The role and place of public diplomacy in international relations, peace and stability, and the strengthening of mutual relations among nations are constantly increasing in the context of globalization. People's diplomacy plays an important role in shaping friendly relations between Uzbekistan and the international community with political, diplomatic and economic ties. In the development of public diplomacy, scientists, science and culture representatives, educational institutions, public and religious organizations, as well as public associations founded by fellow citizens, play a key role in the development of public diplomacy. The article aims to provide a systematic illustration of the history of cooperation of the Republic of Uzbekistan with Germany within the framework of public diplomacy. It follows from the following tasks: The Role of Public Diplomacy in Foreign Policy of Uzbekistan; Opening of the main directions of the German cooperation in the field of public diplomacy; The role of societies in the cooperation of the Republic of Uzbekistan with public diplomacy with Germany. The research has been used in the analysis, synthesis, history, logic research ways. The external mining partnership, formed in connection with public diplomacy, has given its results in the short run. In 1992, the Ministry of Culture of the Republic of Uzbekistan received 36 representatives from 9 countries (England, Germany, Israel, India, Malaysia, Turkey, USA, France and JAR). In 1993, about 160 countries recognized the independence of Uzbekistan and established diplomatic relations with 60 countries. In 1993, The First President of the Republic of Uzbekistan Islam Karimov visited Germany, France, England, the Netherlands, Japan and India. As a result of the visit, an agreement on cultural cooperation was signed with India, Turkey, Germany, France, Great Britain and China. The development of public diplomacy has played a significant role in the Uzbek Culture Days in Germany and the German Cultural Days in Uzbekistan. At the same time, the role of art and theater days in the countries in the development of cooperation between two countries in the sphere of culture was particularly significant. The role of friendship societies and cultural centers in the development of bilateral relations between two states in Eurasia – Germany and Uzbekistan is immense. The role of "Uzbekistan-Germany" Friendship Society and "Germany-Uzbekistan" societies, which unite representatives of two nations in the development of cooperation within the framework of people diplomacy are unique.
In the articleUzbekistan's accession to international documents developed and adopted within the framework of UNESCO contributes to the international legal protection of our cultural heritage by the world community, Uzbekistan's scientific potential, science, culture, historical programs, unique archeological and architectural complexes, national and spiritual masterpieces. Along with the wide range of opportunities to promote and increase the effectiveness of their work in this area, the further development of our legislation in this area, as well as the further development of education, science, culture, information and communication technologies in Uzbekistan. and focuses on opportunities to help it stay strong in its place among influential states. The reason is that the state independence of Uzbekistan is a legitimate result of the hard and arduous struggle of our people for many years. Now the fate of our people is in their hands, they are working hard to strengthen the independence of their country. As an independent state, Uzbekistan has become a party to international conventions and influential world organizations such as the UN, OSCE and ILO. Since gaining its independence, Uzbekistan has taken the path of establishing and developing interstate relations with influential countries around the world, defining the main directions of foreign policy and finally joining UNESCO, one of the 15 specialized organizations of the United Nations. The results of the cooperation since its accession in October to the present are described in the article. The article also covers the relations of our country with UNESCO and its history during the period of national independence. Finally, Uzbekistan's integration into the world community, mutually beneficial political, diplomatic, economic and cultural ties with the world's largest, developed countries are widely covered. The most important thing is that in a short historical period, Uzbekistan has taken a worthy place in the world community, rising to the level of a state with its own independent voice on global issues.
In the articleUzbekistan's accession to international documents developed and adopted within the framework of UNESCO contributes to the international legal protection of our cultural heritage by the world community, Uzbekistan's scientific potential, science, culture, historical programs, unique archeological and architectural complexes, national and spiritual masterpieces. Along with the wide range of opportunities to promote and increase the effectiveness of their work in this area, the further development of our legislation in this area, as well as the further development of education, science, culture, information and communication technologies in Uzbekistan. and focuses on opportunities to help it stay strong in its place among influential states. The reason is that the state independence of Uzbekistan is a legitimate result of the hard and arduous struggle of our people for many years. Now the fate of our people is in their hands, they are working hard to strengthen the independence of their country. As an independent state, Uzbekistan has become a party to international conventions and influential world organizations such as the UN, OSCE and ILO. Since gaining its independence, Uzbekistan has taken the path of establishing and developing interstate relations with influential countries around the world, defining the main directions of foreign policy and finally joining UNESCO, one of the 15 specialized organizations of the United Nations. The results of the cooperation since its accession in October to the present are described in the article. The article also covers the relations of our country with UNESCO and its history during the period of national independence. Finally, Uzbekistan's integration into the world community, mutually beneficial political, diplomatic, economic and cultural ties with the world's largest, developed countries are widely covered. The most important thing is that in a short historical period, Uzbekistan has taken a worthy place in the world community, rising to the level of a state with its own independent voice on global issues.
