Can we achieve justice during war? Should law substitute for realpolitik? Can an international court act against the global community that created it? Justice in a Time of War is a translation from the French of the first complete, behind-the-scenes story of the International Criminal Tribunal for the Former Yugoslavia, from its proposal by Balkan journalist Mirko Klarin through recent developments in the first trial of its ultimate quarry, Slobodan Miloševic. It is also a meditation on the conflicting intersection of law and politics in achieving justice and peace. Le Monde’s review (November 3, 2000) of the original edition recommended Hazan’s book as a nuanced account of the Tribunal that should be a must-read for the new president of Yugoslavia. “The story Pierre Hazan tells is that of an institution which, over the course of the years, has managed to escape in large measure from the initial hidden motives and manipulations of those who created it (not only the Americans).” With insider interviews filling out every scene, author Pierre Hazan tells a chaotic story of war while the Western powers cobbled together a tribunal in order to avoid actual intervention, hoping to threaten international criminals with indictment and thereby to force an untenable peace. The international lawyers and judges for this rump world court started with nothing—no office space, no assistants, no computers, not even a budget—but they ultimately established the tribunal as an unavoidable actor in the Balkans. This development was also a reflection of the evolving political situation: the West had created the Tribunal in 1993 as an alibi in order to avoid military intervention, but in 1999, the Tribunal suddenly became useful to NATO countries as a means by which to criminalize Miloševic’s regime and to justify military intervention in Kosovo and in Serbia. Ultimately, this hastened the end of Miloševic’s rule and led the way to history’s first war crimes trial of a former president by an international tribunal. Ironically, this triumph for international law was not really intended by the Western leaders who created the court. They sought to placate, not shape, public opinion. But the determination of a handful of people working at the Tribunal transformed it into an active agent for change, paving the road for the International Criminal Court and greatly advancing international criminal law. Yet the Tribunal’s existence poses as many questions as it answers. How independent can a U.N. Tribunal be from the political powers that created it and sustain it politically and financially ? Hazan remains cautious though optimistic for the future of international justice. His history remains a cautionary tale to the reader: realizing ideals in a world enamored of realpolitik is a difficult and often haphazard activity.
After many years in the little-known world of back- channel mediation, helping sworn adversaries to prevent, manage or resolve conflict, Pierre Hazan felt compelled to re-examine the acute practical and ethical dilemmas that affected his work in Bosnia, Ukraine, the Sahel and the Central African Republic. What is the mediator’s responsibility when two belligerents conclude a peace agreement to the detriment of a third? Should mediators never be party to ‘ethnic cleansing’, even if it saves lives? Is a fragile peace worth sacrificing justice for—or will that sacrifice fuel another cycle of violence? In an increasingly dystopian world, Negotiating with the Devil offers both practical guidelines and a moral compass for mediators whose field of action has transformed dramatically. We have gone from soft to hard power; from ‘peace dividends’ to war in Europe; from the end of one Cold War to a new East–West confrontation in Ukraine; from Pax Americana to a multipolar world; from the dream of an all-powerful UN to the organisation’s marginalisation. Against this tapestry, Hazan sheds light on the complex work of those steering peace negotiations, blending vivid first-hand observation with sharp insights into the psychology of compromise as a first step towards peace.
Justice in a Time of War is a translation from the French of the first complete, behind-the-scenes story of the International Criminal Tribunal for the Former Yugoslavia, from its proposal by Balkan journalist Mirko Klarin through recent developments in the first trial of its ultimate quarry, Slobodan Milosevic. It is also a meditation on the conflicting intersection of law and politics in achieving justice and peace."--Jacket
The question of why an individual would actively kill itself has long been an evolutionary mystery. Pierre M. Durand’s ambitious book answers this question through close inspection of life and death in the earliest cellular life. As Durand shows us, cell death is a fascinating lens through which to examine the interconnectedness, in evolutionary terms, of life and death. It is a truism to note that one does not exist without the other, but just how does this play out in evolutionary history? These two processes have been studied from philosophical, theoretical, experimental, and genomic angles, but no one has yet integrated the information from these various disciplines. In this work, Durand synthesizes cellular studies of life and death looking at the origin of life and the evolutionary significance of programmed cellular death. The exciting and unexpected outcome of Durand’s analysis is the realization that life and death exhibit features of coevolution. The evolution of more complex cellular life depended on the coadaptation between traits that promote life and those that promote death. In an ironic twist, it becomes clear that, in many circumstances, programmed cell death is essential for sustaining life.
