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A 2021 Daily Telegraph Book of the YearWinner of the Overseas Press Club of America's Cornelius Ryan Award ?Everyone should read the testimonies of the Chibok girls who survived the capture. We need to help with efforts to liberate all of them and become more responsible for women and girls' protection in conflicts.? ? Malala YousafzaiWhat happens after you click Tweet? The heart-stopping definitive account of the mission to rescue hundreds of Nigerian schoolgirls whose abduction ignited a global social media campaign and a dramatic worldwide intervention. In the spring of 2014, millions of Twitter users, including some of the world's most famous people, unwittingly helped turn a group of 276 schoolgirls abducted by a little-known Islamist sect into a central prize in the global War on Terror by retweeting a call for their release: #BringBackOurGirls. With just four words, their tweets launched an army of would-be liberators. Soldiers and drones, spies, mercenaries, and glory hunters descended into an obscure conflict that few understood, in a remote part of Nigeria that had barely begun to use the internet. When hostage talks and military intervention failed, the schoolgirls were forced to take survival into their own hands. As their days in captivity dragged into years, the young women learned to withstand hunger, disease, and torment, and became witnesses and victims of unspeakable brutality. Many of the girls were Christians who refused to take the one path offered them?converting to their captors' fundamentalist creed. In secret, they sang hymns, and kept a diary, relying on their faith and friendships to stay alive.Bring Back Our Girls unfolds across four continents, from the remote forests of northern Nigeria to the White House; from clandestine meetings in Khartoum safe houses to century-old luxury hotels on picturesque lakes in the Swiss Alps. A twenty-first century story that plumbs the promise and peril of an era whose politics are fueled by the power of hashtag advocacy, this urgent and engrossing work of investigative journalism reveals the unpredictable interconnectedness of our butterfly-wings world, where a few days of online activism can bring years of offline consequences for people continents away.

What happened to Anastasia's sister Maria?1918: Pretty, vivacious Grand Duchess Maria Nikolaevna of Russia, the nineteen-year-old daughter of the fallen Tsar Nicholas II, lives with her family in suffocating isolation, a far cry from their once-glittering royal household. Her days are a combination of endless boredom and paralyzing fear; her only respite are clandestine flirtations with a few of the guards imprisoning the family?and she never realizes her innocent actions could mean the difference between life and death.1973: When Val Doyle hears her father's end-of-life confession, ?I didn't want to kill her,? she's stunned. So she begins a search for the truth?about his words and her past. The clues she discovers are baffling?a jewel-encrusted box that won't open and a camera with its film intact. What she finds out pulls Val into one of the world's greatest mysteries: What truly happened to Grand Duchess Maria?

A heart-stopping true tale of a submarine mission aimed at destroying Japan's merchant marine lifeline and ending World War II. By 1945, the U.S. Navy's submarine force in the Pacific had sunk over a thousand enemy cargo ships and tankers supplying the food, weapons, and oil Japan needed to continue to fight. Yet this once mighty merchant fleet continued to thrive in the Sea of Japan, where, protected from American submarines by a seemingly impenetrable barrier of deadly minefields, they provided a tenuous lifeline for the Japanese. Senior American commanders believed that if these enemy ships were sunk, Japan would be forced to surrender. Here is the incredible story of Operation Barney, the daring plot to penetrate those minefields and decimate the enemy fleet. The brainchild of the dedicated sub commander Vice Admiral Charles Lockwood, the mission would hinge on a new experimental sonar system that would, with luck, guide American submarines safely past the mines and into the open sea. The nine submarines chosen, nicknamed Hellcats, were tasked with the impossible-the combined crews of 760 submariners all knew their chances of survival depended on an unproven technology and their own nerve. Based on original documents and the poignant personal letters of one doomed Hellcat commander, Sasgen crafts a classic naval tale of one of World War II's most dangerous missions.