In this article, the conceptual and doctrinal foundations of the ideas of non-use of force and ensuring peace in the foreign policy of Uzbekistan are investigated in chronological order. The foreign policy of Uzbekistan is, first of all, a course aimed at ensuring vital tasks, primarily for the state and society. Uzbekistan's foreign policy strategy is primarily aimed at ensuring integration into the world community. The deepening of the country's integration into the world community in the current difficult conditions of international relations is an important task facing the foreign policy of Uzbekistan. The conceptual idea of foreign policy and foreign policy of the Republic of Uzbekistan is the indivisibility of security and joint and partnership actions to ensure it. The problem of national and regional security occupies an important place in Uzbekistan's foreign policy. One of the main tasks in the foreign policy of Uzbekistan was the formation of a system of regional security, which is necessary both for the republics of Central Asia and for the vast geographical area bordering the region. Another advanced idea for Uzbekistan's foreign policy is the postulate that the problems of the Central Asian region should be solved without the intervention of external forces and only by the countries of the region. Given all this, the cornerstone of Uzbekistan's foreign policy remains the non-use of force and the threat of force, and the maintenance and observance of peace. The article examines the changes occurring in the foreign policy of Uzbekistan, their regulatory consolidation, guidelines for the short, medium and long-term perspective, and on the basis of this, a number of scientific conclusions and practical recommendations are given.
Rad počiva na ideji evropskog kulturnog identiteta, pojma koji se, poslednjih decenija posebno, etablirao kao važno uporište evropske političke zajednice, zajedničkih evropskih vrednosti ali i značajnih drugosti koje uprkos heterogenosti i asimetričnosti prisutnih kultura, zajedno tvore jedinstveni evropski kulturno-istorijski prostor Evrope. Različiti integrativni procesi koji se danas sve intenzivnije odvijaju, doprinose brzoj promeni konstelacija društava i re-konfiguraciji geopolitičkog, socio-ekonomskog i kulturnog ambijenta Evrope, tražeći novo sagledavanje tvorbe evropskog kulturnog identiteta koji nastaje kao rezultat tih različitih kretanja. Medij filma stoga, predstavlja idealnu perspektivu sagledavanja tvorbe evropskog transnacionanog kulturnog identiteta. Pitanje (ne)postojanja evropskog identiteta sagledano je kroz korpus teorija studija filma i medija i drugih, a na primerima dvadeset sedam (27) filmova laureata godišnje nagrade za najbolji evropski film (EFAs), Evropske filmske akademije (EFA), u periodu 1989–2014. godine, čiji su autori, između ostalih, Pedro Almodovar (Pedro Almodovar), Mihael haneke (Michael Haneke), Paolo Sorentino (Paolo Sorrentino), Lars fon Trir (Lars von Trier, i drugi. U ovoj disertaciji, evropski kulturni identitet sagledan je kroz filmske i kinematografske upise, preko kategorija identitetske drugosti, akcentovanih i asimilovanih identiteta, kao i preko elemenata (ko)produkcione drugosti. U istraživanju smo pošli od pretpostavke da filmovi nagrađeni za najbolji evropski fil nagradom EFAs nose elemente narativa interne drugosti, duboko podeljene Evrope, koji učestvuju u konstrukciji evropskog kulturno supra-identiteta u/na filmu kao i da se evropksi kulturni identitet u filmskim ostvarenjima laureata EFAs, gradi kroz dijalog Evrope, odnosno Evropske unije sa nacionalnim kinematografijama. Sa tog polazišta pristupilo se i istraživanju fenomena evropskog kulturnog identiteta drugosti. Cilj istraživanja bio je da se u kontekstu društveno-istorijskih i političkih procesa identifikuju i objasne elementi građenja identiteta kao i da se istakne uloga drugosti u formiranju evropskog kulturnog identiteta. Istraživačka pitanja u vezi sa odnosima međuzavisnosti koje formiraju pojmovi Evropa, identitet, drugost, evropski film i evropska nagrada u građenju prepoznatljivog fenomena evropskog kulturnog identiteta i fenomena evropskog filma. Problemska osnova na temelju koje je strukturisana analiza i sistematizovani naslovi nagrađenih filmskih ostvarenja u studiji slučaja, izvedena je iz teorijskih postavki koje se odnose na sledeće fenomene i pojmove: fazu ogledala Žaka Lakana (Jacques Lacan), heterotopije Mišela Fukoa (Michael Foucault), deteritorijalizacije / nomadizma Žila Deleza i Feliksa Gatarija ( Jules Deleuze / Félix Guattari), granice Jurija Lotmana (Yuri Lottman) i liminalnosti Arnolda van Genepa (Arnold van Gennep), kao postuliranje postmodernističkih tendencija u kojima se reflektuje pitanje (evropskog) kulturnog identiteta, primenjeno na polje filmske odnosno ekranske umetnosti. Svedoci smo da se u složenim procesima integracije i previranja nacionalnih i transnacionalnih tokova u Evropi, u periodu nakon pada Berlinskog zida (1989–2014), evropski kulturni identitet u/na filmu iznova konstruisao kroz narative drugosti, rezultirajući višestrukim akcentovanim i asimilovanim identitetima, što se pokazuje na primerima filmskih ostvarenja nagrađenih za najbolji evropski film EFAs. Činjenica je da značajne