This article investigates aspects of xenia or guest relationships - which forms a central aspect of Homer's Odyssey - in Marlene van Niekerk's novel Triomf. Hospitality and the lack thereof form the ...basis of several scenes in the novel. Examples include the visit of the agents canvassing for the National Party before the elections, the Jehovah's witnesses, the AWB recruiters, as well as Lambert's interaction with Sonnyboy and Mary. The latter scene in particular corresponds closely to the guidelines for proper hospitality as delineated by Homer.
On January 16, 2008, Peru filed a lawsuit against Chile concerning the delimitation of the border between the maritime zones of the two States in the Pacific Ocean. In its application, Peru argued ...that "the maritime zones between Chile and Peru have never been defined by agreement or otherwise" and that, consequently, "the delimitation will be determined by the Court in accordance with customary international law." The delimitation was to begin at a point on the coast called Concordia, the terminus of the land boundary established under the 1929 Treaty, and the court was also requested the recognition in favour of Peru of a "maritime zone situated 200 nautical miles Peruvian coast, pertaining to Peru, but that Chile considers part of the high sea ". The Judgment was rendered on January 27, 2014. The Court, by an overwhelming majority (15-1), concluded that there was a prior tacit agreement between the parties. In the operative part of the judgment, the Court decided that the tacitly agreed maritime boundary starts at the intersection of the parallel of latitude that passes through Boundary Marker No. 1 with the low tide line and extends for 80 nautical miles along That Parallel of latitude. From this point, the maritime boundary extends along the equidistance line until reaching the high seas. This article seeks to demonstrate that the tacit agreement of the Court's ruling in the maritime dispute between Peru and Chile is an artificial creation of the Peruvian ad hoc judge, Gilbert Guillaume, compelled by the need to cover the gaps that Throughout the procedure was leaving the Peruvian argument.
El 16 de enero de 2008 el Perú interpuso una demanda contra Chile en relación con la delimitación de la frontera entre las zonas marítimas de los dos Estados en el Océano Pacífico. En su demanda, el Perú alegaba que "las zonas marítimas entre Chile y Perú nunca han sido delimitadas por acuerdo o de otro modo" y que, en consecuencia, "la delimitación será determinada por la Corte de conformidad con el derecho internacional consuetudinario". La delimitación debía comenzar en un punto de la costa llamado Concordia, el punto terminal de la frontera terrestre establecido en virtud del Tratado de 1929, igualmente se solicitaba a la corte el reconocimiento su favor de una "zona marítima situada a 200 millas náuticas de la costa peruana, perteneciente al Perú, pero que Chile considera parte de la alta mar". La Sentencia fue dictada el 27 de enero de 2014. La Corte, por abrumadora mayoría (15-1), concluyó que sí existía un acuerdo tácito previo entre las partes. En la parte resolutiva del fallo, la Corte decidió que la frontera marítima tácitamente acordada, comienza en la intersección del paralelo de latitud que pasa por el Hito No. 1 con la línea de baja marea y se extiende por 80 millas náuticas a lo largo de ese Paralelo de latitud. A partir de este punto, el límite marítimo se extiende a lo largo de la línea de equidistancia hasta llegar a la alta mar. El presente artículo pretende demostrar que el acuerdo tácito del fallo de la Corte en el diferendo marítimo que enfrentó a Perú y Chile, es una creación artificial del juez ad hoc nombrado por el Perú, Gilbert Guillaume, compelido por la necesidad de cubrir las lagunas que a lo largo del procedimiento fue dejando la argumentación peruana.
This commentary poses the question of the human by asking how the “human” of crimes against humanity relates to the “human” of the humanities. It does so by first considering Hannah Arendt’s Eichmann ...in Jerusalem (1961) as a text that establishes the representational aporias of banality and ineffability raised by crimes against humanity, not just through its analytical content but also through the use of literary form. The commentary then offers a close reading of two novels, Kazuo Ishiguro’s The Remains of the Day (1989) and Ian McEwan’s Atonement (2001), tracking the ways their “literary jurisprudence,” or engagement with problems of judgment, emerge from the representational cruxes located by Arendt. Rather than read these literary texts as desirable substitutes for legal forms, or as providing ways out of legal aporias, I argue that their literary jurisprudences reveal the challenges of facing the afterlife of judgment, particularly for a humanity left in the wake of ambiguous forms of condemnation and restitution.
In 2009 it was ten years since the adoption of the Second Protocol to the 1954 Hague Convention for the Protection of Cultural Property in the Event of an Armed Conflict. To celebrate this ...anniversary, a variety of contributions, focussing on the legal and cultural aspects of the Protocol are presented by Van Woudenberg and Lijnzaad. The innovative aspects of the Second Protocol such as enhanced protection, criminal responsibility and jurisdiction, and the protection of cultural property in armed conflicts not of an international character are addressed. Some country-specific studies are included. It is hoped that this publication will inspire States to accede to the Protocol and that it will serve as a source of inspiration to legal advisers, military personnel and cultural property experts.