To ten-year-old Suse Hansen, the fighting in Europe seems far away from the blue skies and quiet streets of her Bay Area home in Mendoza, California?despite newspaper war photographs and the tense radio broadcasts. But Pearl Harbor changes everything. Caught up in the fear and uncertainty of air raid drills, draft calls, and the mysterious departure of her Japanese and Italian neighbors, Suse becomes obsessed with the war.As Mendoza and the rest of America adjust to their new lives, Suse, too, will face challenges of her own as she begins to navigate the uncharted terrain of adolescence. Over the next four years she will confront the complexities of life?the demands of school, evolving friendships, brothers and sisters leaving home, the disturbing thrill of sexual awakening?while trying to understand who she is and what the future may hold for a world consumed by the horror of war.A rediscovered classic, Rumors of Peace is an extraordinary coming-of-age story chronicling the loss of American innocence through the voice of one remarkable young girl.

From an inside peek at the inner workings of Hollywood to the backstage drama of Broadway, from a poignant look at the black upper class to an honest look at the WASP elite, this elegantly wrought memoir of an extraordinary family has something for everyone.Growing up with a black Auntie Mame-like mother (who performed with the likes of Lena Horne) and an Anglo sea-faring father, Susan Fales-Hill moved seamlessly between many worlds. But it was from her mother -- a woman who was dressed by Givenchy and sculpted by Alexander Calder, yet rejected by many a casting agent for her "dark," unconventional looks -- that Susan drew inspiration, particularly when she faced challenges in her own career as a television writer in Hollywood, a town that wasn't always receptive to positive images of people of color. As a result the two developed a bond that mothers and daughters everywhere will find inspiring. Both a universally touching mother-daughter story and a portrait of a dazzling American family, Always Wear Joy is a memoir readers won't soon forget.

Georgeanne Howard, charm school graduate and Southern belle extraordinaire, leaves her fiance at the altar when she realizes that she just can't marry a man old enough to be her grandfather, no matter how rich he is. John Kowalsky unknowingly helps her escape, and only when it's too late does he realize that he's absconded with his boss's bride. At the height of his hockey career, this bad boy isn't looking to be anybody's savior but his own, no matter how beautiful this angel may be. But a long night stretches ahead of them--a night too sultry to resist temptation. When Georgeanne and John meet again, she is on her way to becoming Seattle's domestic darling and he is past his hellraising days. But he is shocked to learn that their single unforgettable night in paradise produced a daughter, and he is determined to be a part of her life. Georgeanne has loved John since the moment she jumped into his little red Corvette seven years ago, but she doesn't want to risk her heart again. Is he really a changed man? And will he risk the wrath of his boss, and one final chance at glory, to prove that this time his love will be everlasting?

An adobe dwelling is a delight because all of its parts come together. The approach-the portal or the patio-has an appeal because the materials feel natural. The door welcomes one and the floor inside, the walls, the ceiling are compatible. The textures and materials make sense as expressions of a building that grew organically. Adobe Up Close invites you to take a good look at all the aspects of adobe buildings. There are so many variations of the components that create the recognizable New Mexican mystique. Adobe Up Close lets you see inside the houses you pass by as you walk the streets of Taos and Santa Fe. Learn how the indigenous roots, going back hundreds of years, have led to contemporary interpretation. Feel how tactile working with mud is. Feel the dirt under your fingernails. Feel how just the right amount of water makes the dirt malleable. You will love the result as generations have.

