Icelandic feature was not made until 1948 and although immensely popular, like those that followed in its wake, the national audience was simply too small to sustain filmmaking without financial support. Although this changed fundamentally with the Icelandic Film Fund, which instigated contemporary Icelandic cinema and the subject of the essay's second half, the Fund's support proved insufficient as the novelty of Icelandic cinema began to wear off at the local box office in the late 1980s. The rescue came from outside sources, in the form of nordic and European film funds, whose support was to transnationalize Icelandic cinema in terms of not only financing and production but also themes and subject material. These changes are most apparent in Icelandic cinema of the 1990s which also began to garner interest at the international film festival circuit. In the first decade of the twenty first century, however, American genre cinema began to replace the European art film as the typical model for Icelandic filmmakers. Hollywood itself also began to show extensive interest in Icelandic landscapes for its runaway productions, as did many other foreign film crews. In this way Icelandic cinema is increasingly characterized by not only national and transnational elements but also international ones.

The present study follows the relationship between the employer brand identity of Romanian IT companies and the employee expectations of the workforce employed in the IT sector. The expectations of employees interested in the Romanian IT sector were summarized on the basis of a review of the international and Romanian literature. The examination of the employer brand identity of Romanian IT companies was based on a combined content analysis of the websites of 110 Romanian IT companies. Based on the analysis, it can be concluded that the talented workforce is looking for a job where its employee expectations are met to the greatest extent. Results also show that almost half of the Romanian IT companies barely take into account employee needs from different segments of the workforce. The study can be a starting point for brand managers working on employer brand design and development in the IT sector.

In our study, we attempt to provide a broad picture about the views of those authors who assessed the nationality concept of Ferenc Deák and József Eötvös, and through this analysis we would clarify how diverse approaches of the same issue might exist within the academic literature. We rely on the main relevant sources drafted under different political regimes: from the dualist period, Béla Grünwald, Lajos Mocsáry, and Oszkár Jászi are highlighted; from the era between the two world wars, Gyula Szekfű, Imre Mikó, and Kálmán Molnár will be cited; while the communist approach would be represented by Erzsébet Fazekas and Gábor Kemény G. Apart from the most influential Hungarian scholars, some authors from the neighbouring countries and the mainstream contemporary international literature on the status of national minorities will be also referred to. The core of our research is not the evaluation of the 1868 Act on nationalities or its application itself but the ex-post assessment of the political nation concept provided by Deák and Eötvös, which was a point of reference for the whole contemporary Hungarian political community and which also determined the logic of the 1868 Act on nationalities.

This article discusses the phenomenon of self-harming or "non-Suicidal Self-In-jury" (nSSI). The International Society for the Study of Self-Injury defines non-sui cidal self-injury as the deliberate, self-inflicted damage of body tissue without suicidal intent and for purposes not socially or culturally sanctioned." The article discusses the cultural and social representations of self-injury, what is implied in it, who engages in it, and for what reasons. A lot can be deduced from interviews with self-harmers who use it to gain control over bad feelings and stress, by hurting their body and participating in risky behaviour. This dangerous activity often has more complicated sides with reference to rituals and spiritual associations to bloodletting, cleansing of all evil and healing, absolution and much wanted peace of mind. Finally, the changes in self-harming discourse and channels of communication are discussed. It has opened up during the last two decades with the arrival of social media. The self-harmers have built their own subcultures with special aesthetics and often preferring theatrical staging or performances instead of verbal expres-sion. These channels can have an uncanny power and influence over young and vulnerable people. The conclusion of the article is that all this requires an informed discussion as a special world, a special angst which is expressing itself in ways that might develop into suicidal behaviour if it is not taken seriously.