Strikes of Migrant Workers in Urban Space and Evolution of Trade Unions's Policy: Focused on Case Study in France and Begium after the Second World War

2015 ◽  
Vol 52 ◽  
pp. 113-143
Author(s):  
Dongkyu Shin
Transport ◽  
2005 ◽  
Vol 20 (6) ◽  
pp. 257-264 ◽  
Author(s):  
Branimir Stanić ◽  
Darko Vujin

In a number of towns and cities worldwide development programmes have been initiated to provide designated bike surfaces reserved for the movement of cyclists along city network. There has been an increase in the use of a bicycle as a regular means of personal transport, particularly in recent years when technical solutions and modern materials have allowed more active use of bicycles in big cities. Judging from the perspective of bicycles, Belgrade has undergone several significant changes. In the period preceding the Second World War the number of bicycles in the city (area of which used to be much smaller than today) was considerable, particularly in relation to vehicles. In the following periods, the development of the city has gradually pushed bicycles towards outskirts. Today bicycles are mostly used for recreation purposes. In this process special signalization addressed to cyclists has been mainly neglected. So‐called standard info‐solutions, essentially addressed to drivers, were applied. New aesthetics of the city, as one of possible ideas of the urban space re‐engineering, is based also on the introduction of “Zones 20” 20 mph (30 km/h) zones as well as on more active use of bicycles. In addition, both mentioned measures increase ecological quality of life in the city. A new concept of info‐system addressed to cyclists moving in a street network of a big city (Case Study of Belgrade, 2004) is presented in this paper.


2010 ◽  
Vol 1 (1) ◽  
pp. 75-93
Author(s):  
Jessica Moberg

Immediately after the Second World War Sweden was struck by a wave of sightings of strange flying objects. In some cases these mass sightings resulted in panic, particularly after authorities failed to identify them. Decades later, these phenomena were interpreted by two members of the Swedish UFO movement, Erland Sandqvist and Gösta Rehn, as alien spaceships, or UFOs. Rehn argued that ‘[t]here is nothing so dramatic in the Swedish history of UFOs as this invasion of alien fly-things’ (Rehn 1969: 50). In this article the interpretation of such sightings proposed by these authors, namely that we are visited by extraterrestrials from outer space, is approached from the perspective of myth theory. According to this mythical theme, not only are we are not alone in the universe, but also the history of humankind has been shaped by encounters with more highly-evolved alien beings. In their modern day form, these kinds of ideas about aliens and UFOs originated in the United States. The reasoning of Sandqvist and Rehn exemplifies the localization process that took place as members of the Swedish UFO movement began to produce their own narratives about aliens and UFOs. The question I will address is: in what ways do these stories change in new contexts? Texts produced by the Swedish UFO movement are analyzed as a case study of this process.


2017 ◽  
Vol 14 (2) ◽  
pp. 245-270 ◽  
Author(s):  
KATE GUTHRIE

AbstractBy the outbreak of the Second World War in Britain, critics had spent several decades negotiating the supposed distinctions between highbrow and lowbrow culture, as recent scholarship has shown. What has received comparatively little attention is how the demands of wartime living changed the stakes of the debate. This article addresses this lacuna, exploring how war invited a reassessment of the relative merits of art and popular music. Perhaps the most iconic British singer of the period, Vera Lynn provides a case study. Focusing on her first film vehicle,We'll Meet Again(1942), I explore how Lynn's character mediated the highbrow/lowbrow conflict – for example, by presenting popular music as a site of community, while disparaging art music for its minority appeal. In so doing, I argue, the film not only promoted Lynn's star persona, but also intervened in a broader debate about the value of entertainment for a nation at war.


2019 ◽  
Vol 12 ◽  
pp. 77-87
Author(s):  
Vasylyna PASTERNAK

Before the war, urban symbolic space of Zhovkva was divided between several national groups – Ukrainians, Poles and Jews, who created the culture and history of the city. The foundations for such cohabitation were laid during the construction of the city by the Field Crown Hetman Stanisław Żółkiewski, and survived until the start of the war, as evidenced by the memories of its inhabitants. Therefore, the article explains how the ethnic composition of the city’s population has changed and its further influence on the symbolism of the urban space. Subsequently of the dramatic events of the Second World War and the processes of resettlement of the population, two of the national groups disappeared from the urban space. The Jewish community was physically destroyed during the war, and the Poles were evicted from Zhovkva to Poland in 1944–1946. The destruction of the Jews meant the death of the whole subethnos with original culture and history. The resettlement of Poles from Zhovkva, from their homes, was extremely difficult psychologically, because they were saying goodbye to their hometown, where they lived for several generations, were deprived of their homes, property that belonged to the ancestors, they were allowed to take out only 2 tons of items social household consumption. Soviet soldiers and functionaries, peasants from the surrounding villages, who got used to living together and rebuilding Zhovkva, became “new” city dwellers. The “new” residents of the city, in cooperation with the Soviet authorities, changed the symbolic space of the city, starting with the change of name from Zhovkva to Nesterov, in honor of the Russian pilot Peter Nesterov, who died near the city in 1914. The city was built on the socialist urban model, which destroyed the historical and architectural environment of Zhovkva, founded in the XVI century. Architectural sights that testified to the multinational of Zhovkvа were destroyed or completely changed their purpose. Polish churches and monasteries were turned into warehouses or barracks for soldiers, and icons, paintings, statues, religious things were destroyed or exported abroad. Keywords Zhovkva, Stanisław Żółkiewski, Jan ІІІ Sobieski, socio-demographic processes, Poles, Jews, interethnic relations, symbolic space.