Der junge Handelskaufmann Albert Röber, Inhaber eines kleinen Kolonialwarenladens in Leipzig, wird 1914 zum Kriegsdienst eingezogen. Das Geschäft überlässt er einstweilen seiner Verlobten Elsa Müller. Heiraten wird man, sobald der Krieg aus ist ¿ es kann ja wohl nicht lange dauern. Einstweilen wird man sich schreiben, und zwar jeden Tag!Aber dann¿Hunderte Karten und Briefe werden zwischen Sommer 1914 und Herbst 1918 zwischen den beiden gewechselt. 1915 hat Albert begonnen, seine Karten mit humoristischen Bildchen zum Kriegsgeschehen, zur Politik, zum Soldatenleben zu illustrieren, die er gekonnt aus Illustrierten abzeichnet. Aber auch wenn es schwer fällt, muss er einsehen, dass das Versprechen, sich täglich zu schreiben, auf Dauer nur schwer einzuhalten ist. Der Umstand aber, dass geschriebene Worte kein Gespräch ersetzen und nur zu leicht Missverständnisse hervorrufen können, beginnt für beide bald ein Problem zu werden¿Alberts erhaltene Postkarten von der Front erzählen authentisch, tragisch und zugleich auch komisch die Geschichte der Trennung eines jungen Paares in Kriegszeiten.

The collection contains materials of archival documents and memoirs concerning the famine of 1931-1933 in Central Kazakhstan. Various documents from the archives reveal to the reader the most difficult period of the Soviet history of Kazakhstan, associated with the dispossession of the kulaks and debaiization of the Kazakh village and aul, Stalinist forced collectivization, forced sedentarization of nomadic Kazakh farms, large-scale cattle, meat and grain procurements, famine and epidemics in the republic. The publication introduces previously unpublished archival materials from the Central and regional archives of Kazakhstan into scientific circulation. In addition, the collection includes the memories of famine witnesses preserved by their descendants. The collection is addressed to researchers, students, as well as a wide range of readers interested in the history of Kazakhstan.

The first comprehensive treatment in seventy years of the American Art-Union¿s remarkable rise and fallFor over a decade, the New York¿based American Art-Union shaped art creation, display, and patronage nationwide. Boasting as many as 19,000 members from almost every state, its meteoric rise and its sudden and spectacular collapse still raise a crucial question: Why did such a successful and influential institution fail? The American Art-Union reveals a sprawling and fascinating account of the country¿s first nationwide artistic phenomenon, creating a shared experience of visual culture, art news and criticism, and a direct experience with original works.For an annual fee of five dollars, members of the American Art-Union received an engraving after a painting by a notable US artist and the annual publication Transactions (1839¿49) and later the monthly Bulletin (1848¿53). Most importantly, members¿ names were entered in a drawing for hundreds of original paintings and sculptures by most of the eräs best-known artists. Those artworks were displayed in its immensely popular Free Gallery. Unfortunately, the experiment was short-lived. Opposition grew, and a cascade of events led to an 1852 court case that proved to be the Art-Union¿s downfall. Illuminating the workings of the American art market, this study fills a gaping lacuna in the history of nineteenth-century US art. Kimberly A. Orcutt draws from the American Art-Union¿s records as well as in-depth contextual research to track the organization¿s decisive impact that set the direction of the country¿s paintings, sculpture, and engravings for well over a decade.Forged in cultural crosscurrents of utopianism and skepticism, the American Art-Union¿s demise can be traced to its nature as an attempt to create and control the complex system that the early nineteenth-century art world represented. This study breaks the organization¿s activities into their major components to offer a structural rather than chronological narrative that follows mounting tensions to their inevitable end. The institution was undone not by dramatic outward events or the character of its leadership but by the character of its utopianist plan.

Reissued to coincide with the release of Steven Spielberg's film of the same name from Universal Pictures, this Booker Prize-winning novel tells the true story of one remarkable man who outwitted the Nazis to save more Jews during WWII than any single person. "A masterful account of the growth of the human soul". --LA Times Book Review.

This work is made up of three articles that together make up a history of Soviet war cinema. Some themes of the war films produced in the USSR are not dealt with, such as the campaign in Afghanistan, which produced films with heroic content until the mid-1980s, and critical content in the last years of the regime. The focus is on the two main stages of this film genre: the Russian Civil War and the Second World War. The first chapter seeks to demonstrate that the cinema of the socialist realism school did not disappear after the artistic renewal that Soviet cinematography presented in the 1950s and 1960s. It has always found a place in historical cinema, especially the most ufanistic of them all: the Great Patriotic War of 1941-45. Films such as Ozvobozhdenie, from 1969, or Bitva za Moskvu, from 1985, by Yuri Ozerov, present compositions, angles, details derived from the paintings made by artists of socialist realism immediately after the war, especially between 1945 and 1953, the years when Stalin was at the head of the country and Zhdanov, who died in 1949, aimed to dictate the paths of art.

