The Scope of International Relations

1948 ◽  
Vol 1 (1) ◽  
pp. 142-146 ◽  
Author(s):  
Frederick S. Dunn
Keyword(s):  
International Relations ◽  
Ambiguous Word ◽  
Point Of View ◽  
Striking Similarity ◽  
Real Property ◽  
Starting Point ◽  
Vested Interests ◽  
Critical Scrutiny ◽  
The Moment ◽  
In The Beginning

Four able and penetrating writers have recently given us their considered views on the nature and scope of international relations as a branch of higher learning.* While each of them starts from a somewhat different intellectual viewpoint, they display a striking similarity of conception of the general place of international relations (hereafter referred to as IR) in the spectrum of human knowledge. I propose here, not to subject these writings to critical scrutiny, but to use them as a starting point for a brief inspection of the scope of international relations as it now seems to be taking form in the work of the leading scholars in the field.It is necessary to note in the beginning that “scope” is a dangerously ambiguous word. It suggests that the subject matter under inquiry has clearly discernible limits, and that all one has to do in defining its scope is to trace out these boundaries in much the manner of a surveyor marking out the bounds of a piece of real property. Actually, it is nothing of the sort. A field of knowledge does not possess a fixed extension in space but is a constantly changing focus of data and methods that happen at the moment to be useful in answering an identifiable set of questions. It presents at any given time different aspects to different observers, depending on their point of view and purpose. The boundaries that supposedly divide one field of knowledge from another are not fixed walls between separate cells of truth but are convenient devices for arranging known facts and methods in manageable segments for instruction and practice. But the foci of interest are constantly shifting and these divisions tend to change with them, although more slowly because mental habits alter slowly and the vested interests of the intellectual world are as resistant to change as those of the social world.

Basic principles of Russian foreign policy under Vladimir Putin

Upravlenie ◽  
2020 ◽  
Vol 8 (4) ◽  
pp. 116-122
Author(s):  
Sadeghi Elham Mir Mohammad ◽  
Ahmad Vakhshitekh
Keyword(s):  
Foreign Policy ◽  
International Relations ◽  
World Order ◽  
Policy Decision ◽  
Point Of View ◽  
Russian Foreign Policy ◽  
National Interests ◽  
Basic Principles ◽  
Interstate Relations ◽  
The Moment

The article considers and analyses the basic principles and directions of Russian foreign policy activities during the presidency of V.V. Putin from the moment of his assumption of the post of head of state to the current presidential term. The authors determine the basic principles of Russia's foreign policy in the specified period and make the assessment to them. The study uses materials from publications of both Russian and foreign authors, experts in the field of political science, history and international relations, as well as documents regulating the foreign policy activities of the highest state authorities. The paper considers the process of forming the priorities of Russia's foreign policy both from the point of view of accumulated historical experience and continuity of the internal order, and in parallel with the processes of transformation of the entire system of international relations and the world order. The article notes the multi-vector nature of Russia's foreign policy strategy aimed at developing multilateral interstate relations, achieving peace and security in the interstate arena, actively countering modern challenges and threats to interstate security, as well as the formation of a multipolar world. The authors conclude that at present, Russia's foreign policy activity is aimed at strengthening Russia's prestige, supporting economic growth and competitiveness, ensuring security and implementing national interests. Internal political reforms contribute to strengthening the political power of the President of the Russian Federation and increasing the efficiency of foreign policy decision-making.

L’absence chez Michel Butor. L’Emploi du temps et Degrés

2012 ◽  
pp. 66-80
Author(s):  
Michał Mrozowicki
Keyword(s):  
Human Memory ◽  
Point Of View ◽  
Narrative Discourse ◽  
The Novel ◽  
Michel Butor ◽  
Starting Point ◽  
One Year ◽  
The Moment ◽  
Narrative Mode ◽  
The City