After many years in the little-known world of back- channel mediation, helping sworn adversaries to prevent, manage or resolve conflict, Pierre Hazan felt compelled to re-examine the acute practical and ethical dilemmas that affected his work in Bosnia, Ukraine, the Sahel and the Central African Republic. What is the mediator’s responsibility when two belligerents conclude a peace agreement to the detriment of a third? Should mediators never be party to ‘ethnic cleansing’, even if it saves lives? Is a fragile peace worth sacrificing justice for—or will that sacrifice fuel another cycle of violence? In an increasingly dystopian world, Negotiating with the Devil offers both practical guidelines and a moral compass for mediators whose field of action has transformed dramatically. We have gone from soft to hard power; from ‘peace dividends’ to war in Europe; from the end of one Cold War to a new East–West confrontation in Ukraine; from Pax Americana to a multipolar world; from the dream of an all-powerful UN to the organisation’s marginalisation. Against this tapestry, Hazan sheds light on the complex work of those steering peace negotiations, blending vivid first-hand observation with sharp insights into the psychology of compromise as a first step towards peace.
The vibrant late paintings of Pierre Bonnard (1867-1947) are considered by many to be among his finest achievements. Working in a small converted bedroom of his villa in the south of France, Bonnard suffused his late canvases with radiant Mediterranean light and dazzling color. Although his subjects were close at hand-usually everyday scenes taken from his immediate surroundings, such as the dining room table being set for breakfast, or a jug of flowers perched on the mantelpiece - Bonnard rarely painted from life. Instead, he preferred to make pencil sketches in small diaries and then rely on these, along with his memory, once in the studio." "This volume, which accompanies the first exhibition to focus on the interior and related still-life imagery from the last decades of Bonnard's long career, presents more than seventy-five paintings, drawings, and works on paper, many of them rarely seen in public and in some cases, little known. Although Bonnard's legacy may be removed from the succession of trends that today we consider the foundation of modernism, his contribution to French art in the early decades of the twentieth century is far more profound than history has generally acknowledged. In their insightful essays and catalogue entries the authors bring fresh critical perspectives to the ongoing reappraisal of Bonnard's reputation and to his place within the narrative of twentieth-century art."--Jacket
The comprehensive reference on modern techniques and methods for monitoring and inspecting corrosion Strategic corrosion inspection and monitoring can improve asset management and life cycle assessment and optimize operational budgets. Advances in computer technologies and electronics have led to very efficient tools for monitoring and inspecting corrosion, including impedance spectroscopy, electrical field signatures, acoustic emissions, and radiographs. This up-to-date reference explains both intrusive and non-intrusive methods of measuring corrosion rates. It covers: The impact of corrosion on the economy and the safe operation of systems in diverse operational environments The various forms of corrosion, with a focus on the detectability of corrosion damage in the real world The principles of risk-based inspection and various risk assessment methodologies (HAZOP, FMECA, FTA, and ETA), with examples from industry The monitoring of microbiologically induced corrosion (MIC), cathodic protection (CP) systems, and atmospheric corrosion Non-destructive evaluation (NDE) techniques, including visual, ultrasonic, radiographic, electromagnetic, and thermographic inspection Roadmaps used by various industries and organizations for carrying out complex inspection and monitoring schedules Complete with graphics and illustrations, this is the definitive reference for professionals involved in the maintenance of industrial systems and structures, from oil exploration to chemical plants and infrastructures; consultants; property managers; and civil, materials, and construction engineers.
We think of the Enlightenment as an era dominated by ideas of progress, production, and industry--not an era that favored the lax and indolent individual. But was the Enlightenment only about the unceasing improvement of self and society? The Pursuit of Laziness examines moral, political, and economic treatises of the period, and reveals that crucial eighteenth-century texts did find value in idleness and nonproductivity. Fleshing out Enlightenment thinking in the works of Denis Diderot, Joseph Joubert, Pierre de Marivaux, Jean-Jacques Rousseau, and Jean-Siméon Chardin, this book explores idleness in all its guises, and illustrates that laziness existed, not as a vice of the wretched, but as an exemplar of modernity and a resistance to beliefs about virtue and utility. Whether in the dawdlings of Marivaux's journalist who delayed and procrastinated or in the subjects of Chardin's paintings who delighted in suspended, playful time, Pierre Saint-Amand shows how eighteenth-century works provided a strong argument for laziness. Rousseau abandoned his previous defense of labor to pursue reverie and botanical walks, Diderot emphasized a parasitic strategy of resisting work in order to liberate time, and Joubert's little-known posthumous Notebooks radically opposed the central philosophy of the Enlightenment in a quest to infinitely postpone work. Unsettling the stubborn view of the eighteenth century as an age of frenetic industriousness and labor, The Pursuit of Laziness plumbs the texts and images of the time and uncovers deliberate yearnings for slowness and recreation. Some images inside the book are unavailable due to digital copyright restrictions.
