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| Srl | Item |
| 1 |
ID:
131983
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2014.
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| Summary/Abstract |
This article analyzes the motivations behind individuals who chose to adopt terrorist methods in the Chechen conflicts of the late 1990s and early 2000s. While the seemingly obvious motivation in joining in a 'religious' war of jihad would be a strong belief in that religion, the reality is more complicated. The motivations behind these individuals were not only religious, but cultural, social, and political. This indicates that while the methods and ideological rhetoric adopted by Chechen terrorists prove similar to methods adopted by terrorists across the world, the fundamental causes and drive behind these terrorists are actually quite distinct and unique from others.
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| 2 |
ID:
129464
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2013.
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| Summary/Abstract |
This article explores contemporary Russian official and media discourse on cases concerning human rights violations in Chechnya which have been heard at the European Court of Human Rights. By comparing and contrasting the discourses on the Court's rulings which have been reproduced by various government representatives and various Russian newspapers, the article aims to demonstrate that, while official discourse remains critical of the Court's work with regard to Chechnya, reporting of such cases provides certain media outlets with the opportunity to criticise the government for its perceived failings in relation to safeguarding Chechnya's civilian population from human rights abuses.
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| 3 |
ID:
111642
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2012.
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| Summary/Abstract |
This paper, while acknowledging the import of popular geopolitics for understanding how foreign policies are interpreted in an everyday sense, argues that this literature has glossed over a set of key oppositional cultural formats, such as documentary films, satirical newspapers, and non-fiction comic books (referred to here as graphic narratives), which also influence the geopolitical imaginations of their consumers. Using Ó Tuathail's concept of the anti-geopolitical eye, the paper considers how popular geopolitical understandings are constructed, arguing that these oppositional formats, and graphic narratives in particular, challenge hegemonic scriptings of geopolitics through a bricolage of narrative techniques. Discussing the work of comics journalist Joe Sacco and his graphic narrative "Chechen War, Chechen Women" in detail, the paper considers how three distinct narrative techniques he employs - historical interlude, the singular panel, and the depiction of the banal - make possible a counter-hegemonic reading of the individual, localised consequences of the Chechen conflicts.
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