Michel Butor, born in 1926, one of the leaders of the French New Novel movement, has written only four novels between 1954 and 1960. The most famous of them is La Modification (Second thoughts), published in 1957. The author of the paper analyzes two other Butor’s novels: L’Emploi du temps (Passing time) – 1956, and Degrés (Degrees) – 1960. The theme of absence is crucial in both of them. In the former, the novel, presented as the diary of Jacques Revel, a young Frenchman spending a year in Bleston (a fictitious English city vaguely similar to Manchester), describes the narrator’s struggle to survive in a double – spatial and temporal – labyrinth. The first of them, formed by Bleston’s streets, squares and parks, is symbolized by the City plan. During his one year sojourn in the city, using its plan, Revel learns patiently how to move in its different districts, and in its strange labyrinth – strange because devoid any centre – that at the end stops annoying him. The other, the temporal one, symbolized by the diary itself, the labyrinth of the human memory, discovered by the narrator rather lately, somewhere in the middle of the year passed in Bleston, becomes, by contrast, more and more dense and complex, which is reflected by an increasinly complex narration used to describe the past. However, at the moment Revel is leaving the city, he is still unable to recall and to describe the events of the 29th of February 1952. This gap, this absence, symbolizes his defeat as the narrator, and, in the same time, the human memory’s limits. In Degrees temporal and spatial structures are also very important. This time round, however, the problems of the narration itself, become predominant. Considered from this point of view, the novel announces Gerard Genette’s work Narrative Discourse and his theoretical discussion of two narratological categories: narrative voice and narrative mode. Having transgressed his narrative competences, Pierre Vernier, the narrator of the first and the second parts of the novel, who, taking as a starting point, a complete account of one hour at school, tries to describe the whole world and various aspects of the human civilization for the benefit of his nephew, Pierre Eller, must fail and disappear, as the narrator, from the third part, which is narrated by another narrator, less audacious and more credible.

Estetyka wobec feminizmu

2019 ◽  
Vol 25 (25) ◽  
pp. 40-66
Author(s):  
Grzegorz Dziamski
Keyword(s):  
Virginia Woolf ◽  
Point Of View ◽  
Feminist Art ◽  
Women's Art ◽  
The Enlightenment ◽  
Starting Point ◽  
Judy Chicago ◽  
The Difference ◽  
In The Beginning ◽  
Feminist Aesthetics

When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.

scholarly journals The problems of recognition of property right on not accepted for operation immovable property as judicial way of protection of investor’s subjective civil rights and interests

2020 ◽  
pp. 94-102
Author(s):  
Denis Spesivtsev
Keyword(s):  
Civil Rights ◽  
Point Of View ◽  
Property Right ◽  
Real Property ◽  
Scientific Approach ◽  
The Moment ◽  
Investment Object ◽  
The Right ◽  
Judicial Protection ◽  
Right Of Property

The article contains the results of author’s idea of an order of usage such way of protection of investor’s subjective civil rights on immovable property (an investment object) and his interests in it as recognition of property right. Nowadays the usage of such protecting way linked to two main problems. The first problem is an object of protection. At the moment of sue the investor has no property right on appropriate immovable thing that makes it impossible to protect it with above-mentioned way. The second problem is a widespread approach according to which the investor has a right to claim the right of property but does not has such right of property till the thing is taken into operation. Moreover scientific approach according to which till the immovable thing is taken into operation it considered as construction in process is supported in modern juridical literature. This make impossible to recognize property right on appropriate thing as on immovable one. The author proposes an alternative point of view on appropriate problem. In his opinion such way of protecting as recognition of the right of property on immovable thing, that is the investment object, can be used for protection of investor’s right to claim in appropriate relationship as well as for protection his proprietary interest in acquisition the right of property on appropriate real property. At the same time the taking of the immovable property into operation confirms the fact of the completion of the construction building but is not a circumstance that leads to such completion. The author states that an amendments that have been done in current legislative provisions of Ukraine during the last several years expanded the court’s possibilities in protection of investor’s rights in construction sector. Obviously the recognition of investor’s right to claim related to investment object doesn’t provide the satisfaction of his proprietary interest that is tendency to get right of property on appropriate immovable thing. Moreover, the right to claim is a mean of appropriate aim achievement. In this regard the most effective way of protection in analyzed situation is the recognition of investor’s right of property on immovable thing (investment object). Key words: immovable property, judicial protection, right of property, recognition of property right, proprietary interest

