{"id":268,"date":"2024-03-05T20:57:53","date_gmt":"2024-03-05T19:57:53","guid":{"rendered":"https:\/\/contrust-2132.demosrv.dev\/?page_id=268"},"modified":"2025-04-15T11:16:37","modified_gmt":"2025-04-15T09:16:37","slug":"medien","status":"publish","type":"page","link":"https:\/\/normativeorders.net\/en\/medien\/","title":{"rendered":"Media library"},"content":{"rendered":"\n
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Filter by event series<\/a><\/div>\n\n\n\n
To the YouTube channel @normativeorders<\/a><\/div>\n<\/div>\n\n
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\n \"Michael\n \n <\/svg><\/a> \n
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\n Michael Rosen: Satanic Politics. Democracy after Liberalism<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Christine\n \n <\/svg><\/a> \n
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\n Christine Abbt: Demokratien verteidigen. Zur Aktualit\u00e4t des Gewaltbegriffs bei Camus und Derrida<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"David\n \n <\/svg><\/a> \n
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\n David Owen: Civil Geopolitics and the Dilemmas of the Democratic State<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Christine\n \n <\/svg><\/a> \n
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\n Christine Hentschel: \u00dcber Neuorientierungen in katastrophischen Zeiten<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Jonathan\n \n <\/svg><\/a> \n
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\n Jonathan White: How Democracy Relies on the Future<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Till\n \n <\/svg><\/a> \n
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\n Till van Rahden: \u201eDie Wehrpflicht als demokratische Tugend? Eine Geschichte, die auch vom Tod spricht\u201c<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Barbara\n \n <\/svg><\/a> \n
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\n Barbara Mittelhammer: \u201eSicherheitspolitik neu denken: Feministische Perspektiven jenseits der Wehrpflicht\u201c<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Daniel\n \n <\/svg><\/a> \n
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\n Daniel Hornuff: \u201eMedienman\u00f6ver. Die Bundeswehr und ihre Bilder\u201c<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Hendrik\n \n <\/svg><\/a> \n
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\n Hendrik Simon: \u201eWozu Pazifismus? Eine moderne Geschichte der Kriegskritik\u201c<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Heiko\n \n <\/svg><\/a> \n
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\n Heiko Biehl und Ole Nymoen: \u201eUnd t\u00e4glich gr\u00fc\u00dft die Wehrpflicht \u2013 unumg\u00e4nglich oder unsinnig?\u201c<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Ferdinand\n \n <\/svg><\/a> \n
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\n Ferdinand Weber: \u201eWehrhafte Demokratie: Grundgesetz und neue Wehrpflicht\u201c<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Jenni\n \n <\/svg><\/a> \n
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\n Jenni Brichzin: Krise der Demokratietheorie? Eine soziologische Intervention<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Unerw\u00fcnscht.\n \n <\/svg><\/a> \n
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\n Unerw\u00fcnscht. Die westdeutsche Demokratie und die Verfolgten des NS-Regimes<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Ich\n \n <\/svg><\/a> \n
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\n Ich kann, also bin ich? Eine Kritik ableistischer Diskriminierung in unserer Gesellschaft<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Aufrecht.\n \n <\/svg><\/a> \n
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\n Aufrecht. \u00dcberleben im Zeitalter der Extreme<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Wer\n \n <\/svg><\/a> \n
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\n Wer ist autorit\u00e4r?<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"LECTURE\n \n <\/svg><\/a> \n
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\n LECTURE & FILM: Black Atlantic Cinema \/\/ Awa Konat\u00e9 \u00fcber Med Hondos SOLEIL \u00d4 (1970)<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"LECTURE\n \n <\/svg><\/a> \n
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\n LECTURE & FILM: Black Atlantic Cinema \/\/ Aboubakar Sanogo \u00fcber Med Hondos WEST INDIES (1979)<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Utopie\n \n <\/svg><\/a> \n
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\n Utopie und Aufbruch der 1968er \u2013 Was von politischer Rebellion und individueller Selbstbefreiung geblieben ist<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"LECTURE\n \n <\/svg><\/a> \n
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\n LECTURE & FILM: Black Atlantic Cinema \/\/ Jessica Gordon-Burroughs \u00fcber Nicol\u00e1s Guill\u00e9n Landri\u00e1n<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"LECTURE\n \n <\/svg><\/a> \n
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\n LECTURE & FILM: Black Atlantic Cinema \/\/ Lecture von Ayo Coly zu LA PIROGUE (2012) von Moussa Tour\u00e9<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"LECTURE\n \n <\/svg><\/a> \n
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\n LECTURE & FILM: Black Atlantic Cinema \/\/ \u00bbCrossing the Black Atlantic: Ola Baloguns A DEUSA NEGRA\u00ab<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"LECTURE\n \n <\/svg><\/a> \n
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\n LECTURE & FILM: Black Atlantic Cinema \/\/ \u00bbNollywood and the Black Atlantic\u00ab mit Tunde Aladese<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"LECTURE\n \n <\/svg><\/a> \n
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\n LECTURE & FILM: Black Atlantic Cinema \/\/ Lecture von Dr. Boukary Sawadogo \u00fcber LITTLE SENEGAL (2001)<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"LECTURE\n \n <\/svg><\/a> \n
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\n LECTURE & FILM: Black Atlantic Cinema \/\/ Lecture von Dr. Jennifer Blaylock \u00fcber SAMBIZANGA (1972)<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"LECTURE\n \n <\/svg><\/a> \n
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\n LECTURE & FILM: Black Atlantic Cinema \/\/ Iyabo Kwayana \u00fcber THE TERROR AND THE TIME (1979)<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"LECTURE\n \n <\/svg><\/a> \n
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\n LECTURE & FILM: Black Atlantic Cinema \/\/ Prof. Jana\u00edna Oliveira \u00fcber das \u00bbBlack Brasilian Cinema\u00ab<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"LECTURE\n \n <\/svg><\/a> \n
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\n LECTURE & FILM: Black Atlantic Cinema \/\/ Karina Griffith \u00fcber King Ampaws THEY CALL IT LOVE (1972)<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Russland\n \n <\/svg><\/a> \n
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\n Russland & die USA \u2013 Alte und neue autorit\u00e4re Systeme<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Was\n \n <\/svg><\/a> \n
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\n Was war der \u201eWesten\u201c? Eine globale Geschichte<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Aus\n \n <\/svg><\/a> \n
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\n Aus Netzpolitik wird Machtpolitik \u2013 Wie digitale Plattformen \u00d6ffentlichkeit formen<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Wie\n \n <\/svg><\/a> \n
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\n Wie entstehen Autokratien? \u00dcber Stabilit\u00e4t und Erosion von Demokratien<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Abrechnung.\n \n <\/svg><\/a> \n
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\n Abrechnung. Eine kritische Reflexion des Westens im Postkolonialismus<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n \r\n
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\n \"Der\n \n <\/svg><\/a> \n
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\n Der \u201eWesten\u201c in einer neuen Weltordnung<\/a> <\/div>\n \n \n \n \n \n \n\n \n \n <\/div> \n<\/div> \r\n <\/div> \r\n <\/div>\r\n \r\n
1<\/span>2<\/a>3<\/a>…<\/span>12<\/a>»<\/a><\/div>
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