MARASŞ-5 STELİ FIRTINA TANRISI TARHUNZAS

– Graphemes of (dh)mākāra, makara to signify Ganga river basin settlements of blacksmiths -- Graphemes are integral media of dissemination of knowledge systems of smelters, wealth

Storja 2023, 2023

Neste material sintetizou-se o conteúdo programático da disciplina Contabilidade Comercial I, o qual servirá de apoio aos estudos da citada disciplina. Está devidamente atualizado segundo a legislação contábil, porém, não substitui pesquisas, leituras e conclusões a serem efetuadas.

Neue Wege, 2024

Der Fortschritt hat es schwer. Ihn zu erzielen, macht nicht nur Arbeit, er muss sich auch als solcher behaupten. Wo Fortschritte verkündet werden – sei es in der Wissenschaft, der Moral oder im Verlauf militärischer Fronten –, melden sich schnell skeptische Stimmen, die ihn als minimalen und blossen »Scheinfortschritt« entlarven. Sie betonen den hohen Preis, den jener ›Fortschritt‹ gefordert habe, sie verweisen auf seine interne Dialektik (die möglicherweise gravierenden Rückschritte in einem Fortschritt, der nur noch aus der Vogelperspektive einer sei) – und verderben damit die Fortschrittsfreude. Zugleich ist klar: Es reicht nicht, nur unverfänglich von »Veränderung« oder »Wandel« zu sprechen; die normative Behauptung des Fortschritts im Sinn einer »positiv bewerteten Weiterentwicklung« (Duden) ist unverzichtbar: Vieles muss nicht nur anders, sondern besser werden.

Pluto Press, 2022

The word smuggler often unleashes a simplified, negative image painted by the media and the authorities. Such state-centric perspectives hide many social, political and economic relations generated by smuggling. This book looks at the practice through the eyes of the smugglers, revealing how their work can be productive, subversive and deeply sociopolitical. By tracing the illegalised movement of people and goods across borders, Seeing Like a Smuggler shows smuggling as a contradiction within the nation-state system, and in a dialectical relation with the national order of things. It raises questions on how smuggling engages and unsettles the ethics, materialities, visualities, histories and the colonial power relations that form borders and bordering. Covering a wide spectrum of approaches from personal reflections and ethnographies to historical accounts, cultural analysis and visual essays, the book spans the globe from Colombia to Ethiopia, Singapore to Guatemala, Afghanistan to Zimbabwe, and from Kurdistan to Bangladesh, to show how people deal with global inequalities and the restrictions of poverty and immobility.

France's burkini ban: the theater of the absurd " an outfit respecting good morals and secularism. " Dr. Hatem Bazian The attempt by a number of French coastal mayors to ban the burkini is a clear sign that Islamophobia has entered into the theater of the absurd. How else can we explain this new attack on Muslim women in civil society other than absurdity that is backed up by law and power? When the police on the beach gave a Muslim woman a ticket for being dressed in a burkini, the charge written on the ticket was laughable had it not been real: " an outfit respecting good morals and secularism. " The idea that a Muslim woman sitting or using the beach while wearing a burkini constitutes a violation and that such a garment does not show respect for " good morals " or the ever-elusive and all-encompassing secularism is absurd. If we examine the French engagement with beach clothing over a long period of time, we are likely to find that the definition of " good morals " were constantly shifting and with it the scope of secularism. What is more absurd is that if a Muslim woman wore a surfer's wetsuit on the beach she would be respecting " good morals and secularism " but not so for the burkini, which covers exactly the same parts of the body. Furthermore, nuns who come to the beach with the kids from Catholic schools and are dressed modestly in an outfit that is identical to the burkini, including the head cover, would be demonstrating " good morals and respecting secularism " despite the religiously mandated clothing. The level of absurdity goes even further; for example, if bikers decided to lie on the beach with their leather outfits and helmets then does this constitute a violation of " good morals " and a sign of disrespect of secularism? Clearly, the examples of what is possible and what is not when it comes to this new ban are endless. However, the ban is intentionally directed at Muslim women and no one else because the French have identified Muslim women's clothing as symbols of otherness and incompatibility with the " norms " of European society. Banning the burkini builds upon a set of earlier laws that targeted the Hijab and the Burkah as symbols of incompatibility with French secularism and culture. Here, the French argument is that clothing constitutes a form of oppression for Muslim women and the state should intervene to remove the harm inflicted upon them as a group. The French Justice Minister Laurence Rossignol compared Muslim veil wearers to " negroes who accepted slavery, " thus implying that the government law is intended to free Muslim women who consented to their own oppression. Certainly, Rossignol's statement was met with rightful condemnation from anti-racist and rights activists who saw the total insensitivity to the history of slavery and the distorted idea that slaves somehow consented to their own condition. Indeed, a line of argument can be found that projects responsibility unto the slaves for their condition rather than the slave master or the broader economic, political, social and religious institutions that made slavery possible and profitable. French fashion mogul Pierre Berge supported the Rossignol by stating that those who design clothing for Muslim women are

Cet article est un hommage à mon arrière grand-oncle le Général Pierre Roques qui se trouve être le fondateur méconnu de l’aviation militaire française au tout début du XXe siècle, et à qui l’on doit entre autres choses, l’adoption du mot « avion » en référence à Clément Ader qui nomma ainsi son aéroplane à vapeur avec lequel il fut le 1er à quitter le « plancher des vaches » grâce à un engin volant motorisé et plus lourd que l’air en 1890. Pierre Roques fut aussi celui qui imposa à tout aviateur le « carnet de vol ». Enfin, sa création précoce de l’aviation militaire française a permis aux aviateurs français en reconnaissance le 3 septembre 1914 au-dessus des armées allemandes de comprendre le changement de route de ces armées déviant de leur offensive initiale vers Paris pour cerner les armées françaises à l’Est, en offrant leurs flancs et la possibilité d’être attaquées par les Français et les Anglais dans ce qui allait être appelé la « bataille de la Marne ». Cette information capitale fut transmise au Général Gallieni qui connaissait très bien Pierre Roques depuis son séjour à Madagascar, et qui l’avait soutenu dans sa création de l’aviation militaire. Gallieni déclencha la bataille sans attendre l’approbation de Joffre et réquisitionna les fameux taxis de Paris pour envoyer les troupes françaises fraiches au plus vite vers la Marne.