scholarly journals (Post)archaiczność obrazu

1970 ◽  
Author(s):  
Sebastian Borowicz
Keyword(s):  
Point Of View ◽  
Maurice Blanchot ◽  
Human Beings ◽  
Late Archaic ◽  
Greek Culture ◽  
The Past ◽  
Starting Point ◽  
The World ◽  
Intellectual Revolution ◽  
The Moment

The proximity of the late archaic Greek philosophical breakthrough and postmodernity relies on the analogy of a media and intellectual revolution that takes place in both periods. Greek culture of the 6th and early 5th century BCE gradually moves from orality to literacy, from performativity and affection towards an intellectual view of the world and reflective being, from a world that is shared with non-human beings to the world of human monody. Modernity, however, seems to reverse these trends. Nevertheless, we do not go into the past but reach a higher level of archaicity. From this point of view, postmodernity becomes postarchaicity; this is a chance that in the moment of historical contiguity, vivisection of our culture will reveal still active common places, allowing us to explore images before the metaphysical era. The starting point of the analysis is the question“What is the image?” posed by Maurice Blanchot and his extremely insightful answer to this question.

Hidden behind the screen: seeing the life and death boundary in an intensive care unit

2021 ◽  
Vol 4 (1) ◽  
pp. 104-125
Author(s):  
Alina Patrakova
Keyword(s):  
Intensive Care Unit ◽  
Intensive Care ◽  
Video Surveillance ◽  
Point Of View ◽  
Life And Death ◽  
Naked Eye ◽  
Starting Point ◽  
The Moment ◽  
The One ◽  
Monitoring Technologies

The article traces how the life-death boundary in the intensive care unit is made visible on hospital monitors (in figures and diagnostic images), in medical dramas and docu-series as well as via video surveillance. The starting point is the question of how much the life-death boundary is accessible to be viewed directly – not only with the naked eye, but also with the help of special devices. In search for answers to this question, the author focuses on the semantic field of the “screen” concept. Screen, on the one hand, can be considered as a surface on which an image is projected; on the other hand, it can be a pro-tective barrier. In other words, screen can be a tool for both turning the invisible into the visible and vice versa. This antinomy between visibility and invisibility can be traced both in relation to hospital monitors as well as to TV and video surveillance. Screen has its frames and technical limitations that determine the selectivity of representation. In conclusion, the author assumes that the intention to objectively record the moment of death, to make this boundary clearly visible from a scientific point of view makes it, on the contrary, escape the eye. What is managed to be registered and made visible turns out to be an artifact. In this sense, the life-death boundary in critical medicine appears as a multiple construct – of theoretical, technological, and socio-cultural nature. Probably, the paradox is that this transition from life to death can be seen more clearly with the naked eye rather than with diagnostic and monitoring technologies.

The Hérelle phenomenon, its nature and significance from the point of view of biologists and clinicians

1923 ◽  
Vol 19 (5) ◽  
pp. 85-103
Author(s):  
M. P. Tushnov
Keyword(s):  
Point Of View ◽  
Starting Point ◽  
The Creation ◽  
In The Beginning ◽  
Scientific Hypotheses

From individual facts through their generalization scientific hypotheses and theories are created, which in turn are the basis for new conquests of science. Therefore, it is not surprising that often a suddenly discovered fact produces a whole revolution in our views. Often such a fact, which in the beginning does not fit in our ideas, later serves as a starting point for the creation of a new theory. So it was with discoveries of phagocytosis, gemolysis, bacteriolysis, Kraus' precipitations, agglutination, anaphylaxis, etc. Apparently, the so-called "dʹHerelle phenomenon" has the same place nowadays.