Preliminary Material -- Introduction -- No Art's Land -- Reasonable Madness -- The Image, One Image, Images -- The Fascinated Eye -- Conclusion -- Bibliography -- Index -- Table of Contents.
Duhem's 1908 essay questions the relation between physical theory and metaphysics and, more specifically, between astronomy and physics–an issue still of importance today. He critiques the answers given by Greek thought, Arabic science, medieval Christian scholasticism, and, finally, the astronomers of the Renaissance.
Assuming no previous knowledge of the subject, Arabic Literature - An Overview gives a rounded and balanced view of Arab literary creativity. 'High' literature is examined alongside popular folk literature, and the classical and modern periods, usually treated separately, are presented together. Cachia's observations are not subordinated to any pre-formed literary theory, but describe and illustrate the directions taken, in order to present an overall picture of the field of relevance to the student of literature as well as to Arabists working in related fields.
With an introduction by Robert Motherwell and an appreciation by Jasper Johns "Marcel Duchamp, one of this century's pioneer artists, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art. . . "In the 1920s Duchamp gave up, quit painting. He allowed, perhaps encouraged, the attendant mythology. One thought of his decision, his willing this stopping. Yet on one occasion, he said it was not like that. He spoke of breaking a leg. 'You don't mean to do it,' he said. "The Large Glass. A greenhouse for his intuition. Erotic machinery, the Bride, held in a see-through cage-'a Hilarious Picture.' Its cross references of sight and thought, the changing focus of the eyes and mind, give fresh sense to the time and space we occupy, negate any concern with art as transportation. No end is in view in this fragment of a new perspective. 'In the end you lose interest, so I didn't feel the necessity to finish it.' "He declared that he wanted to kill art ('for myself') but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, 'a new thought for that object.' "The art community feels Duchamp's presence and his absence. He has changed the condition of being here."--Jasper Johns, from Marcel Duchamp: An Appreciation
This book is an exploration of the intellectual resources offered by the hybridisation of sociology and cinema: practicing sociology, or other human sciences, through images and sound. In the age of the image, the book invites sociological research, not only through the discipline's approach, but also through the joint learning of techniques (shooting and sound recording, derushing, editing, etc.) and film writing. Using concrete examples, the authors analyse what it means to think through the image, explain the different phases of making a sociological documentary, and question, through sociological film, the representations of reality and, more specifically, what remains invisible in the social world. The result is a reflective look at the theories and practices presented, to better equip the sociologist-filmmaker. Illustrated with numerous photographs that mark the history of documentary photography and film, the book is intended for both teachers-researchers and students in all disciplines of the humanities and social sciences who practice video and photography or wish to discover their uses. Students in documentary and film schools, as well as students on information and communication programs will also benefit from the book.
A classic text about the social study of food, this is the first English language edition of Jean-Pierre Poulain's seminal work. Tracing the history of food scholarship, The Sociology of Food provides an overview of sociological theory and its relevance to the field of food. Divided into two parts, Poulain begins by exploring the continuities and changes in the modern diet. From the effect of globalization on food production and supply, to evolving cultural responses to food – including cooking and eating practices, the management of consumer anxieties, and concerns over obesity and the medicalization of food – the first part examines how changing food practices have shaped and are shaped by wider social trends. The second part provides an overview of the emergence of food as an academic focus for sociologists and anthropologists. Revealing the obstacles that lay in the way of this new field of study, Poulain shows how the discipline was first established and explains its development over the last forty years. Destined to become a key text for students and scholars, The Sociology of Food makes a major contribution to food studies and sociology. This edition features a brand new chapter focusing on the development of food studies in the English-speaking world and a preface, specifically written for the edition.
Translated by Vivian Felsen Finalist, 2018 Governor General’s Literary Awards (GGBooks), Translation category Born in the Ukraine in 1896, and settling in Montreal in 1910, Segal became one of the first Yiddish writers in Canada. His poetry, infused with lyricism and mysticism, along with the numerous essays and articles he penned, embodied both a rich literary tradition and the modernism of his day. Pierre Anctil has written so much more than a biography. For the first time, Segal’s poetic production is referenced, translated and rigorously analyzed, and includes over 100 pages of appendices, shedding light on the artistic, spiritual, cultural and historical importance of his oeuvre. By introducing the reader to the poet’s work through previously unpublished translations, Anctil demonstrates that in many respects it reflects the history of the Jewish immigrants who arrived in North America from Russia, the Ukraine and Poland at the beginning of the 20th century, as well as the tragic experiences of Jewish intellectual refugees of the interwar period. This admirably written, sweeping yet subtle, work will appeal both to scholars and to a broader audience. The original French version was awarded the prestigious 2014 Canada Prize in the Humanities by the Canadian Federation for the Humanities and Social Sciences.
