28 resultados para Forced Marriage


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This report explores the extent of forced labour among new migrants to Northern Ireland and outlines a number of recommendations for tackling the problem.

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We prove with the help of a counterexample that Lemma 6 and Corollary 7 from Eeckhout [1] are incorrect.

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The purpose of this study is to determine the influence of inclining the heat exchanger relative to the fan in a forced draught air-cooled heat exchanger. Since inclination increases plenum depth, the effect of inclination is also compared with increasing plenum depth without inclination. The experimental study shows that inclination improves thermal performance by only 0.5%, when compared with a baseline non-inclined case with a shallow plenum. Similarly, increasing plenum depth without inclination has a thermal performance benefit of approximately 1%. The numerical study shows that, as the heat exchanger is inclined, the low velocity core at the centre of the heat exchanger moves to one side.

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This article examines the challenges of investigating and prosecuting forced displacement in the Central African countries of Democratic Republic of Congo and Uganda, where higher loss of life was caused by forced displacement, than by any other. In the Democratic Republic of Congo, armed groups intentionally attacked civilian populations displacing them from their homes, to cut them off from food and medical supplies. In Northern Uganda, the government engaged in a forced displacement policy as part of its counter-insurgency against the Lord’s Resistance Army, driving the civilian population into “protected villages”, where at one point the weekly death toll was over 1,000 in these camps. This article critically evaluates how criminal responsibility can be established for forced displacement and alternative approaches to accountability through reparations.

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This article investigates how artists have addressed shocking experiences of displacement in different political contexts. Drawing on the notion of ‘the aesthetics of loss’ (Köstlin, 2010), it examines and compares the different aims, desires and strategies that have shaped the histories and social lives of paintings, memorial statues, installations and other artefacts. The analysis identifies a mode of artistic engagement with the sense of a ‘loss of homeland’ that has been commonly felt amongst Sudeten German expellees, namely the production and framing of visual images as markers of collective trauma. These aesthetics of loss are contrasted with the approach taken by the Dutch artist Sophie Ernst in her project entitled HOME. Working with displaced people from Pakistan, India, Palestine, Israel and Iraq, she created a mnemonic space to stimulate a more individualistic, exploratory engagement with the loss of home, which aimed, in part, to elicit interpersonal empathy. To simply oppose these two modes of aesthetic engagement, however, would ignore the ways in which artefacts are drawn into different discursive, affective and spatial formations. This article argues for the need to expose such dynamic processes of framing and reframing by focusing on the processual aspects of aestheticisation with attention to the perspective of loss.