State of Artistic Freedom 2020 Report Is a Research Feelings
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Case Study of Russia and Ukraine's Use of the Eurovision Song
Lund University FKVK02 Department of Political Science Spring 2020 Peace and Conflict Studies Supervisor: Fredrika Larsson The Battle of Eurovision A case study of Russia and Ukraine’s use of the Eurovision Song Contest as a cultural battlefield Character count: 59 832 Julia Orinius Welander Abstract This study aims to explore and analyze how Eurovision Song Contest functioned as an alternative – cultural – battlefield in the Russian-Ukrainian conflict over Crimea. With the use of soft power politics in warfare as the root of interest, this study uses the theories of cultural diplomacy and visual international relations to explore how images may be central to modern-day warfare and conflicts as the perception of. The study has a theory-building approach and aims to build on the concept of cultural diplomacy in order to explain how the images sent out by states can be politized and used to conduct cultural warfare. To explore how Russia and Ukraine used Eurovision Song Contest as a cultural battlefield this study uses the methodological framework of a qualitative case study with the empirical data being Ukraine’s and Russia’s Eurovision Song Contest performances in 2016 and 2017, respectively, which was analyzed using Roland Barthes’ method of image analysis. The main finding of the study was that both Russia and Ukraine used ESC as a cultural battlefield on which they used their performances to alter the perception of themselves and the other by instrumentalizing culture for political gain. Keywords: cultural diplomacy, visual IR, Eurovision Song Contest, Crimea Word count: 9 732 Table of Contents 1 Introduction ............................................................................................................ -
Communicative-Pragmatic, Normative and Functional Parameters of the Professional Discourse
COMMUNICATIVE-PRAGMATIC, NORMATIVE AND FUNCTIONAL PARAMETERS OF THE PROFESSIONAL DISCOURSE Collective monograph Liha-Pres 2021 Editor-in-Chief Mamych M., PhD of Philological Sciences, Professor, Head of the Department of Applied Linguistics of the National University “Odessa Law Academy”. Deputy Editor-in-Chief Kiselyova A., PhD of Philological Sciences, Associate Professor of the Department of Applied Linguistics of the National University “Odessa Law Academy”. Reviewers: dr Adam Wróbel, School of Polish Language and Culture of Cuiavian University in Wloclawek (Republic of Poland); mgr Joanna Skiba, Director of the Center for Foreign Languages, Cuiavian University in Włocławek (Republic of Poland); Navalna M., PhD of Philological Sciences, Professor, Professor of the Department of Documentation and Teaching Methods of Pereyaslav-Khmelnytsky State Pedagogical University named after Hryhoriy Skovoroda; Yarmak V., PhD of Philological Sciences, Associate Professor, Leading Researcher of the Department of Slavic Languages of the Institute of Linguistics named after O.O. Potebnya of NAS of Ukraine. Recommended for publication by the Academic Council of the National University “Odessa Law Academy” (Minutes № 6 of March 12, 2021) Communicative-pragmatic, normative and functional parameters of the professional discourse : collective monograph / ed. M. Mamych. – Lviv-Toruń : Liha-Pres, 2021. – 336 p. ISBN 978-966-397-232-9 The collective monograph offers an analysis of professional discourse as a thought-communicative activity. The validity of -
World Drug Report 2008 Report Entrusted UNODC with the Mandate to Publish “Com- Can Be Accessed Via
2008 WORLD DRUG REPORT Acknowledgements This Report was produced in the Policy Analysis and Research Branch under the supervision of Sandeep Chawla, by the Statistics and Survey Section (headed by Angela Me) and the Studies and Threat Analysis Section (headed by Thibault le Pichon). Core Team: Coen Bussink (maps), Philip Davis (data analysis), Laureta Kazanxhiu (maps), Suzanne Kunnen (graphic design and desktop publishing), and Kristina Kuttnig (graphic design and desktop publishing), Theodore Leggett (editorial assistance), Matthew Nice (ATS trends and statistical assistance), Thomas Pietschmann (estimates, trends, market and global analysis, Chapter 2), Catherine Pysden (interactive data), Martin Raithelhuber (coca, opium and cannabis production data and analysis), Wolfgang Rhomberg (database management), Ali Saadeddin (data entry and statistical assistance), Melissa Tullis (project management, global analysis, editorial assistance). The Report also benefited from the work and expertise of many other UNODC staff in Vienna and around the world. UNODC reiterates its appreciation and gratitude to States Members for the reports and information that provided the basis of this edition of the World Drug Report as well as to the International Narcotics Control Board (INCB) and the European Monitoring Centre on Drugs and Drug Addiction (EMCDDA). UNODC would like to thank the Government of Sweden for its continued financial support to the World Drug Report. The boundaries, names and designations used in all maps in this book do not imply official endorsement or acceptance by the United Nations. This publication has not been formally edited. United Nations Publication Sales No. E.08.XI.1 978-92-1-148229-4 CONTENTS Preface 1 Introduction 3 Explanatory notes 5 Executive Summary 7 1. -
The Case of Arab Spring Political Cartoons
IJoLLT Vol. 1, No. 1 (September) 2018 eISSN: 2637-0484 The Representation of Visual Language in Non-Verbal Communication: The Case of Arab Spring Political Cartoons SHIFAA MOHAMMED ABDULLAH (corresponding author) Ministry of Education, Salahuddin, Iraq [email protected] TENGKU SEPORA TENGKU MAHADI School of Languages, Literacies and Translation Universiti Sains Malaysia [email protected] GHAYTH K. SHAKER AL-SHAIBANI English Language and Communication Department, UCSI University [email protected] AMBIGAPATHY PANDIAN School of Language Studies & Communication Studies Universiti Malaysia Sarawak [email protected] ABSTRACT Political cartoons constitute a specific genre of visual images. They are pictorial representations or attitudes with different cartoon elements which depict political and social issues, and events of a country, an institution or a party (Sani, Abdullah & Ali, 2014). Visual language as non-verbal communication may or may not be supported by a verbal text (Peñamarin, 1998). This paper sheds light on the themes of 29 selected Arab political cartoons as a sample that is widely spread during the Arab Spring era and its aftermath (Woźniak, 2014). It also looks to identify the cartoon elements used by the cartoonists and to highlight the use of these elements such as colours, symbol, signs and others that connote different meanings. The study revealed that the visual language of Arab Spring cartoons from 2011 to 2013 reflected some common themes that highlight issues such as the image of democracy, the involvement of interfering countries and powers in the events of the Arab Spring, government authorities, military-people relations, the role of media and social media, an account of the stages of the Arab revolutions and issues of women's image in relation to socio-political change and ethical responsibilities for both the cartoonists and the Arab people. -
Getting Creative About Development
Atlantic Council AFRICA CENTER ISSUE BRIEF Getting Creative About Development SEPTEMBER 2018 AUBREY HRUBY y 2035, sub-Saharan Africa will have more working-age people than the rest of the world combined. African governments col- lectively need to create eighteen million new jobs each year to absorb the large, young, and ambitious population coming to Bworking age.1 But technological advances, combined with the underde- veloped infrastructure of most African nations, mean that the tried and true model of export-oriented industrialization, which allowed the East and Southeast Asian economies to develop very rapidly, is unlikely to produce adequate job creation in the vast majority of African markets. In fact, manufacturing as a share of total economic activity in Africa has stagnated at about 10 percent,2 and—though there are notable excep- tions, such as Ethiopia—the continent as a whole is deindustrializing.3 Agriculture still continues to serve as the backbone of most African economies, with over 70 percent of Africans earning a living in that sector.4 But as Africa urbanizes, the composition of economic activity is rap- idly changing, shifting away from agriculture and towards the services sector. In 2015, services accounted for 58 percent of sub-Saharan GDP (up from 47 percent in 2005).5 More significantly, 33 percent of African 1 Céline Allard et al., Regional Economic Outlook: sub-Saharan Africa 2015, Internation- al Monetary Fund, April 2015, https://www.imf.org/~/media/Websites/IMF/import- ed-flagship-issues/external/pubs/ft/reo/2015/afr/eng/pdf/_sreo0415pdf.ashx. 2 Brahima Sangafowa Coulibaly, “Africa’s Alternative Path to Development,” The Brook- ings Institution, May 3, 2018, https://www.brookings.edu/opinions/africas-alterna- tive-path-to-development/. -
Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity. -
Sudan: Freedom on the Net 2017
FREEDOM ON THE NET 2017 Sudan 2016 2017 Population: 39.6 million Not Not Internet Freedom Status Internet Penetration 2016 (ITU): 28 percent Free Free Social Media/ICT Apps Blocked: No Obstacles to Access (0-25) 16 16 Political/Social Content Blocked: No Limits on Content (0-35) 18 18 Bloggers/ICT Users Arrested: Yes Violations of User Rights (0-40) 30 30 TOTAL* (0-100) 64 64 Press Freedom 2017 Status: Not Free * 0=most free, 100=least free Key Developments: June 2016 – May 2017 ● Economic challenges intensifie with high inflatio rates in Sudan, resulting in higher cost and declining quality of services for Sudanese citizens in the past year (see Availability and Ease of Access). ● Social media users were active in organizing civil disobedience campaigns against cuts to subsidies on fuel, basic commodities, and medicine, though so-called Cyber Jihadists worked to thwart the campaigns through the impersonation of social media accounts and dissemination of misinformation (see Media, Diversity, and Online Manipulation; and Digital Activism). ● The highly restrictive Press and Printed Press Materials Law of 2004 was updated in November 2016 to include specifi clauses pertaining to online journalism, extending onerous limitations long placed on the traditional press to the online sphere (see Legal Environment). ● Arrests and harassment for online activities continued in the past year, particularly as heavy-handed censorship on the print and broadcast sectors led journalists to migrate online to disseminate news (see Prosecutions and Detentions for Online Activities; and Intimidation and Violence). 1 www.freedomonthenet.org Introduction FREEDOM SUDAN ON THE NET Obstacles to Access 2017 Introduction Availability and Ease of Access Internet freedom remained tenuous in Sudan in the past year, characterized by declining conditions Restrictions on Connectivity for affordabl access to quality ICT services and concerted effort to silence government critics amid a largescale civil disobedience campaign organized by activists on social media. -
Esperanzah.Pdf
Esperanzah! World Music Festival es un festival sostenible y comprometido socialmente de músicas Abono 3 días = 30€ del mundo para saborear, en un espacio verde y Abono 1 día = 18€ fresco: el Parc Nou, en El Prat de Llobregat (BCN). www.esperanzah.es Compra desde ya tu entrada en: [email protected] • www.entradas.com • Halcón Viajes www.halconviajes.com Viernes 26 de Junio • Puntos de venta: Aziza Brahim & Gulili Mankoo Racó del món La Pegatina Cases d’en Puig, Pl. Agricultura, 4 – El Prat Smod Bar Mariatchi Terrakota 26, 27 y 28 de junio Carrer Còdols 14, Gòtic - Bcn Tiken Jah Fakoly PARC NOU Bar Calexico Sábado 27 de Junio Carrer Torrent de l’Olla 141, Gracia, Bcn Sara Van El Prat de Llobregat (BCN) Etnomusic Músicas del Mundo Costo Rico Carrer Bonsuccés 6 - Bcn Muyayo Rif Calima La Resistencia Los Van Van Carrer Rosalia de Castro 92, L’Hospitalet Domingo 29 de Junio Mireia Cruz Les Frères Guissé El Cabrero + Zapata Zoo Keziah Jones + info en el interior Informaciones prácticas ¿Quieres colaborar? Cómo llegar al recinto de Esperanzah!: • Asociación o colectivo interesado en participar en Parc Nou - El Prat de Llobregat - Barcelona Esperanzah! contáctanos en [email protected]. • Si quieres participar como voluntario/a, visita nuestra BUS (desde Barcelona): página web y descárgate la ficha de inscripción al 65 y 165 (Prat exprés) desde Plaza España festival, que nos puedes hacer llegar a: N17 (Bus Nocturno) desde Plaza España [email protected]. TREN -RENFE-: Parada “El Prat de Llobregat” (trenes destinación “Aeropuerto”, o “Vilanova i la Geltrú” desde Barcelona). -
Defending the Right to Freedom of Artistic Expression