2018 ◽  
Vol 30 (3) ◽  
pp. 472-487 ◽  
Author(s):  
Juan J. Díaz Benítez

The secret supply of the German Navy during the Second World War has scarcely been studied until now. The goal of this article is to study one of the more active supply areas of the Etappendienst at the beginning of the war, the one known as Etappe Kanaren, as part of the Grossetappe Spanien-Portugal. In this research primary sources from German Naval War Command have been consulted. Among the main conclusions, it should be pointed out, on the one hand, the intense activity to support the Kriegsmarine during the first years of the war, despite the distance from mainland Spain and the British pressure, which finally stopped the supply operations. On the other hand, we have confirmed the active role of the Spanish government in relation to the Etappendienst: Spanish authorities allowed the supply operations, but pressure from the Allies forced the Spanish government to impede these activities.


Author(s):  
Karen Davies ◽  
Caroline Ritchie

The founding philosophy of many cultural events established after the Second World War was to enhance the dynamics of peace through supporting and developing multicultural understanding. Over 50 years after their establishment, this chapter investigates the potential of such iconic events to achieve this aim and contribute to the concept of peace through tourism, based on a longitudinal ethnographic case study of Llangollen International Musical Eisteddfod. The results show that this aim can be achieved by such events if they provide enough time and space for participants (performers and audiences) to interact. However, the study also identifies current cultural, political, and fiscal challenges in providing these temporal and physical spaces.


2019 ◽  
Vol 55 (2) ◽  
pp. 271-296
Author(s):  
Onur Isci

This article examines Turkey's wartime diplomacy between the Molotov–Ribbentrop Pact and Hitler's unleashing of Operation Barbarossa. Rather than a survey of Turkish foreign policy as a whole, it takes a critical episode from July 1940 as a case study that – when put in context – reveals how fear of Nazi power and even greater fear of the Soviet Union created in Turkey a complex view of a desired outcome from the Second World War. Juxtaposing archival materials in Turkish, Russian, German, and English, I draw heavily on the hitherto untapped holdings of the Turkish Diplomatic Archives (TDA). Overall, this article demonstrates both the breadth and limits of Nazi Germany's sweeping efforts to orchestrate anti-Soviet propaganda in Turkey; efforts that helped end interwar Soviet-Turkish cooperation. Against previously established notions in historiography that depict Soviet-Turkish relations as naturally hostile and inherently destabilizing, this article documents how the Nazi–Soviet Pact played a key role in their worsening bilateral affairs between 1939 and 1941. The argument, then, is in keeping with newer literature on the Second World War that has begun to compensate for earlier accounts that overlooked neutral powers.


2014 ◽  
Vol 139 (1) ◽  
pp. 137-175 ◽  
Author(s):  
Kate Guthrie

ABSTRACTWhile biographical studies of British composers' experiences in the Second World War abound, little attention has been paid to how the demands of ‘total’ war impacted on music's ideological status. This article sheds new light on how composers and critics negotiated the problematic relationship between art music and politics in this period. John Ireland's Epic March – a BBC commission that caused the composer considerable anxiety – provides a case study. Drawing first on the correspondence charting the lengthy genesis of the work, and then on the work's critical reception, I consider how Ireland and his audiences sought to reconcile the conflicting political and aesthetic demands of this commission. With its conventional musical style, Epic March offers an example of a ‘middlebrow’ attempt to bridge the gap between art and politics.


2019 ◽  
Vol 7 ◽  
pp. 23-33
Author(s):  
Галина Мацюк

The purpose of the article is to introduce the concept of „conversion to Orthodoxy ” into the analysis of historical sociolinguistics for the characterization of a language situation caused by the redistribution of Ukrainian territories after the third division of Poland and during the Second World War. The objectives of the article are to reveal the meaning of the concept of „conversion to Orthodoxy” and to identify the linguistic markers of this phenomenon in contemporary religious and secular discourse. The author studies the content of the category „conversion to Orthodoxy” based on new sources that have not yet been put into circulation by sociolinguistics. Methods of analysis: case study, discourse analysis, sociolinguistic correlations, comparative and biographical method, which allowed applying socio-cultural linguistic approach to studying the database. The results related to the conversion to Orthodoxy obtained in the article prove the destruction of the national and religious identity of the Ukrainian territories in the 18th-20th centuries and illustrate intercultural communication under the scheme of integration with assimilation based on a geopolitical factor, violence and terror.


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