Cet ouvrage est composé de trois articles qui constituent ensemble une histoire du cinéma de guerre soviétique. Certains thèmes des films de guerre produits en URSS ne sont pas abordés, comme la campagne en Afghanistan, qui a donné lieu à des films au contenu héroïque jusqu'au milieu des années 1980, et au contenu critique dans les dernières années du régime. L'accent est mis sur les deux grandes étapes de ce genre cinématographique : la guerre civile russe et la Seconde Guerre mondiale. Le premier chapitre cherche à démontrer que le cinéma de l'école du réalisme socialiste n'a pas disparu après le renouveau artistique qu'a connu la cinématographie soviétique dans les années 1950 et 1960. Il a toujours trouvé sa place dans le cinéma historique, notamment le plus oufaniste d'entre eux : la Grande Guerre patriotique de 1941-45. Des films comme Ozvobozhdenie, de 1969, ou Bitva za Moskvu, de 1985, de Yuri Ozerov, présentent des compositions, des angles, des détails dérivés des peintures réalisées par les artistes du réalisme socialiste dans l'immédiat après-guerre, surtout entre 1945 et 1953, les années où Staline était à la tête du pays et où Zhdanov, mort en 1949, entendait dicter les voies de l'art.

Questo lavoro è composto da tre articoli che insieme costituiscono una storia del cinema di guerra sovietico. Non vengono trattati alcuni temi dei film di guerra prodotti in URSS, come la campagna in Afghanistan, che ha prodotto film dal contenuto eroico fino alla metà degli anni Ottanta, e dal contenuto critico negli ultimi anni del regime. L'attenzione si concentra sulle due fasi principali di questo genere cinematografico: la guerra civile russa e la seconda guerra mondiale. Il primo capitolo cerca di dimostrare che il cinema della scuola del realismo socialista non è scomparso dopo il rinnovamento artistico che la cinematografia sovietica ha presentato negli anni Cinquanta e Sessanta. Ha sempre trovato spazio nel cinema storico, soprattutto in quello più ufologico: la Grande Guerra Patriottica del 1941-45. Film come Ozvobozhdenie, del 1969, o Bitva za Moskvu, del 1985, di Yuri Ozerov, presentano composizioni, angolazioni, dettagli derivati dai quadri realizzati dagli artisti del realismo socialista nell'immediato dopoguerra, soprattutto tra il 1945 e il 1953, gli anni in cui Stalin era alla guida del Paese e Zhdanov, morto nel 1949, mirava a dettare i percorsi dell'arte.

Jeta rabota sostoit iz treh statej, kotorye wmeste sostawlqüt istoriü sowetskogo woennogo kino. Nekotorye temy woennyh fil'mow, snqtyh w SSSR, ne rassmatriwaütsq, naprimer, kampaniq w Afganistane, gde do serediny 1980-h godow snimalis' fil'my geroicheskogo soderzhaniq, a w poslednie gody suschestwowaniq rezhima - kriticheskogo. V centre wnimaniq - dwa osnownyh ätapa razwitiq ätogo kinozhanra: Grazhdanskaq wojna w Rossii i Vtoraq mirowaq wojna. Perwaq glawa prizwana pokazat', chto kino shkoly socialisticheskogo realizma ne ischezlo posle hudozhestwennogo obnowleniq, kotoroe sowetskij kinematograf perezhil w 1950-1960-e gody. Emu wsegda nahodilos' mesto w istoricheskom kino, osobenno w samom ufanisticheskom iz nih - o Velikoj Otechestwennoj wojne 1941-45 godow. Takie fil'my, kak "Ozdorowlenie" 1969 goda ili "Bitwa za Moskwu" 1985 goda Juriq Ozerowa, predstawlqüt kompozicii, rakursy, detali, wzqtye iz kartin hudozhnikow socialisticheskogo realizma srazu posle wojny, osobenno mezhdu 1945 i 1953 godami, kogda wo glawe strany stoql Stalin, a Zhdanow, umershij w 1949 godu, stremilsq diktowat' puti iskusstwu.