Defending the Right to Freedom of Artistic Expression K. Bennoune, Special Rapporteur in the field of cultural rights Art-at-risk conference, Zürich, Switzerland 28 February 2020 Good evening. It is a real pleasure to be here with you at this important gathering with artists and defenders of artistic freedom from Switzerland and from all over the world. I’d like to thank the organizers for this very special convening, and also for inviting me. I realize that I stand between you and your Friday evening at the end of many rich discussions so I thank you sincerely for your attention. This evening, I am going to talk about defending the right to artistic freedom within the broader context of defending cultural rights as a whole, drawing from my report on Cultural Rights Defenders to be presented to the UN Human Rights Council on Tuesday March 3.1 I will share some of the ideas in this report. Let me express my sincere gratitude to those in this room from different regions who made contributions to the report which greatly enriched it. The main point I wish to make this evening is that if the international community values artistic freedom, it must find ways to better support and enable the work of those who defend that human right. It must also respect and ensure their human rights. I start with a personal anecdote. Last Sunday I was very stressed about getting ready for this trip. So I decided that I needed a culture cure. I spent the afternoon in the San Francisco area with cultural rights defenders. -
DB Chemical Composition-Protect.Pdf
tblSource Super SOU QUA Organi RCE Source Acq Comp Creation LAS Organisat sation Postal Coun Telep Short ID Name Type Sender Lang Date SM ion Name Name Address try hone Fax Email WWW1 WWW2 Remarks Content Name ContentName Responsible Body Legal Restrictions Summary Of Content Bibliographic Reference Content Remarks Bulgarian food composition database consists of 826 food products with17 main food groups.Each product is analyzed for 37 components as foods + components are given in the original BG language and with their english names.Most of them are analyzed in laboratory"Food chemistry", Danish Danish Borgedig later recalled "Food chemical composition" during the last 10-15 years. Bulgarian National Centre of Public Health NCPHP plans to publish the same Bulgarian BG Food Food et 12, +45 am@d http://ww Bulgarian Food National Centre of National Centre of Some foods are borrowed from the other references source, because of Protection (2009) Bulgarian food food composition database and then put it up NCPHP Informatio Informatio DK-4000 3696 anfood w.danfo http://www Composition Public Health Public Health scientific interest. We intend to refresh permanently the BG database with composition database. web site of Institute: BG1 2009 F n bg 2009 n Roskilde DK 5696 .info od.info/ .danfir.dk/ Database 2009 BG NCPHP 2009 Protection (NCPHP) Protection (NCPHP) new interesting foods. www.en.ncphp.government.bg www.en.ncphp.government.bg Page 1 tblFood OrigF dCd OrigFdNm OrigFdNm2 EngFdNam SciNam OrigGpCd NCF FACF Remarks 1 Pile (broiler) tcialo -
The State of Artistic Freedom 2021
THE STATE OF ARTISTIC FREEDOM 2021 THE STATE OF ARTISTIC FREEDOM 2021 1 Freemuse (freemuse.org) is an independent international non-governmental organisation advocating for freedom of artistic expression and cultural diversity. Freemuse has United Nations Special Consultative Status to the Economic and Social Council (UN-ECOSOC) and Consultative Status with UNESCO. Freemuse operates within an international human rights and legal framework which upholds the principles of accountability, participation, equality, non-discrimination and cultural diversity. We document violations of artistic freedom and leverage evidence-based advocacy at international, regional and national levels for better protection of all people, including those at risk. We promote safe and enabling environments for artistic creativity and recognise the value that art and culture bring to society. Working with artists, art and cultural organisations, activists and partners in the global south and north, we campaign for and support individual artists with a focus on artists targeted for their gender, race or sexual orientation. We initiate, grow and support locally owned networks of artists and cultural workers so their voices can be heard and their capacity to monitor and defend artistic freedom is strengthened. ©2021 Freemuse. All rights reserved. Design and illustration: KOPA Graphic Design Studio Author: Freemuse Freemuse thanks those who spoke to us for this report, especially the artists who took risks to take part in this research. We also thank everyone who stands up for the human right to artistic freedom. Every effort has been made to verify the accuracy of the information contained in this report. All information was believed to be correct as of February 2021. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx.