Suchergebnisse

India is a contradiction: powerful yet anxious, non-Western, postcolonial, inherently religious but avowedly secular, shaped by a complex pattern of linguistic, caste, political, gender and social tensions. These tensions extend into the Indian diaspora, which is entangled in the country's rise and engaged in a conversation that is shaping a Hindu nationalist (or Hindutva) world view. This thesis introduces the concept of Hindu (inter)nationalism and in doing so, makes important theoretical discoveries. In critically engaging with, and applying, post-Western and post-Oriental perspectives, this study provides a pathway towards a better understanding of the non-West. In fact, it encourages the International Relations (IR) discipline to enter a post-Western world. This thesis asks whether postcolonial theory can retain its relevance in a world where 'peripheral' countries (such as India) are making their way to the 'centre'. How, asks this thesis, can postcolonialism deal with changing international dynamics whilst remaining a robust and vital theoretical approach? This research, in focusing on a unique, Hindutva world view prompts IR theory to use such views more frequently to better understand the international relations of countries. Finally, this thesis suggests that IR ought to consider reorienting its viewpoint to bring religion to the centre of analysis, thereby casting secularism to the periphery. Unlike conventional IR, this thesis does not focus on foreign policies, but instead emphasises the lived realities of people. To undertake such an approach, this thesis uses what it calls a Relations International (RI) methodology. This methodology recognises and embraces scholars of other disciplines, utilising their research to achieve a truly multidisciplinary, collaborative perspective. An RI methodology also encourages novel evidence-gathering, such as through the use of social media and asks us to focus on praxeology in order to demonstrate ideology in action. This thesis seeks to demonstrate that postcolonialism remains a valuable theoretical approach, that an RI methodology is a constructive tool through which to hear what is often unheard in IR, and that religious (inter)nationalisms – such as that introduced by this research – present an exciting new challenge for our discipline.

Here, Hobbs discusses the Kimberley Process Certification Scheme (KPCS). Ratified in 2003, KPCS was designed to bring an end to the international trade in blood diamonds -- gemstones trafficked by African rebel groups to finance civil wars. Currently, 81 states are party to the agreement, including all major rough diamond producing countries. The KPCS emerged out of earlier efforts to de-fund the Angolan rebel movement UNITA, which from 1992 to 2002, waged a brutal civil war against the Angolan government. Under the KPCS agreement, member states must 'establish a system of internal controls designed to eliminate the presence of conflict diamonds from shipments of rough diamonds imported into and exported from its territory,' and 'amend or enact appropriate laws or regulations to implement and enforce the Certification Scheme and to maintain dissuasive and proportional penalties for transgressions.' KPCS enforcement relies on voluntary self-monitoring and self-policing. In theory, to obtain a Kimberley Process certificate, diamond producers are required to present evidence to a government monitoring body that their diamonds are conflict-free, while governments are expected to check that the evidence is genuine. Adapted from the source document.

No longer distributed to depository libraries in a physical form after FY 2000 ; Latest issue consulted: Vol. 25, no. 4 (July/Aug. 2004) ; Index to U.S. Government periodicals ; Issue for Jan./Feb. 1996 not published ; Mode of access: Internet. ; UPD

We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The 'repainting debate' is reviewed here in the context of contemporary art production in western Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new 'out-of-Country' settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century.

We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The 'repainting debate' is reviewed here in the context of contemporary art production in western Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new 'out-of-Country' settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century.