Diese Arbeit besteht aus drei Artikeln, die zusammen eine Geschichte des sowjetischen Kriegskinos bilden. Einige Themen der in der UdSSR produzierten Kriegsfilme werden nicht behandelt, wie z. B. der Feldzug in Afghanistan, der bis Mitte der 1980er Jahre Filme mit heroischem Inhalt hervorbrachte, und kritische Inhalte in den letzten Jahren des Regimes. Der Schwerpunkt liegt auf den beiden wichtigsten Etappen dieses Filmgenres: dem russischen Bürgerkrieg und dem Zweiten Weltkrieg. Das erste Kapitel soll zeigen, dass das Kino der Schule des sozialistischen Realismus nach der künstlerischen Erneuerung, die die sowjetische Kinematographie in den 1950er und 1960er Jahren erlebte, nicht verschwunden ist. Es hat immer einen Platz im historischen Kino gefunden, insbesondere im ufanistischsten von allen: dem Großen Vaterländischen Krieg von 1941-45. Filme wie Ozvobozhdenie (1969) oder Bitva za Moskvu (1985) von Yuri Ozerov zeigen Kompositionen, Blickwinkel und Details, die von den Gemälden der Künstler des sozialistischen Realismus unmittelbar nach dem Krieg abgeleitet sind, insbesondere zwischen 1945 und 1953, als Stalin an der Spitze des Landes stand und der 1949 verstorbene Zhdanov die Wege der Kunst diktieren wollte.

The 100th anniversary edition of a classic.A classic of twentieth-century Latin American literature, José Eustasio Rivera's The Vortex follows the young poet Arturo Cova and his lover Alicia as they elope from Bogotá and embark on an adventure through Colombia's varied and magical landscapes, with their rich biodiversity. After becoming separated from Alicia in the rainforest, Arturo witnesses the appalling conditions of the workers forced or tricked into tapping rubber trees. Newly translated for its 100th anniversary, The Vortex is both a denunciation of the horrific human-rights abuses that took place during the Amazonian rubber boom, and one of most enduring renderings of the natural environment in Latin American literature.

During World War Two, a young girl was seen around the Stoke Bishop area of Bristol riding her bike or a pony; climbing trees; building dens, playing with the 'gang' in Blaise Castle Woods, and a lot more besides! This seemingly carefree life had its darker side as the storm clouds of war thickened and broke overhead. Riding Through the Storm recalls the author's life before, during and after the war. It is tinged with humour and remarkable occurrences and mirrors that time with insights into how people lived during those dark days. Nearly eighty years after the storm subsided, the full significance of what the author had lived alongside came to light and propelled this drama almost into the realms of make-believe!

This is the story of my family and their struggles through a very tough time during WWII and their strength, faith in God, and tenacity during a very dark period in history--a story of a family finding strength and courage to carry on when all was dark. It begins with the birth of my dad and carrying on to the time of new beginnings for my family in America. Enjoy a tale of time.