ESTHETICS TOWARDS FEMINISM

2019 ◽  
Vol 25 (25) ◽  
pp. 40-66
Author(s):  
Grzegorz Dziamski
Keyword(s):  
Virginia Woolf ◽  
Point Of View ◽  
Feminist Art ◽  
Women's Art ◽  
The Enlightenment ◽  
Starting Point ◽  
Judy Chicago ◽  
The Difference ◽  
In The Beginning ◽  
Feminist Aesthetics

When we talk today about women’s art, we think about three phemonena, quite loosely related. We think about feminist art, about the way that the feminist’s statements and demands were expressed in the creativity of Judy Chicago and Nancy Spero, Carolee Scheemann and Valie Export, Miriam Schapiro and Mary Kelly, and in Poland in the creativity of Maria Pinińska-Bereś, Natalia LL or Ewa Partum. We think about female art, the forgotten, abandoned, neglected artists brought back to memory by the feminists with thousands of exhibitions and reinterpretations. Lastly, we think about the art created by women – women’s art. However, we do not know and will never know, whether the latter two phenomena would develop without the feminist movement. What is more, it is about the first wave of feminism called “the equality feminism”, as well as the dominating in the second wave – “the difference feminism”. The feminist art was in the beginning a critique of the patriarchal world of art. In a sense it remains as such (see: the Guerilla Girls), yet today we are more interested in the feminist deconstruction of thinking about art, and thus the question arises: should feminism create its own aesthetics – the feminist aesthetics, or should it develop the gender aesthetics, and as a result introduce the gender point of view to thinking about art? In this moment the androgynous feminism regains its importance, one represented by Virginia Woolf, and referring – in the theoretical layer – to Freud as read by Lucy Irigaray. Freudism, which the feminists became aware of in the 1970s, is the only philosophical movement, which assumes a dual subject, that is, in the starting point assumes the existence of two subjects – man and woman, even if the woman is defined in a purely negative way, by the deficit, as a “not a man”. Freudism replaces the Cartesian thinking subject (consciousness) by the corporeal and sexual being, and forces us to re-think the Enlightenment beginnings of the European aesthetics.

Chelovek.RU/Человек.RU

Chelovek RU ◽  
2020 ◽  
pp. 18-53
Author(s):  
Sergei Avanesov ◽  
Keyword(s):  
Family History ◽  
Great Distance ◽  
Point Of View ◽  
The Past ◽  
Russian Philosopher ◽  
True Meaning ◽  
The Future ◽  
Pavel Florensky ◽  
The Moment

Abstract. The article analyzes the autobiography of the famous Russian philosopher, theologian and scientist Pavel Florensky, as well as those of his texts that retain traces of memories. According to Florensky, the personal biography is based on family history and continues in children. He addresses his own biography to his children. Memories based on diary entries are designed as a memory diary, that is, as material for future memories. The past becomes actual in autobiography, turns into a kind of present. The past, from the point of view of its realization in the present, gains meaning and significance. The au-thor is active in relation to his own past, transforming it from a collection of disparate facts into a se-quence of events. A person can only see the true meaning of such events from a great distance. Therefore, the philosopher remembers not so much the circumstances of his life as the inner impressions of the en-counter with reality. The most powerful personality-forming experiences are associated with childhood. Even the moment of birth can decisively affect the character of a person and the range of his interests. The foundations of a person's worldview are laid precisely in childhood. Florensky not only writes mem-oirs about himself, but also tries to analyze the problems of time and memory. A person is immersed in time, but he is able to move into the past through memory and into the future through faith. An autobi-ography can never be written to the end because its author lives on. However, reaching the depths of life, he is able to build his path in such a way that at the end of this path he will unite with the fullness of time, with eternity.

CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)

2019 ◽  
pp. 60-71
Author(s):  
N. V. Bashmakova ◽  
K. V. Kravchenko
Keyword(s):  
19Th Century ◽  
Analytical Methods ◽  
17Th Century ◽  
Point Of View ◽  
Historical Approach ◽  
The Creation ◽  
Characteristic Features ◽  
Concert Works ◽  
In The Beginning ◽  
The 19Th Century

The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.

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