Suchergebnisse

Katalog einer Ausstellung zu den pakistanischen Stammesgebieten. Peshawar, Peshawar Museum, 27 November - 12 Dezember 2021. Pakistan zählt zu den ältesten Partnerländern des Bundesministeriums für wirtschaftliche Zusammenarbeit und Entwicklung (BMZ) in Asien. Bereits im Jahr 1961 wurden erste gemeinsame Projekte ins Leben gerufen. Entwicklungsinitiativen wurden über die vergangenen sechs Jahrzehnte hinweg immer wieder an neue Herausforderungen und sich verändernde soziale, wirtschaftliche wie auch ökologische Rahmenbedingungen angepasst. Ein Beispiel für die langjährige und vertrauensvolle Zusammenarbeit mit Pakistan ist das FATA-Entwicklungsprogramm, das die Deutsche Gesellschaft für Internationale Zusammenarbeit im Auftrag des BMZ und kofinanziert durch die Europäische Union in der Provinz Khyber Pakhtunkhwa im Nordwesten des Landes umsetzt. Hier arbeitet die GIZ seit 2009 eng mit ihren lokalen Partnerinnen und Partnern an der Verbesserung der Lebensbedingungen der Bevölkerung in den Stammesgebieten entlang der gebirgigen Grenze zu Afghanistan. In dieser heute "Merged Areas" genannten Region liegt ein besonderes Augenmerk auf der Verbesserung staatlicher Dienstleistungen in den Sektoren Bildung und Gesundheit sowie auf der Reintegration von Binnenvertriebenen. Durch die Förderung von Bürgerbeteiligung und Selbstverwaltung, wie auch eines staatlich-zivilgesellschaftlichen Dialogs zur Entwicklungsplanung, unterstützt das Programm die politische und administrative Integration der bis 2018 weitgehend autonomen und von zahlreichen Konflikten geprägten Stammesdistrikte in die Provinz Khyber Pakhtunkhwa. Die Region ist historisch und politisch bedeutsam. Mit dem Khyber-Pass liegt sie an der Schnittstelle zwischen West- und Südasien, was die einzigartige Kultur der Stammesgebiete bis heute prägt. Das Buch gibt nicht nur tiefe Einblicke in die Geschichte, Politik und in die reichen Traditionen der Menschen in dieser unruhigen Grenzregion, es legt auch ein beredtes Zeugnis über die facettenreiche Entwicklungszusammenarbeit zwischen Deutschland und Pakistan ab.

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.

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.