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THE MOLOTOV-RIBBENTROP PACT AND IMPERATIVE NORMS IN INTERNATIONAL LAW
In: Proceedings of the Estonian Academy of Sciences. Humanities and Social Sciences, Band 39, Heft 2, S. 135
THE BALTIC STATES IN INTERNATIONAL RELATIONS IN 1925–1939; pp.175–183
In: Proceedings of the Estonian Academy of Sciences. Humanities and Social Sciences, Band 41, Heft 3, S. 175
SOVIET-GERMAN AGREEMENTS OF 1939 IN THE LIGHT OF INTERNATIONAL LAW
In: Proceedings of the Estonian Academy of Sciences. Humanities and Social Sciences, Band 39, Heft 2, S. 114
THE SOVIET-GERMAN SECRET PROTOCOLS OF 1939–1941 AND THEIR CONSEQUENCES IN THE CONTEXT OF INTERNATIONAL LAW
In: Proceedings of the Estonian Academy of Sciences. Humanities and Social Sciences, Band 39, Heft 2, S. 121
SECRET PROTOCOLS ТО THE SOVIET-GERMAN TREATIES OF 1939 AND THE PROBLEM OF PRESCRIPTION IN INTERNATIONAL LAW
In: Proceedings of the Estonian Academy of Sciences. Humanities and Social Sciences, Band 39, Heft 2, S. 126
EVALUATION OF THE SOVIET-GERMAN PACTS OF AUGUST 23 AND SEPTEMBER 28, 1939, FROM THE STANDPOINT OF INTERNATIONAL LAW
In: Proceedings of the Estonian Academy of Sciences. Humanities and Social Sciences, Band 39, Heft 2, S. 103
CORRELATION OF MONITORING AND CONTROL IN CONNECTION WITH INTERNATIONAL CO-OPERATION ON THE PROTECTION OF THE BALTIC SEA FROM LAND-BASED POLLUTION
In: Proceedings of the Estonian Academy of Sciences. Humanities and Social Sciences, Band 33, Heft 4, S. 306
Abkommen zwischen der Regierung der Bundesrepublik Deutschland und der Regierung der Republik Estland über kulturelle Zusammenarbeit: Saksamaa Liitvabariigi Valitsuse ja Eesti Vabariigi Valitsuse vaheline kultuurikoostöö leping
In: Bundesgesetzblatt. Teil 2, Heft 10, S. 445-453
ISSN: 2194-2005
World Affairs Online
Ljós í myrkri: Saga kvikmyndunar á Íslandi
In: Íslenskar kvikmyndir; Ritið, Band 19, Heft 2, S. 19-42
ISSN: 2298-8513
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.
Rennur blóð eftir slóð...
In: Kynbundið ofbeldi II; Ritið, Band 19, Heft 1, S. 169-183
ISSN: 2298-8513
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.