A critical look at the competing motivations behind one of modern architecture’s most widely known and misunderstood movements  Although “mid-century modern” has evolved into a highly popular and ubiquitous architectural style, this term obscures the varied perspectives and approaches of its original practitioners. In Nothing Permanent, Todd Cronan displaces generalizations with a nuanced intellectual history of architectural innovation in California between 1920 and 1970, uncovering the conflicting intentions that would go on to reshape the future of American domestic life.Focusing on four primary figures—R. M. Schindler, Richard Neutra, and Charles and Ray Eames—Nothing Permanent demonstrates how this prolific era of modern architecture in California, rather than constituting a homogenous movement, was propelled by disparate approaches and aims. Exemplified by the twin pillars of Schindler and Neutra and their respective ideological factions, these two groups of architects represent opposing poles of architectural intentionality, embodying divergent views about the dynamic between interior and exterior, the idea of permanence, and the extent to which architects could exercise control over the inhabitants of their structures.Looking past California modernism’s surface-level idealization in present-day style guides, home decor publications, films, and television shows, Nothing Permanent details the intellectual, aesthetic, and practical debates that lie at the roots of this complex architectural moment. Extracting this period from its diffusion into visual culture, Cronan argues that mid-century architecture in California raised questions about the meaning of architecture and design that remain urgent today.

It's all fun and games ... until someone falls in love. Oliver Goswick, Viscount Rathburn, needs money?and soon. With time ticking away and his inheritance held hostage until he's properly wed, Rathburn's slim options point to a single solution: a faux engagement. In need of the perfect bride, he knows of only one candidate: his best friend's wallflower sister. The plan seems flawless, except for one problem ... He can't help falling in love with her.Poised, polished Emma Danvers knows nothing good can come of Rathburn's scheme. Spending the next two months engaged in a mock courtship is not what she'd imagined for her final season. Yet, charmed by his roguish ways and the inexplicable hammering he causes in her heart, she accepts his challenge.For Emma, keeping the secret seemed easy when it was just a game ... But as Rathburn begins to see past her reserved exterior to the passionate woman within, the risk of losing her heart becomes all too real.

A stunning look at World War II from the other side...From the turret of a German tank, Colonel Hans von Luck commanded Rommel's 7th and then 21st Panzer Division. El Alamein, Kasserine Pass, Poland, Belgium, Normandy on D-Day, the disastrous Russian front--von Luck fought there with some of the best soldiers in the world. German soldiers.Awarded the German Cross in Gold and the Knight's Cross, von Luck writes as an officer and a gentleman. Told with the vivid detail of an impassioned eyewitness, his rare and moving memoir has become a classic in the literature of World War II, a first-person chronicle of the glory--and the inevitable tragedy--of a superb soldier fighting Hitler's war.

Dok Sofija üiva u djetinjstvu sa svojim drugaricama Tijanom, Jelom, Katom i Kirom, njen krhki i siromäni drug Niko, sa plavim öima, iznenada misteriozno nestaje iz razreda, ostavljajuc¿i Sofiju sa mnogim pitanjima i poplavom emocija bez odgovora.Iako je röena u siromänoj porodici, Sofija oböava ¿kolu i mäta da postane üiteljica. Me¿utim, njen ¿ivot krec¿e u drugom smjeru nakon öeve smrti i svjetskim ratom na pragu. Sa petnaest godina pridrüuje se grupi hrabrih ¿kolaraca ¿eljnih da se bore protiv fäizma, da promijene svijet i grade bolju buduc¿nost. Sa sedamnaest, ¿eli da pobjegne iz grada i träi utöi¿te kod partizana.Iznenada srec¿e starog prijatelja koji joj oduzima dah i daje razlog za ¿ivot.Ali kako möe da gleda u buduc¿nost i da se nada u tako turbulentnim vremenima, gdje je smrt normalnija od ¿ivota?

Surrexit de Caelo es una novela de ciencia ficción que te sumerge en un mundo alternativo lleno de misterio y suspense. La historia se desarrolla en un escenario donde la realidad tal como la conocemos ha sido alterada y los nazis han conquistado gran parte del planeta gracias a supuestos ángeles caidos del cielo. La trama sigue a una serie de personajes que luchan por sobrevivir en este mundo distópico. Entre ellos se encuentra Armandek, un hombre que despierta en un laboratorio sin recuerdos de su pasado. A lo largo de la historia se enfrentará a desafíos y momentos inesperados, mientras intenta descubrir la verdad sobre su identidad y su mundo.

