Newer posts are loading.
You are at the newest post.
Click here to check if anything new just came in.

September 06 2013

*The Dublin Regulation : A Critical Examination of a Troubled System* ❝Introduction The protection…

The Dublin Regulation: A Critical Examination of a Troubled System

Introduction

The protection of refugees and asylum seekers has been a binding international responsibility since the early 1950s with the introduction of the Geneva Convention Relating to the Status of Refugees of 1951.[1] “Any person who [...] owing to well-founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group or political opinion”,[2] has, inter alia, a right under the Convention to be granted international protection in the signatory states. While the Refugee Convention dates back to the middle of the 20th century it was only in the 1980s[3] and 1990s[4] that asylum and refugee matters were addressed within the EU. In the last 23 years, Europe has seen the Dublin Convention grow into the Dublin II Regulation (DR II) and finally develop into the Dublin III Regulation (DR III) without seeing any significant improvement for balancing asylum seekers protection and Member States’ (MS) burden. This article will establish that the EU has failed to provide a fair mechanism for determining MS responsibility for examining asylum claims, and hence has made the entire asylum system in the EU dysfunctional and debatably not in line with international standards of refugee protection.

http://internationalrefugeelaw.wordpress.com/2013/08/26/the-dublin-regulation-a-critical-examination-of-a

#Dublin #réfugiés #asile #migration

August 14 2013

La grande grève dublinoise de 1913

La grande grève dublinoise de 1913
http://cqfd-journal.org/La-grande-greve-dublinoise-de-1913

D’ailleurs, le pain devient très vite le nerf de la guerre. Des comités d’aide aux grévistes, souvent animés par les femmes issues des mouvements nationalistes et féministes, comme l’actrice Maud Gonne ou Constance – « la Comtesse Rouge » – Markievicz, organisent des soupes populaires « rouges » ou de « charité ». Des chargements de nourriture sont envoyés par les syndicats anglais. Et c’est là que l’Église catholique réveille son vieux démon : cette charité internationaliste ressemble trop à un complot pour convertir ses ouailles aux diaboliques athéisme et pire, protestantisme. Avec le projet des syndicalistes d’envoyer en Angleterre les enfants affamés de Dublin pour les sauver, la coupe est pleine ! Walsh, l’évêque de Dublin, dira : « Elles ne méritent plus le nom de mères catholiques si elles oublient leur devoir au point d’envoyer leurs enfants dans un pays étranger… » L’Église reçoit le soutien de quelques grands noms de la cause nationaliste comme Arthur Griffith, fondateur du Sinn Féin.

#grève #Irlande #Dublin #histoire

July 12 2013

Thèse de doctorat du professeur Francesco Maiani (

Thèse de doctorat du professeur Francesco Maiani (http://www.swipan.ch/swipan.nsf/go/1403a70360292db6c12574aa004c2ec9?OpenDocument&lng=it)

L’unité familiale et le système de #Dublin – entre gestion des flux migratoires et respect des droits fondamentaux

Le phénomène des #migrations_forcées présente toutefois une autre dimension,qu’on peut qualifier d’intermédiaire entre la dimension individuelle et la dimension collective. Il entretient des relations étroites, presque nécessaires, avec la sphère familiale. En effet, comme tout être humain, le migrant forcé est normalement inséré dans un tissu de relations sociales et, plus spécifiquement, de parenté. Un événement tel la fuite du pays d’origine – qui bouleverse le cadre habituel de son existence – est susceptible d’avoir de multiples répercussions sur ces relations

