The "Occupy Gezi" protest movement which swept through Istambul and many other Turkish cities in the summer of 2013 started as an ecological protest to save one of the last green areas of Istanbul. After a brutal police crackdown on protesters and the Prime Minister's unbending stance, the protests spread to the rest of the country in support of the young people who were rebelling against the AKP's increasingly authoritarian style of rule and against the gradual Islamization of Turkish politics and society. This article focuses on the creativity of protesters who, through their use of social media such as Twitter, showed that revolutions need not be about throuwing stones and Molotov coctails, but can instead be about playing with words and undermining the ruling elite's insulting remarks with sarcasm and wit. This postmodern revolution took place in a public space which resembled an art scene where singers artists, students and others joined to create a carneval of civic disobedience based on passive resistence, solidarity and humor., Gabriela Özel Volfová., and Obsahuje bibliografii
The article traces the role and image of the wood and the tree in the culture of Ancient China as emerging from the transmitted literature of the Warring States period. Although this topic has already been touched upon in some previous studies, such as Mark Elvin's The Retreat of the Elephants, no comprehensive description based on at least nearly exhaustive systematization of respective data available to us in primary sources has been presented yet, especially for trees. In this paper, virtually all recorded modes of approaching the phenomena by the learned men of the Warring States are summarized and supplied with extensive reference to ancient texts. Apart from other issues, it clearly demonstrates that the skeptical stance to ancient Chinese love for nature and to the ecological ethos of traditional Chinese culture is highly justified., Lukáš Zádrapa., and Obsahuje bibliografii