Marine Protected Areas: Country Case Studies on Policy, Governance and Institutional Issues

This document presents case studies of the policy, governance and institutional issues of marine protected areas (MPAs) in South America (Northeastern)-Brazil; India, Palau and Senegal. It is the first of four in a global series of case studies on MPAs. An initial volume provides a synthesis and analysis of all the studies. The set of global MPA case studies was designed to close a deficit in information on the governance of MPAs and spatial management tools, within both fisheries management and biodiversity conservation contexts. The studies examine governance opportunities in and constraints on the use of spatial management measures at the national level. They were also designed to inform implementation of the FAO Technical Guidelines on marine protected areas (MPAs) and fisheries, which were developed to provide information and guidance on the use of MPAs in the context of fisheries

Etude Sur la Stratégie et le Programme D'appui à la Société Civile Burundaise

The author study's strategies and programs to build civil society in Burundi

Les Organisations de la Société Civile et la Lutte Contre la Pauvreté en Afrique Subsaharienne

The paper presents the role played by civil society organisations to bring down the poverty

Internationalisme ou affirmation de la nation? La coopération intellectuelle transnationale dans l'entre-deux-guerres

How did intellectuals and politicians confirm or reinforce national categories, even when they ostensibly promoted visions of an international community? The article addresses this question through a case study of the League of Nations' mechanisms for intellectual cooperation. After a brief discussion of institutional aspects, namely the establishment of League-affiliated committees and institutes in the 1920s, the article focuses on the interplay of transnational and national practices. National actors – for instance intellectuals and organisations from Central and Eastern Europe – targeted the League bodies, evoking both cultural internationalism and national interests. Furthermore, nationhood was projected at international congresses – sometimes openly, sometimes in more subtle terms – with the pronouncements of delegates from Fascist Italy providing an interesting case in point. Finally, the article discusses how individuals sought to reconcile the multilayered nature of their activities; to this end, it considers several figures who were involved in the League’s efforts to foster a 'société des esprits'

Ballets Suédois (1920–25)

Rolf de Maré’s Ballets Suédois was active from 1920 to 1925. It was the chief artistic rival to Diaghilev’s Ballets Russes, and de Maré was often referred to as the Swedish Serge Diaghilev. With Jean Börlin as chief choreographer, the company created twenty-four ballets in collaboration with prominent modern artists and composers, including Fernand Léger, Giorgio de Chirico, Pablo Picasso, Francis Picabia, Erik Satie, Darius Milhaud, and Cole Porter. When first launched, the troupe performed ballets in a style similar to the Ballets Russes, but de Maré’s interest in the visual arts and the vibrancy of modern, contemporary life resulted in a greater emphasis on abstraction and popular idioms in both the design and choreography of Ballets Suédois productions

Mural Painting and The Spirit of The Place Versus Graffiti and Street Art

Since 1978, Cité Création has created worldwide more than 650 mural paintings, frescoes, decorations, stage sets in public and private spaces for inhabitants, visitors and tourists. These monumental creations display cultural, social and economic identities. Their aim is to reveal, mark and embellish places, districts, urban spaces and the sites of industrial and service companies regionally, nationally and internationally. Author explains both the role of murals and the difference between them and graffiti, as well as street art

Art, World, Artworld

Ancient Greek philosophers claimed that the particular task of art was mimesis. This kind of view about the relation between art and the world was dominant until the beginning of the 19th century. The theory of genius rethought this relation, and it did not presume that art needs to mirror the world. On the contrary, it expected originality, that is, the creation of a new world. Since the beginning of the 20th century, the artworld operates under a wider notion of the ‘work of art’, e.g. Duchamp’s “readymade” and “institutional readymade”, which are linked to outsider art. In both cases, the creation of an object and the creation of an art piece are separate actions performed by different individuals. This paper attempts to tackle these problems and prove that the contemporary art does not relate primarily to the world, but mainly to the artworld. Thus, the path from art to the world goes through the artworld