The aim of this thesis is to study monsters in Gothic literature from the 17th to 21st centuries, including William Shakespeare’s The Tempest, Mary Shelley’s Frankenstein, Oscar Wilde’s The Picture ...of Dorian Gray, and Kazuo Ishiguro’s Never Let Me Go. Traditionally, monsters have been feared by humankind, as they not only represent the limits of humankind but also the dangers of surpassing those limits. Yet, in the monster, we find both the human and the monstrous. In The Tempest, Shakespeare depicts the creation of a monster through moral argumentation in order to reflect the monstrous qualities of the human. In doing this, he makes us, his readers, face the fact that both humans and monsters are always between humanity and monstrosity. Building on this, Shelley creates a monster that embodies more than just the human and the monster. Particularly, she creates a monster that is an amalgamation of all aesthetic identities. Following this, Wilde creates a human monster through the human corruption of aesthetic theory. By doing this, he showcases the idea that there is no true monster, since the monster and the human have always been a single entity. Then, in Ishiguro’s work, he first depicts the creation of monstrous beings through the cooperation of both the humans and the monsterized. Afterward, he offers the creation of art by the monstrous as a possible solution to reverse the monsterization process. In doing so, he offers the perspective that art and aesthetics can be used to create monsters but also humanize them. Thus, through Shakespeare’s, Shelley’s, Wilde’s, and Ishiguro’s texts, we are not only made to see the monstrosity in the human but also the humanity in the monstrous.
This paper discusses the legal norms for the protection of cultural property throughout modern history starting in the mid-19th century, in particular the 1954 Hague Convention and the 1935 Roerich ...Pact.
A border, by definition, is not only a symbol of containment (a dividing line that represents the boundary of a given territory), but also one of exclusion - the same boundary is symbolic of a ...blockade meant to limit entry into the territory. Each of these cross-genre areas, the author states, is primarily "concerned with fortifying U.S. national identity during times of cultural transition" (16). Los Angeles, as "schizopolis" containing borders within its own boundaries and because of its large Latino population, becoming "the epicenter of the immigration debate," is the subject of a lengthy and insightful chapter that provides interpretive analysis of El Norte (1983), Star Maps (1997) and Bread and Roses (2000).
An Imaginary Man Bouvet-Boisclair, Benjamin
01/2022
Dissertation
Novella about an American expat nicknamed Tintin and his search for intimacy in all the wrong places. While teaching English in South West France, Tintin struggles to confront his mother tongue, the ...deaths of his grandfather and great-grandfather, and the end of his long-distance relationship with Ela. Brushes with violence, French history, and other lonely, wayward men, frame an exploration of masculinity, desire, and loss.
Ce mémoire de maîtrise utilise l’approche philosophique et cherche à montrer que l’amour chez Jane Austen est plus complexe que ce que la critique a longtemps proposé. Nous souhaitons montrer que ses ...ouvrages ne font pas l’apologie de la raison. Nous mettons en évidence la tension entre l’amour passionnel et l’amour amical qui persiste à la fin de Le Coeur et la Raison et d’Orgueil et préjugés. Ce conflit ne se résoudra qu’en toute fin de piste, avec l’apparition de l’amour romantique dans Persuasion. Le premier et le deuxième chapitres s’appuient sur deux visions de l’amour, soit l’amour passionnel, tel que décrit dans Le Banquet de Platon, et la philia d’Aristote. Le premier chapitre se concentre sur la trajectoire amoureuse des soeurs Dashwood dans Le Coeur et la Raison. Marianne, d’abord passionnément éprise de Willoughby, finira par épouser le colonel Brandon, une union sous le signe de l’amour amical. Le véritable mariage d’amour du roman, c’est sa soeur Elinor qui le conclura avec Edward Ferrars. Dans le deuxième chapitre consacré à Orgueil et préjugés, nous voyons comment, lorsqu’Elizabeth tombe sous le charme de Wickham, il s’agit d’un amour passionnel. À la fin du roman, elle s’unira plutôt à Darcy. L’amour qui l’unit à Darcy est l’amour amical. Cette relation permettra aux deux partenaires de cheminer ensemble vers la vertu en corrigeant chacun leurs travers. Et leur union a toutes les chances d’être couronnée de succès, puisqu’ils partagent tous les deux la même conception d’une vie bonne. Jane, pour sa part, épousera Bingley. Ils tombent amoureux dès leur première rencontre, et leur relation s’apparente à l’amour passionnel. Encore une fois, le roman s’achève sans que le conflit entre l’amour passionnel et l’amour amical ne soit résolu. Le troisième chapitre propose une solution à la tension entre les deux types d’amour précédemment illustrés. L’amour romantique lie le beau sentiment à la liberté et à l’épanouissement de soi. Dans Persuasion, Anne trouve auprès de Wentworth un partenaire qui valorise ses qualités et l’encourage à développer ses aptitudes. Auprès de ce dernier, la jeune fille peut devenir ce dont elle a envie. À l’opposé des autres héroïnes austeniennes dont la destinée est assez prévisible à la fin du roman, le mariage qu’elle conclut avec Wentworth engage Anne sur un chemin pavé d’inconnu. Nous avons utilisé les recherches de Robert C. Solomon pour montrer comment l’amour peut aider à construire une identité : la relation de couple est l’occasion pour Anne d’esquisser son identité grâce au reflet d’elle-même que son partenaire lui renvoie. Son rôle d’amoureuse lui permet d’exploiter des facettes d’elle-même qui n’étaient pas valorisées par sa famille. Cette solution, qui lie amour, liberté et identité, est audacieuse. Elle permet à Anne de se définir par elle-même aux côtés de son partenaire et lui laisse l’opportunité de choisir un futur différent de celui des autres héroïnes austeniennes. Ce futur que l’autrice a voulu laisser ouvert et difficile à prédire pour le lecteur montre le changement qui s’est opéré depuis le premier roman : désormais, la famille et l’ordre établi cèdent le pas à l’indépendance et à l’épanouissement de soi.
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