Suchergebnisse

Peter Melgaard og Liselotte Odgaard kigger på Kina og dennes defensive og statscentrerede fortolkning af R2P.

A nyilvánosan elérhető adatok alapján minden adott ahhoz, hogy Kína 2020-ban országosan elindítsa a társadalmi kredit rendszerét, mely az állampolgárok és a vállalkozások magatartását pontozza, értékeli, jutalmazza, bünteti. Tanulmányom a Kínárólszóló releváns adatok és információk bemutatása után a társadalmi kredit rendszerének nem kínai előzményeivel, a korlátos erőforrásokhoz való hozzájutás problémájával, a rendszer előzményeivel és működésével foglalkozik, valamint saját, online dokumentum- és tartalomelemzés, illetve szövegbányászati módszerekkel végzett kutatásom fontosabb eredményeit ismerteti.

Karol Szymański depicts the history of the Warsaw cinemas and analyzes the cinema
repertoire in the particular time from September to December 1939 (that is from the outbreak
of World War II, through the defense and the siege of Warsaw, until the first months of the
German occupation) taking into account a wider context of living conditions in the capital
as well as a changing front and political situation. The author draws attention, among other
things, to the rapid decrease in the cinema audience in the first week of September. As
a consequence cinemas ceased to work, which made them unable to fulfill their informational
or propaganda role and provide the inhabitants of the fighting city with the escapist or
uplifting entertainment. During the siege of Warsaw some cinemas changed their functions
and became a shelter for several thousand fire victims and refugees, while others were
irretrievably destroyed in bombings and fires. In turn, after the capitulation and takeover of
the city by the Germans, some of the most representative cinemas which survived (they were
entirely expropriated by the administration of the General Government) began to gradually
resume their activity from the beginning of November. By the end of 1939 there were
already eight reactivated cinemas in Warsaw, including one (Helgoland, former Palladium)
intended only for the Germans. These cinemas showed only German films – they were
entertaining productions which were well-executed, devoid of explicit propaganda or
ideological elements, with the greatest stars of the Third Reich cinema. However, December
1939 brought also the first action of the Polish resistance against German cinemas and cinema
audience in Warsaw, which in the years to come developed and became an important element
of the civilian fight against the occupant.

Hugo Gården skriver om Kinas udfordringer både indenrigs op udenrigs anno 2013.

Intet resumé

Hvis det ikke var så alvorligt, ville det mest af alt minde om en hanekamp. For hvordan løse en konflikt, som aldrig nogensinde bliver kaldt ved sit rette navn?