Elle se compose de trois parties :
La première partie est consacrée au contexte juridique et politique du système de Dublin. Son objet est de présenter les sources de droit international pertinentes – sous l’angle notamment des limites qu’elles imposent au droit des États de contrôler l’entrée et le séjour des étrangers – et l’évolution géographique, matérielle et formelle du système de Dublin dans le cadre du développement d’une politique européenne d’asile.
La deuxième partie comprend une analyse des dispositions relevant du système de Dublin, et plus spécifiquement de celles qui ont trait à la problématique de l’unité familiale. C’est dans cette partie que seront tracés avec plus de précision les contours et les formes des atteintes que le système de Dublin est susceptible de porter à la vie familiale des personnes qu’il concerne.
La troisième partie , enfin, a pour objet de mettre en lumière les liens systémiques des règles de Dublin avec le droit européen et international de la protection des droits fondamentaux, et d’en tirer les conséquences qui s’imposent sur le plan de leur interprétation et application.

http://academia.edu/693993/Lunite_familiale_et_le_systeme_de_Dublin_entre_gestion_des_flux_migratoire

#migration #famille #flux_migratoires #droits_fondamentaux #droits_de_l'homme

September 06 2011

Dublin art show draws on WB Yeats's darkest lines

Dublin Contemporary's political theme is the 'terrible beauty' in the poem Easter, 1916. But are Yeats's eerie, prophetic verses applicable to recent political and economic upheavals?

From 6 September until 31 October, Dublin is putting on a contemporary art show that occupies some of the city's finest venues and includes a host of Irish and international artists. Dublin Contemporary 2011 can be seen at the Hugh Lane, the National Gallery of Ireland and other spaces, and features, among others, Willie Doherty and Thomas Hirschhorn. It should be fascinating to see such a big spread of new art against this city's backdrop of 18th-century buildings, and the event deserves to draw big crowds to Dublin.

But inevitably, in these times of economic crisis and world political upheaval, Dublin Contemporary has a political feel: perhaps it is the first international art event to take on this year's mounting sense of crisis directly. Both the artists I have mentioned are notably engaged with political events, and Dublin Contemporary takes as its theme "Terrible Beauty", a quotation from WB Yeats's poem Easter, 1916.

This has been quite a summer for quoting Yeats. In the wake of England's riots, columnists were working great chunks from his poem The Second Coming into their copy. Easter, 1916 and The Second Coming both come from an anthology that Yeats published in 1921, his most disturbing and engaged book, reflecting on revolution and anticipating civil war. It is chilling that now, people from Telegraph commentators to art curators find his darkest lines appropriate to our times.

In Easter, 1916, Yeats defines the modern spirit in an uneasy and ambivalent way. He speaks of friends and acquaintances he used to meet after work, to say "polite meaningless words" to, yet who have now become revolutionary martyrs in the Easter Rising:

All changed, changed utterly:
A terrible beauty is born.

This line captures the essence of modernism in art as well as politics – the change that has suddenly occurred is absolute, and unleashes terrible beauty. You can apply that image to works of art from Les demoiselles d'Avignon to Thomas Hirschhorn's Crystal of Resistance in the Swiss Pavilion at this summer's Venice Biennale.

As an aesthetic, this "terrible beauty" is compelling, but Yeats sees human terror in the violence and intensity that has been unleashed, for "Too long a sacrifice/ Can make a stone of the heart." In The Second Coming, the poet bears witness to gathering darkness as hearts do indeed turn to stone:

The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

So it is uneasy, to say the least, that all of a sudden, the times we live in seem to demand quotations from the eeriest prophetic verses of the 20th century. Are we really in times of "terrible beauty" once again? Are the troubling symptoms of the summer, from breaking glass to market shudders, really comparable with the bloody age in which Yeats had his revelations?

Dublin Contemporary sounds great. But I hope we can soon go back to living where motley is worn.


guardian.co.uk © Guardian News & Media Limited 2011 | Use of this content is subject to our Terms & Conditions | More Feeds


Older posts are this way If this message doesn't go away, click anywhere on the page to continue loading posts.
Could not load more posts
Maybe Soup is currently being updated? I'll try again automatically in a few seconds...
Just a second, loading more posts...
You've reached the end.

Don't be the product, buy the product!

Schweinderl