Menschenrechte in Europa - Beiwerk oder Basis?

"Human Rights in Europe-Basis or Add-on?" If consideration is given to such a richly symbolic structure as the Frauenkirche in Dresden and its history, it is tempting to say that the question has already been comprehensively answered. February 2014 saw the 69th anniversary of the destructi...

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Veröffentlicht in:KritV, CritQ, RCrit. Kritische Vierteljahresschrift für Gesetzgebung und Rechtswissenschaft / Critical Quarterly for Legislation and Law / Revue critique trimestrielle de jurisprudence et de législation CritQ, RCrit. Kritische Vierteljahresschrift für Gesetzgebung und Rechtswissenschaft / Critical Quarterly for Legislation and Law / Revue critique trimestrielle de jurisprudence et de législation, 2015-01, Vol.98 (1), p.8-17
Hauptverfasser: Spielmann, Dean, von Arnim, Dorothee
Format: Artikel
Sprache:eng ; ger
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Zusammenfassung:"Human Rights in Europe-Basis or Add-on?" If consideration is given to such a richly symbolic structure as the Frauenkirche in Dresden and its history, it is tempting to say that the question has already been comprehensively answered. February 2014 saw the 69th anniversary of the destruction of the City of Dresden and of the Frauenkirche in the Second World War being commemorated. For more than four decades, the ruins of the Frauenkirche stood as a warning for Peace and against war and destruction in the heart of the city. The Nail of the Cross from Coventry, one of Dresden's twin cities, stands today on the altar of the restored Frauenkirche as an exhortation to live in reconciliation and peace. A warning for peace in musical form was recently also performed once again in the Dresden Frauenkirche: Benjamin Britten's "War Requiem". "War Requiem" was first performed in 1962 at the consecration of the new cathedral in the City of Coventry which had also been destroyed in its own right in the course of the German bombing of Coventry. "War Requiem" was originally to have been performed with three particular soloists; the German baritone, Dietrich Fischer-Diskau, the Russian soprano, Galina Vishnevskaya, and the British baritone, Peter Pears, as a symbol of the reconciliation of their countries of origin. The Russian soprano, however, was unable to secure an exit visa from the Soviet authorities. She was, though, able to attend the sessions for recording the work, with Britten conducting, the following year. The profound pacifist conviction of the composer provided a source of musical inspiration for his War Requiem. The establishment of the European Convention on Human Rights is also closely linked to the horrors experienced in the Second World War. The following piece is intended initially to discuss the importance to be awarded the European Convention on Human Rights (ECHR) in securing peace in Europe. The challenges to which the human rights covered by the Convention have been exposed to date will then be discussed. Finally, the outlook for the protection of human rights in Europe, and particularly within this context the importance of the Dialogue, will be examined. « Les droits de l'homme en Europe-accessoire ou fondement? » En examinant un édifice aussi symbolique que l'église Notre-Dame de Dresde et l'histoire de cette dernière, on serait tenté de croire que la question est déjà résolue. En février 2014, la destruction de la ville de Dresde et de son ég
ISSN:2193-7869
DOI:10.5771/2193-7869-2015-1-8