En Syrie, aucune intervention humanitaire autorisée par le Conseil de sécurité des Nations unies n'a été lancée jusqu'à présent. Les tentatives de cessez-le-feu entre les parties impliquées ont échoué à plusieurs reprises. Cette étude examine le bilan de trois acteurs internationaux en ce qui concerne la doctrine de la responsabilité de protéger (R2P). Plus précisément, elle examine l'option consistant à institutionnaliser la responsabilité en matière d'intervention humanitaire. Pour ce faire, la doctrine de la responsabilité de protéger est analysée à travers deux organisations internationales, l'OTAN et l'UE, et un acteur national important, les États-Unis. Pour les États-Unis, les facteurs géopolitiques jouent un rôle majeur, et il est expliqué que la structure politique et les décisions du président sont cruciales pour les choix du pays. Pour l'OTAN, le manque de légitimité joue un rôle central en ce qui concerne la R2P, ainsi que le précédent historique de son implication dans le conflit en Libye en 2011. Enfin, l'UE est décrite en mettant l'accent sur les limites institutionnelles et son potentiel à devenir une autorité normative en matière de R2P. L'analyse de ces acteurs internationaux permet de replacer le conflit syrien dans une large perspective internationale.

In Siria, finora non è stato avviato alcun intervento umanitario autorizzato dal Consiglio di Sicurezza delle Nazioni Unite. I tentativi di cessate il fuoco tra le parti coinvolte sono falliti ripetutamente. Questo studio analizza tre attori internazionali in relazione al loro operato in merito alla dottrina della responsabilità di proteggere (R2P). Più specificamente, viene esaminata l'opzione di istituzionalizzare la responsabilità per l'intervento umanitario. A tal fine, la dottrina R2P viene analizzata attraverso due organizzazioni internazionali, la NATO e l'UE, e un importante attore nazionale, gli Stati Uniti. Per gli Stati Uniti, i fattori geopolitici giocano un ruolo fondamentale e viene spiegato che la struttura politica e le decisioni del presidente sono cruciali per le scelte del Paese. Per la NATO, la mancanza di legittimità gioca un ruolo centrale quando si parla di R2P, insieme al precedente storico del suo coinvolgimento nel conflitto in Libia nel 2011. Infine, l'UE è descritta con enfasi sui limiti istituzionali e sul suo potenziale di diventare un'autorità normativa in materia di R2P. Attraverso l'analisi di questi attori internazionali, si cerca di collocare il conflitto siriano in un'ampia prospettiva internazionale.

In Syrien wurde bisher keine vom Sicherheitsrat der Vereinten Nationen genehmigte humanitäre Intervention eingeleitet. Versuche, einen Waffenstillstand zwischen den beteiligten Parteien zu erreichen, sind wiederholt gescheitert. In dieser Studie werden drei internationale Akteure im Hinblick auf ihre Haltung zur R2P-Doktrin (Responsibility to Protect) untersucht. Insbesondere wird die Option untersucht, die Verantwortung für humanitäre Interventionen zu institutionalisieren. Zu diesem Zweck wird die R2P-Doktrin anhand von zwei internationalen Organisationen, der NATO und der EU, und einem wichtigen nationalen Akteur, den Vereinigten Staaten, analysiert. Für die USA spielen geopolitische Faktoren eine große Rolle, und es wird erläutert, dass die politische Struktur und die Entscheidungen des Präsidenten für die Entscheidungen des Landes entscheidend sind. Für die NATO spielt der Mangel an Legitimität eine zentrale Rolle, wenn es um R2P geht, zusammen mit dem historischen Präzedenzfall ihrer Beteiligung am Konflikt in Libyen 2011. Schließlich wird die EU beschrieben, wobei der Schwerpunkt auf den institutionellen Beschränkungen und ihrem Potenzial liegt, eine normative Autorität für R2P zu werden. Durch die Analyse dieser internationalen Akteure wird der Versuch unternommen, den Syrienkonflikt in eine breite internationale Perspektive zu stellen.