Gil Loescher
- Published in print:
- 2001
- Published Online:
- November 2003
- ISBN:
- 9780199246915
- eISBN:
- 9780191599781
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199246912.003.0004
- Subject:
- Political Science, International Relations and Politics
Two political events at the centre of world politics in the mid‐ to late‐1950s—the Hungarian Revolution and the subsequent intervention by the USSR and the Algerian War of National Independence ...
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Two political events at the centre of world politics in the mid‐ to late‐1950s—the Hungarian Revolution and the subsequent intervention by the USSR and the Algerian War of National Independence against France—transformed the UNHCR. The roles played by the second UN High Commissioner for Refugees, Auguste Lindt, in both refugee crises resulted in fundamental changes in UNHCR's orientation and its international reputation. The crises in Hungary and Algeria constituted a bridgehead leading to future institutional growth and autonomy for the UNHCR. The UNHCR also expanded into the developing world through programmes assisting refugees from The Peoples Republic of China in Hong Kong and Tibetan refugees.Less
Two political events at the centre of world politics in the mid‐ to late‐1950s—the Hungarian Revolution and the subsequent intervention by the USSR and the Algerian War of National Independence against France—transformed the UNHCR. The roles played by the second UN High Commissioner for Refugees, Auguste Lindt, in both refugee crises resulted in fundamental changes in UNHCR's orientation and its international reputation. The crises in Hungary and Algeria constituted a bridgehead leading to future institutional growth and autonomy for the UNHCR. The UNHCR also expanded into the developing world through programmes assisting refugees from The Peoples Republic of China in Hong Kong and Tibetan refugees.
Sohail Daulatzai
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816675852
- eISBN:
- 9781452947600
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816675852.003.0002
- Subject:
- History, History of Religion
This chapter explores how the Muslim Third World influenced and informed Black radical politics and culture within the Muslim International. It examines how the anticolonial struggles in the Muslim ...
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This chapter explores how the Muslim Third World influenced and informed Black radical politics and culture within the Muslim International. It examines how the anticolonial struggles in the Muslim Third World of Algeria and Iraq in the 1950s and 1960s not only shaped ideas about tactics and strategy, solidarity and political possibility, but they also informed ideas about film, literature, and cultural criticism within the Black Power imagination. By examining the influence of Frantz Fanon on the Algerian War of Independence and on the novel The Battle of Algiers, and Sam Greenlee and his novel The Spook Who Sat by the Door, this chapter explores how the national liberation struggles in Algeria and Iraq became the literal and ideological backdrop for the redefinition of Black cultural practice, aesthetic developments, thematic concerns, and political orientations during the Black Power era.Less
This chapter explores how the Muslim Third World influenced and informed Black radical politics and culture within the Muslim International. It examines how the anticolonial struggles in the Muslim Third World of Algeria and Iraq in the 1950s and 1960s not only shaped ideas about tactics and strategy, solidarity and political possibility, but they also informed ideas about film, literature, and cultural criticism within the Black Power imagination. By examining the influence of Frantz Fanon on the Algerian War of Independence and on the novel The Battle of Algiers, and Sam Greenlee and his novel The Spook Who Sat by the Door, this chapter explores how the national liberation struggles in Algeria and Iraq became the literal and ideological backdrop for the redefinition of Black cultural practice, aesthetic developments, thematic concerns, and political orientations during the Black Power era.
Elsie Walker
- Published in print:
- 2018
- Published Online:
- January 2018
- ISBN:
- 9780190495909
- eISBN:
- 9780190495947
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190495909.003.0007
- Subject:
- Music, Popular, History, Western
This chapter is a sonic analysis of Caché as an important postcolonial statement, one that attempts to redress historical injustices by amplifying the buried truths, and the ongoing fallout, of ...
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This chapter is a sonic analysis of Caché as an important postcolonial statement, one that attempts to redress historical injustices by amplifying the buried truths, and the ongoing fallout, of France’s colonial legacy. More specifically, the chapter explains the sonic significance of the characters’ speech, silences, and failures to face truths and understand each other (represented by the aural motif of their saying “nothing”), especially in relation to the historically suppressed massacre of Algerians protesting for Independence in October 1961. The chapter also dwells on the film’s undeniable power in the complete absence of any music to mediate its uncompromising representation of lasting social inequities in a postcolonial nation, and on a massive scale. The analysis engages with many other critical reactions to Caché that, like much scholarship on Haneke, downplay sonic subtleties and their progressive significance.Less
This chapter is a sonic analysis of Caché as an important postcolonial statement, one that attempts to redress historical injustices by amplifying the buried truths, and the ongoing fallout, of France’s colonial legacy. More specifically, the chapter explains the sonic significance of the characters’ speech, silences, and failures to face truths and understand each other (represented by the aural motif of their saying “nothing”), especially in relation to the historically suppressed massacre of Algerians protesting for Independence in October 1961. The chapter also dwells on the film’s undeniable power in the complete absence of any music to mediate its uncompromising representation of lasting social inequities in a postcolonial nation, and on a massive scale. The analysis engages with many other critical reactions to Caché that, like much scholarship on Haneke, downplay sonic subtleties and their progressive significance.