evrospke institucije u svojim dokumentima evropski identitet navode kao realitet, uprkos činjenici da sama konstrukcija evropskog identiteta ukazuje na (nezavršen) permanentan proces. Temeljne pretpostavke ovog istraživana su stoga: 1. nije reč o (id)entitetu kao o datosti; 2. identitet se gradi u društvenoj interakciji; 3. drugosti su sastavni deo (kulturnog) identiteta; 4. razlikama se obogaćuju i druge kulture; 5. evropski kulturni identitet je proces tj. gradilište u permanentnom nastajanju. Ishod analitičko-istraživačkog procesa je potvrđivanje da evropski kulturni identitet jeste skup različitosti tj. drugosti koje tvore jedan entitet, evropski kulturni identitet, koji međutim nije moguće fiksirati i precizno definisati, te on nadalje ostaje fenomen otvoren za različite interpretacije. ; The work is based on the idea of European cultural identity, a concept that, in recent decades, in particular, has established itself as an important mainstay of the European political community, common European values but also significant otherness which, despite the heterogeneity and asymmetry of present cultures, together form a unique cultural and historical space of Europe. The various integrative processes that are increasingly intensifying nowadays contribute to the rapid change of constellations of societies and re-configuration of the geopolitical, socioeconomic and cultural environment of Europe, seeking a new perception and definition of both national and European cultural identity that ensues from these various developments. The medium of film, therefore, represents an ideal perspective of perceiving the creation of a European transnational cultural identity. The issue of (non)existence of European identity is considered through a corpus of theories of Film and Media Studies and others, and on the examples of twenty-seven (27) films, laureates of the annual award for the best European film (EFAs) of the European Film Academy (EFA) in the period 1989−2014, whose authors are, among others, Pedro Almodovar, Michael Haneke, Paolo Sorrentino, Lars von Trier and others. In this dissertation, European cultural identity is viewed through film and cinematic inscriptions, through the categories of identity otherness, accented and assimilated identities, as well as through the elements of (co)production otherness. In the research we started from the assumption that the films awarded for the best European film by the EFAs award carry elements of narratives of internal otherness, of a deeply divided Europe, which participate in the construction of European cultural supra-identity in/on film and that European cultural identity in the film achievements of EFAs laureates is built through the dialogue of Europe, i.e. the European Union with national cinemas. That was the starting point for the research of the phenomenon of the European cultural identity of otherness. The aim of the research was to identify and explain the elements of identity construction in the context of socio-historical and political processes, as well as to emphasize the role of otherness in the formation of European cultural identity. Research questions are related to the interdependence relations formed by the concepts of Europe, identity, otherness, European film and the European award in building a recognizable phenomenon of European cultural identity and the phenomenon of European film. The problem basis on which the analysis and systematized titles of the awarded film achievements in the case study are structured is derived from theoretical assumptions related to the following phenomena and concepts: Jacques Lacan's mirror phase, Michael Foucault's heterotopias, deterritorialization and the nomadism of Jules Deleuze and Félix Guattari, the boundaries of Yuri Lottman and the liminality of Arnold van Gennep, as a postulation of postmodernist tendencies that reflect the question of (European) cultural identity, applied to the field of film or screen arts. We are witnesses that in the complex processes of integration and turmoil of national and transnational trends in Europe, in the period after the fall of the Berlin Wall (1989–2014), European cultural identity in/on film was reconstructed through narratives of otherness, resulting in multiple accented and assimilated identities, as shown by examples of film achievements awarded with EFAs for the best European film. The fact is that important European institutions recognize European identity as a reality in their documents, despite the fact that the very construction of European identity indicates a(n) (unfinished) permanent process. The basic assumptions of this research are therefore: 1. it is not about (id)entity as a given; 2. identity is built in social interaction; 3. otherness is an integral part of (cultural) identity; 4. differences also enrich other cultures; 5. European cultural identity is a process, i.e. a permanent construction site. The outcome of the analytical-research process is the confirmation that the European cultural identity is a set of differences/othernesses that form one entity, the European cultural identity, which, however, cannot be fixed and precisely defined, and it still remains a phenomenon open to different interpretations.
