Afrique

A katonai hagyományőrző rendezvények evidens módon illeszkednek a podcastunk profiljába, amivel csapatunk is tisztában van, de igazság szerint néhány zsámbéki eseményt leszámítva nincs ilyenekről tapasztalatunk sajnos. Ami pedig kifejezetten a középkori/lovagkori tematikájú fesztiválokat illeti (tágabb értelemben a vikinges tematikát is ide sorolhatjuk), ahol persze a folklór is fókuszban lehet a pusztán katonai dolgok mellett, ezekről kb. annyit „tudunk”, hogy sok helyen léteznek, ill. hogy időnként a visegrádi és a nagyvázsonyi várakban is rendeznek (vagy most már csak rendeztek?) ilyesmit. Mindenesetre aztán az angliai Rózsák Háborújához kötődő adásaink előkészítése során rábukkantunk arra az információra, hogy a Lancester- és a York-házak közötti utolsó jelentős csata helyszínén, a délnyugat-angliai Tewkesbury egyébként csendes és nagyrészt azért érdektelen városkájában már négy évtizede rendeznek nyaranta egy efféle elég komoly programot, az emlékezetpolitika és a turizmus jegyében egyaránt.

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Length of video : 90'

Disclaimer : The interpretation of debates serves to facilitate communication and does not constitute an authentic record of proceedings. Only the original speech or the revised written translation is authentic.
Source : © European Union, 2026 - EP

Source : © European Union, 2025 - EP

Togoville, l’âme du Togo, reste une ville historique et culturelle qui attire beaucoup de chercheurs et de touristes avec ses 10 000 habitants environ qu’elle abrite aujourd’hui.

This study examines portrayals of marine mammal celebrities (MMCs) in popular culture over the past 70 years, reflecting evolving public attitudes toward ocean conservation. It identifies four main types of MMCs, each linked to a specific era and shaped by changes in media landscapes, perceptions of marine mammal agency and welfare, and conservation priorities: (1) Hollywood MMCs (ca. 1960–1990s)—wild animals captured and exhibited in aquaria, cast as celebrities based on their roles in traditional mass media (blockbuster movies); (2) MMCs in human care (ca. 1990s–2010s)—animals housed in aquaria whose fame stemmed from public concern about their welfare and calls for their release; (3) rescued MMCs (ca. 1980s–present)—marine mammals cared for by humans after they were injured in the ocean; and (4) endangered and dangerous MMCs (2010s–present)—wild animals that approach humans, demonstrate human‐like behaviours, or interact with boats. Introducing the method of “following the animal,” the article provides examples of celebrity animals that illustrate each of the four categories, such as the dolphin Flipper and the walrus Freya. The study contributes to the thematic issue on "Ocean Pop: Marine Imaginaries in the Age of Global Polycrisis" by highlighting the mutual influence of media, animal celebrity, and conservation, and urges further research into how shifting representations shape global engagement with marine life and the environment.

This study examines portrayals of marine mammal celebrities (MMCs) in popular culture over the past 70 years, reflecting evolving public attitudes toward ocean conservation. It identifies four main types of MMCs, each linked to a specific era and shaped by changes in media landscapes, perceptions of marine mammal agency and welfare, and conservation priorities: (1) Hollywood MMCs (ca. 1960–1990s)—wild animals captured and exhibited in aquaria, cast as celebrities based on their roles in traditional mass media (blockbuster movies); (2) MMCs in human care (ca. 1990s–2010s)—animals housed in aquaria whose fame stemmed from public concern about their welfare and calls for their release; (3) rescued MMCs (ca. 1980s–present)—marine mammals cared for by humans after they were injured in the ocean; and (4) endangered and dangerous MMCs (2010s–present)—wild animals that approach humans, demonstrate human‐like behaviours, or interact with boats. Introducing the method of “following the animal,” the article provides examples of celebrity animals that illustrate each of the four categories, such as the dolphin Flipper and the walrus Freya. The study contributes to the thematic issue on "Ocean Pop: Marine Imaginaries in the Age of Global Polycrisis" by highlighting the mutual influence of media, animal celebrity, and conservation, and urges further research into how shifting representations shape global engagement with marine life and the environment.