The presence of Jews in Quebec dates back four centuries. Quebec Jewry, in Montreal in particular, has evolved over time, thanks to successive waves of migration from different regions of the world. The Jews of Quebec belong to a unique society in North America, which they have worked to fashion. The dedication with which they have defended their rights and their extensive achievements in multiple sectors of activity have helped foster diversity in Quebec. This work recounts the different contributions Jews have made over the years, along with the cultural context that encouraged the emergence in Montreal of a Jewish community like no other in North America. This is the first overview of a history that began during the French Regime and continued, through many twists and turns, up to the turn of the twenty-first century.
What is a 'symbolic revolution'? What happens when a symbolic revolutions occurs, how can it succeed and prevail and why is it so difficult to understand? Using the exemplary case of Édouard Manet, Pierre Bourdieu began to ponder these questions as early as the 1980s, before making it the focus of his lectures in his last years at the Collége de France. This second volume of Bourdieu's previously unpublished lectures provides his most sustained contribution to the sociology of art and the analysis of cultural fields. It is also a major contribution to our understanding of impressionism and the works of Manet. Bourdieu treats the paintings of Manet as so many challenges to the conservative academicism of the pompier painters, the populism of the Realists, the commercial eclecticism of genre painting, and even the 'Impressionists', showing that such a revolution is inseparable from the conditions that allow fields of cultural production to emerge. At a time when the Academy was in crisis and when the increase in the number of painters challenged the role of the state in defining artistic value, the break that Manet inaugurated revolutionised the aesthetic order. The new vision of the world that emerged from this upheaval still shapes our categories of perception and judgement today - the very categories that we use everday to understand the representations of the world and the world itself. This major work by one of the greatest sociologists of the last 50 years will be of great interest to students and scholars in sociology, art history and the social sciences and humanities generally. It will also appeal to a wide readership interested in art, in impressionism and in the works of Manet.
This is the latest volume to appear in the successful Cambridge History of Modern France series, and is the most authoritative account available of the presidency of Georges Pompidou. Pompidou consolidated the constitutional changes made by de Gaulle, to the extent that he is now regarded as the Fifth Republic's second founding father, and continued his haughty attitudes to foreign policy. He also launched a programme of modernisation and industrialisation: under Pompidou France saw both the climax and the end of the post-war boom. Serge Berstein and Jean-Pierre Rioux analyse the politics of the period, and also give an overview of France's economy, culture and society. Their comprehensive study contains all the standard features, such as maps, chronology, and tables, which have helped this series to establish itself as the premier multi-volume account of modern France. Students, scholars and teachers in history and political studies will find this volume invaluable.
The Renaissance of Etching is a groundbreaking study of the origins of the etched print. Initially used as a method for decorating armor, etching was reimagined as a printmaking technique at the end of the fifteenth century in Germany and spread rapidly across Europe. Unlike engraving and woodcut, which required great skill and years of training, the comparative ease of etching allowed a wide variety of artists to exploit the expanding market for prints. The early pioneers of the medium include some of the greatest artists of the Renaissance, such as Albrecht Dürer, Parmigianino, and Pieter Bruegel the Elder, who paved the way for future printmakers like Rembrandt, Goya, and many others in their wake. Remarkably, contemporary artists still use etching in much the same way as their predecessors did five hundred years ago. Richly illustrated and including a wealth of new information, The Renaissance of Etching explores how artists in Germany, the Netherlands, Italy, and France developed the new medium of etching, and how it became one of the most versatile and enduring forms of printmaking. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
A beautiful book that showcases how circus figures and artifacts have been portrayed in art over the past two centuries The circus is a dazzling world filled with acrobats and harlequins, tumblers and riders, monsters and celestial creatures. Now this engaging book sets that world in a new light, examining how painters, sculptors, and photographers from the eighteenth century to the present have used the circus as a springboard for their imaginative expression and have envisioned the clown as a metaphor for the modern artist. The book presents more than 175 works by such artists as Degas, Toulouse-Lautrec, Rouault, Picasso, Chagall, and Léger. Some of these are masterful works shown for the first time; these range from the 18-meter stage curtain Picasso designed in 1917 for Erik Satie's ballet Parade to more intimate works such as Nadar and Tournachon's photographs of Pierrot as played by celebrated mime Charles Debureau.
This 1991 book surveys research on gestures carried out from various perspectives: psycho- and sociolinguistic, ethological, social, cognitive, and developmental psychological, and neuropsychological.
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