In the early 1980s, the number of asylum seekers doubled in West Germany and the issue got increasingly politicised. Most of the asylum seekers originated from Turkey where political unrest and...Show moreIn the early 1980s, the number of asylum seekers doubled in West Germany and the issue got increasingly politicised. Most of the asylum seekers originated from Turkey where political unrest and socio-ethnic conflicts were widespread. In this setting, Turkish asylum seekers belonging to Christian minorities became a source of controversy within the German Federal Ministry of the Interior. This thesis looks into the dynamics of asylum politics through analysing primary sources from the Federal Ministry of the Interior that depict the most important intergovernmental, federal and societal governance actors who either argued in favour of or against the admission of this specific group of asylum seekers. Their interplay is examined with the help of four main concepts under the umbrella of the gap hypothesis, which explain why the Christian asylum seekers were granted a right to stay in the long run although their asylum applications were first rejected: The liberal paradox of democratic states and the difficulty of interpreting the right of asylum gave room for multiple actors negotiating the case. Eventually, the positively constructed social class of the asylum seekers enabled the political realm to reach consensus to smartly settle the liberal paradox with a generously applied hardship regulation.Show less
In a globalizing world, where experiencing new cultures is on a lot of bucket lists, the study of cultural interaction has become very popular. In our modern day and age, we like to project this...Show moreIn a globalizing world, where experiencing new cultures is on a lot of bucket lists, the study of cultural interaction has become very popular. In our modern day and age, we like to project this etic phenomenon of our modern day globalization onto the ancient world. And not without avail, research has found that cultural interaction did indeed take place in the ancient world, although we need to keep in mind that the emic perspective might have been a bit different from our own. A lot of intercultural interaction took place in the Eastern Mediterranean during the Bronze Age. During this period ships filled with luxurious gifts and exotic merchandise were plying the seas. However, this transfer of material culture did not only occur through trade or gift exchange, but also through warfare and travelling craftsmen. The transfer of non-material culture also took place, for example through the transfer of techniques and ideas. This could also take the form of motif transference. This thesis examines the phenomenon of motif transference between the Aegean, the Near East and Egypt during the Bronze Age. Besides the acculturation between two cultures, it is also possible for cultural interaction to take place between three or more cultures. This is reflected in the art of the Bronze Age, in which some motifs were shared by the artistic traditions of the Aegean, the Near East and Egypt. The transfer in style as well as technology and iconography created a new level of hybridity that lasted until the end of the Late Bronze Age and which is often called the international style. But the objects which are considered to belong to the international style, were not the only ones displaying a common style. Throughout the Eastern Mediterranean frescoes were found with motifs from the Aegean artistic tradition, which were produced during the Middle and Late Bronze Age. They are found in geographically important cities, which were located along important trade routes. These paintings were found at Alalakh, Miletus and Hattusa in Turkey, Qatna in Syria, Tel Kabri in Israel, Tell el-Dab’a, Malkata and Amarna in Egypt and display hybrid influences in iconography as well as technology. The goal of this thesis is to determine if the much-debated international style at present has a too narrow definition, which might need to be expanded to include these frescoes. This study tries to determine whether or not the palatial art found in the Eastern Mediterranean can be seen as a part of the international style.Show less