This study examines portrayals of marine mammal celebrities (MMCs) in popular culture over the past 70 years, reflecting evolving public attitudes toward ocean conservation. It identifies four main types of MMCs, each linked to a specific era and shaped by changes in media landscapes, perceptions of marine mammal agency and welfare, and conservation priorities: (1) Hollywood MMCs (ca. 1960–1990s)—wild animals captured and exhibited in aquaria, cast as celebrities based on their roles in traditional mass media (blockbuster movies); (2) MMCs in human care (ca. 1990s–2010s)—animals housed in aquaria whose fame stemmed from public concern about their welfare and calls for their release; (3) rescued MMCs (ca. 1980s–present)—marine mammals cared for by humans after they were injured in the ocean; and (4) endangered and dangerous MMCs (2010s–present)—wild animals that approach humans, demonstrate human‐like behaviours, or interact with boats. Introducing the method of “following the animal,” the article provides examples of celebrity animals that illustrate each of the four categories, such as the dolphin Flipper and the walrus Freya. The study contributes to the thematic issue on "Ocean Pop: Marine Imaginaries in the Age of Global Polycrisis" by highlighting the mutual influence of media, animal celebrity, and conservation, and urges further research into how shifting representations shape global engagement with marine life and the environment.

The emerging global system is one in which three nuclear-armed leaders, insulated from dissent, pursue risky gambits. The result will not be the relatively stable if tense competition that characterized the Cold War. It will be something more volatile: a world in which the most consequential decisions rest on the whims of men who have systematically discarded anyone willing to tell them no.

The emerging global system is one in which three nuclear-armed leaders, insulated from dissent, pursue risky gambits. The result will not be the relatively stable if tense competition that characterized the Cold War. It will be something more volatile: a world in which the most consequential decisions rest on the whims of men who have systematically discarded anyone willing to tell them no.

The emerging global system is one in which three nuclear-armed leaders, insulated from dissent, pursue risky gambits. The result will not be the relatively stable if tense competition that characterized the Cold War. It will be something more volatile: a world in which the most consequential decisions rest on the whims of men who have systematically discarded anyone willing to tell them no.

Source : © European Union, 2026 - EP

Angoisse des captifs, silence dans les puits des enchaînés, douleur, peur... ces sentiments demeurent jusqu'aujourd'hui dans ces lieux de mémoires pour les peuples africains.

"Csak a bátorság gyönyöréért jöttünk, a magasztos férfipróba örömére s eljövünk felétek, valahányszor ebben kedvünk lelik…" - így szólt részben az egyik üzenet azok közül, melyeket az olasz légierő felderítőgépei röplapokon szórtak le egyszer Bécsre az I. világháborúban. Az akkor igen hosszúnak számító repülőúton a bátor propaganda-különítményt a hírneves irodalmár, a katonai pilótának mellesleg már eléggé túlkoros Gabriele D'Annunzio őrnagy vezette, és tőle származott a fent idézett nyilatkozat is, melyet (a 400 ezer röplapból 50 ezret) a többivel ellentétben a parancsnokság mulatságos módon le sem fordíttatott németre, merthogy annak magvas üzenetét osztrákok úgyse értenék - mintha csak egy orosz avantgárd művészekről szóló viccet hallana az ember. (Ezt a hiányosságot könnyen lehet, hogy azóta se pótolta senki; angol fordítással viszont szolgál a Wikipédia.)

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Plusieurs personnes ont été arrêtées en Mauritanie pour avoir voulu commémorer le massacre d'Inal, le 28 novembre 1990, jour d'anniversaire de l'indépendance du pays, acquise en 1960.

Sur les réseaux sociaux, Madipa inonde ses followers de contenus taillés sur mesure. Derrière Madipa, se cache l'histoire de Khadija Diaw, une jeune fille de 25 ans, étudiante en informatique à l'ESP de Thiès, qui a tout laissé tomber pour se lancer dans un business lucratif, voire très lucratif.