999 resultados para Crimes de guerre


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When the First World War began, the international co-operation of legal academics, which had been a characteristic of the late 19th and early 20th century came to a halt. In the context of the atrocities in Belgium as well as Serbia academics on both sides became involved in the propaganda campaigns of the belligerents on both sides. Not many of them were able to divest themselves. The presentation will claim that as a consequence the time between the First World War and the beginning of the Second can be characterized as «Broken Years» not only in regard to war veterans (Gammage 1974), but also in regard to the international academic discourse on issues of war crimes and the laws of war. This shall be substantiated by a look at academic activities in the interwar period within the International Law Association, the Institut de Droit International, the Interparliamentary Union, the Association Internationale de Droit Pénal and the Internationale Kriminalistische Vereinigung.

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par A. D. Avocat, ancien Directeur de la Bibliothèque ecclésiastique

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The Ottoman Empire’s status as a full member of the international community of civilized states, which was bound by the rules of international law, had been challenged again and again during the formative period of the international law in the late nineteenth and early twentieth century. When the First World War began, it was the first global military conflict, in which these rules of international law were put to the test. In the case of the Ottoman Empire quite a few questions were not yet settled, not least because the country was still bound by unequal treaties and because it had never ratified the renewed Hague Rules of Land Warfare of 1907, which it had only signed under reservations. Against this background the contribution will therefore focus on the debate amongst legal scholars on violations of the laws of war (and humanity) in regard to the Ottoman Empire during the First World War.

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Previous studies have shown that the harm caused by crime affects punitive reactions even if differences in the degree of harm are merely accidental. However, it remains unclear whether the effect is direct or whether it is mediated by attributed responsibility or blame. Participants were 303 university students who listened to 4 case vignettes (between-subjects design). Half received information about a completed crime and half about an accidentally uncompleted crime. Crime type was either fraud or rape. The results suggest that individuals consider the actual harm to a significantly greater extent than attribution theory would predict. Moreover, the link between harm and punishment was virtually not mediated by attributed blame and not moderated by individual differences in morality. Future studies should investigate whether the harm-punishment link is a result of an automatic act of retaliation or a desire to compensate for the harm done to the victim (restorative justice).

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Stefan Zweig arrive en Suisse en novembre 1917. D’abord libéré du service militaire pour deux mois, il obtient finalement la permission de rester en Suisse jusqu’à la fin de la guerre. Il peut ainsi assister aux répétitions et à la première de Jérémie, sa pièce de théâtre pacifiste représentée pour la première fois au Stadttheater de Zurich en février 1918. Son séjour en Suisse est également marqué par le développement de son admiration et de son amitié pour Romain Rolland – celui qu’il désigne comme étant « la conscience morale de l’Europe ». L’objet de cet article est de montrer que la conjonction Suisse–Rolland a joué un rôle absolument essentiel dans la vie personnelle et créatrice de Zweig.

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The issue of bias-motivated crimes has attracted consderable attention in recent years. In this paper, we develop an economic framework to analyze penalty enhancements for bias-motivated crimes. We extend the standard model by introducing two different groups of potential victims of crime, and assume that a potential offender's benefits from a crime depend on the group to which the victim belongs. We begin with the assumption that the harm to an individual victim from a bias-motivated crime is identical to that from an equivalent non-hate crime. Nonetheless, we derive the result that a pattern of crimes disproportionately targeting an identifiable group leads to greater social harm. This conclusion follows both from a model where disparities in groups' victimization probabilities lead to social losses due to fairness concerns, as well as a model where potential victims have the opportunity to undertake socially costly victimization avoidance activities. In particular, penalty enhancements can reduce the incentives for avoidance activity, and thereby protect the networks of profitable interactions that link members of different groups. We also argue that those groups that are covered by hate crime statutes tend to be those whose characteristics make it especially likely that penalty enhancement is socially optimal. Finally, we consider a number of other issues related to hate crimes, including teh choice of sanctions from behind a Rawlsian 'veil of ignorance' concerning group identity.

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Comité pour l'Indépendance des Boers (de Montpellier) par Louis Guibal

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Signatur des Originals: S 36/G01351

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Digitalisiert in Kooperation mit dem YIVO Institute for Jewish Research am Center for Jewish History, NY

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publièe par André Vervoort

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El presente estudio se interroga sobre la paradoja que plantea la representación de la guerra en el espacio escénico. Espacio bélico y espacio escénico son difícilmente reconciliables dadas sus características intrínsecas (entre otras, la tendencia centrífuga del primero y la centrípeta del segundo). Para salvar esta paradoja, los dramaturgos han desarrollado estrategias poético -retóricas como el uso de la metáfora, la metonimia y el fuera de escena. Por otra parte, el escenario a la vez que se instituye como espacio de una representación, se comunica con un espacio exterior que está más allá, pero que no se manifiesta siempre necesariamente. En virtud de esta vinculación, la representación de la guerra es atravesada por una serie de mediaciones. En primer lugar, la circulación de aquello que "flota" entre el escenario y el afuera del escenario, que los tropos (metáfora, metonimia) permiten recuperar al menos virtualmente. En segundo, el vestigio del episodio guerrero, inscrito en la Historia, que, en tanto vestigio, oscila entre la presencia y la ausencia. Finalmente, las restricciones del teatro mismo y sus principios éticos y estéticos, que trasforman la guerra en sus modos de manifestación espontáneos. El presente trabajo analiza la articulación de estas instancias en obras de Esquilo, Shakespeare y Genêt.

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