If the Paris Agreement is to be implemented successfully, it is crucial that all actors step up their actions, including non-state actors such as businesses, cities, regions and investors. Transparency is crucial but still largely missing from the drive to report on current actions and scale them up. The Climate Initiatives Platform (CIP) is a vital transparency tool for international cooperative climate initiatives, so called ICIs, driven by non-state actors. The CIP provides open-source data on many aspects. It is also the data provider to the UNFCCC Global Climate Action portal NAZCA on ICIs. The aim of this project is to improve the CIP further. This document presents a strategy for tracking progress, including an impact-monitoring framework. In addition, analyses of progress with ICIs and of their coverage versus the potential emission reductions in certain sectors are provided.
If the Paris Agreement is to be implemented successfully, it is crucial that all actors step up their actions, including non-state actors such as businesses, cities, regions and investors. Transparency is crucial but still largely missing from the drive to report on current actions and scale them up. The Climate Initiatives Platform (CIP) is a vital transparency tool for international cooperative climate initiatives, so called ICIs, driven by non-state actors. The CIP provides open-source data on many aspects. It is also the data provider to the UNFCCC Global Climate Action portal NAZCA on ICIs. The aim of this project is to improve the CIP further. This document presents a strategy for tracking progress, including an impact-monitoring framework. In addition, analyses of progress with ICIs and of their coverage versus the potential emission reductions in certain sectors are provided.
The book draws on extensive research to revise what has been known about Drost's life, his stylistically diverse oeuvre, and his influences. The artist's training and his relationship to Rembrandt and other artists in the Rembrandt circle are examined, as is his Venetian period and the relation of his style to that of German-born painter Johann Carl Loth. Drost emerges as one of Rembrandt's most talented imitators and, despite his very short career, an artist with a variety of faces."--BOOK JACKET.
The General Clause on Contracts in the Peace Treaties of Paris 1947 and in the Peace Treaty of Versailles 1919. A Comparison in Outline with some Suggestions for the Future Peace Treaties
The General Clause on Contracts in the Peace Treaties of Paris 1947 and in the Peace Treaty of Versailles 1919. A Comparison in Outline with some Suggestions for the Future Peace Treaties
Recent origin of s'ubject. A study on Contracts and Peace Treaties does not require a historical introduction because the problem is of a very recent origin. With regard to its present day importance it is remarkable that the subject found hardly ever expression in any Peace Treaty before 1919. One has only to go back to the Peace Treaties of World War I to find the first detailed provisions relating to contracts between enemies. The text of the relevant articles of the Treaties of the Versailles group is identical. Art. 299 Treaty of Versailles corresponds with art. 251 Treaty of St. Germain, with art. 180 Treaty of Neuilly, with art. 234 Treaty of Trianon. The Treaty of Lausanne of 1923 with Turkey which replaced the unratified Treaty of Sevres, was similar in outline but differed in some material aspects. Presently we shall see that the Treaty of Brest-Litowsk and the other eastern Peace Treaties did not prescribe any alterations in the municipal law of the Signatory Powers. The Peace Treaties of World War II concluded at Paris in 1947 with Italy, Roumania, Bulgaria, Hungary and Finland contain also a number of identical provisions on contracts. Annex XVI of the Treaty with Italy corresponds with Annex V of the other Treaties. Anglo-Saxon origin of Treaty provisions.
Der vorliegende Band beschäftigt sich mit dem Surrealismus in Literatur und Kunst in Algerien, Ägypten, Libanon, Syrien und der Türkei zwischen den 1930er und 1980er Jahren. In einer transkulturellen Perspektive erscheint die zu Beginn der 1920er Jahre von Frankreich ausgehende Bewegung gleichermaßen als globales wie als lokales Phänomen, das in den hier behandelten Regionen weniger auf kollektive als auf individualistische Weise, vornehmlich auf dem Gebiet von Poesie und Sprache, rezipiert wurde. Die Studien in diesem Band verfolgen das Ziel, ein klareres Bild von den Resonanzen des Surrealismus in diesen Regionen zu zeichnen und damit einen Beitrag zur Geschichte sowohl der Transmoderne als auch des Surrealismus zu leisten. Methodisch geht es darum, Verbindungen, Begegnungen und Austausch auf individuell-künstlerischer, politisch-institutioneller und soziohistorischer Ebene zu untersuchen. Ein neuer Blick auf den globalen Surrealismus muss diese Netzwerke und Verbindungen auf der Mikroebene berücksichtigen, wenn es um die Fragen geht, wann, wo und was Surrealismus war. Die Antwort könnte zeigen, dass der Surrealismus weitaus weiter verbreitet war als bisher angenommen.
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