Symbolic Field Research Articles

Аналіз та деконструкція основних ідеологем доктрини «Русский Мир»

The article analyses the three prominent ideologues of the doctrine of “Russian world”: the myth that “Orthodoxy is the basis of an identity”; the myth of the openness and friendly attitude of the Russian people to other ethnic groups and religions, and the myth of the Eurasian/Russian civilisation that opposes the “rotten” West. The existence of these ideologues in the information and symbolic field of Ukraine and the world, manipulating them, and placing them in the actual context of the Ukrainian cultural space, lead to a distorted perception of relations between Russia and Ukraine and the war between them. The article attempts to reveal those distortions and semantic substitutions ontologically contained in the ideologies of the “Russian world”, which can be analysed as typical errors in the context of the argumentation theory. The study aims to develop a conditional “dictionary” of mythologists of the “Russian world”, which could be used during an all-out information confrontation. The author chose the myth “Orthodoxy – the basis of Russian identity” as the basic ideology because, firstly, most other ideologies derive from this thesis with the help of skilful semantic manipulations. Secondly, this myth is interpreted and used by Russian ideologues in various contexts. Based on the analysis of this and two other myths, the author concludes that the ideology of the “Russian measure” does not meet the definition of the criteria of clarity and unambiguity; the meanings of its key concepts are as variable as possible, depending on the context, used with the substitution of meaning in general formulations, which do not provide for clarification of non-standard use of the term; there is a substitution of identities, which makes it possible to manipulate the historical facts and memory of the people; such informal logical errors as recourse to force, alternative to fear, false Scotsman, wholesale bargaining, and source poisoning are always used by Russian ideologues in their argumentative practices. In the process of revealing the illogicality and paradoxical nature of these myths, it turns out that the very essence of these myths significantly contributes to the crisis of culture and politics, which speaks of the same ideologues who glorify the messianic role of Russia. This array of ideological myths cannot be called a balanced system of political dogmas but rather a rhizomatic system of manipulation, the fluidity of which provides its ability to evade counter-arguments and identify historical substitutions.

Pelican as an ornithic symbol in Ukrainian culture and arts

The purpose of the article. Investigate the determination of the image of the pelican in Ukrainian culture and art as an original manifestation of national symbolics. Methodology. The research methodology is based on the application of a systems approach in combination with historical-genetic, comparative, and art methods, with the involvement of analysis of sources from the field of Ukrainian symbolism. The scientific novelty lies in the actualization of the study of the symbolic image of the pelican as a nationally specific component of Ukrainian culture. Conclusions. The representatives of the Ukrainian avifauna acquired in the popular imagination the forms of established symbolic images, that entered the space of national folklore through mythological thinking. The penetration of the pelican symbol into the arsenal of fine arts of Ukrainian culture did not pass through the mythological element but was borrowed from Christian cult publications and images of European countries. The oldest known images of the pelican in Ukraine belong to the artistic decoration of the book, and since the XVIII century, they are found in Baroque iconography and all kinds of plastic art. In Ukrainian art, as in the art of other countries, the image of the pelican acquires a symbolic meaning in three hypostases: a symbol of Christ's self-sacrifice, paternal self-denial, and human mercy. Priority in the study of the role and place of the symbol of the pelican in the national culture belongs to an art critic, poet, political activist Natalia Kotsyubynska. Further search for information on the role of ornithological symbols in the system of Ukrainian culture opens the prospect of a deeper understanding of the national mentality of our people. Keywords: symbolic image, pelican, art, Ukrainian culture, Natalia Kotsyubynska.

The Memory Policy of the Second World War in the Post-Yugoslav Republics: Symbolic and Commemorative Aspects

The paper analyses the politics of memory of the World War II (WWII) in socialist Yugoslavia and compares the corresponding commemorative practices in the post-Yugoslav republics. The focus is on the design of holidays and memorial dates that reflect the symbolic and valuable attitudes of society, as well as the trajectory of nation-building. The formation of the state metanarrative in post-war Yugoslavia was closely related to the monopolisation of the leadership roles of the national liberation war by the communists, who united the six South Slavic nations in their struggle against the Nazi invaders. The state holidays and memorial days were derived from the history of resistance to foreign occupiers and internal enemies in order to legitimise and strengthen the triumph of the new socialist order. Alternative Yugoslavian non-communist movements, especially the Ustash and Chetniks who were potentially capable of competing in the symbolic field, were declared class enemies, reactionary elements, and quislings. As the processes of disintegration increased in socialist Yugoslavia, there were several attempts to revise its ideological attitudes and symbolic heritage of WWII. Nevertheless, as the study shows these attempts became, rather, a marginal phenomenon, and most post-Yugoslav states retained the commemorative, albeit de-ideologised, practices of the previous period.

“Every human action is anthropophagic”

The Freudian theory and the era of acceleration announced by the Futurist Manifesto arrived in Brazil in 1899 and 1909, respectively. Afterwards the concrete reception of these two significant events became more than the symptomatic revelation of the shocks provoked by industrial modernity and its powerful undercurrent of anxieties. The poet, „clown“, writer and major figure of the Brazilian modernist avant-garde, Oswald de Andrade (1890-1954) absorbed Freud and the Futurist Manifesto at once, re-pragmatized and re-semantized them. Oswald's concept of Cultural Anthropophagy (1928) as a central interpretative strategy, to be exact, an hermeneutic approach is defined by Haroldo de Campos aptly: “Oswald's ‘Anthropophagy’ [...] is the thought of critical devoration of the universal cultural heritage” (Campos,1986). The introduction of the anthropophagic trope inspired by Native Americans’ metaphysics leads the poet to a subversion of the Gestalt/Behavior psychological theories: “The anthropophagic function of the psychological behavior is reduced to two parts: 1) totemiser the external taboos; 2) create a new taboo in exogamic function” (Andrade,1929). From 1928 to 1950 the Anthropophagy approach on the interaction between the individual and the environment gained philosophical consistency. Oswald's thesis is a conceptual alternative that attempted to bring answers through the amplification of our ethical becoming. As an epistemological perspective attentive to the different modes of existence, the proposition of Oswald is a field of transformative practices having the power to overcome the techno-industrial paradigms. I will examine the contribution of Oswald de Andrade to theoretical psychology and to the issues that arise in an “Era of Acceleration” where the symbolic field is replaced by a cybernetic field.

Jacques Lacan’s Theory of Rupture: the Perspective of the Real

The article analyses Jacques Lacan’s theory of rupture that encompasses the three planes – the imaginary, the Symbolic and the Real – that comprise his topology. It is named the theory of rupture because it allows grasping the unfinished Lacanian subject as it encounters Other in all of those planes. The main question is whether this lack could be considered as positive. The attention is paid to the phallic signifier; the hypothesis is that this signifier, by linking the symbolic and the Real, allows the creation of new meanings and the resistance towards the fundamental fantasy.The Lacanian ternary conception of topology helps us to analyse the field of politics. While grasping this field from the “ex-sisting” perspective of the Real, we can observe the two scenarios of the development of (political) subject. On the one hand, there is a possible link between the subject and fantasy, in which one tries to compensate for the lack of the Real by “comforting” itself in the plane of symbolic discourse. On the other hand, in the alternative scenario, the subject consciously admits its lack, rejects the fantasy and begins to create new names which “hole” the symbolic discourse itself as well as the insufficiency of the symbolic field. The Real is defended by the phallic signifier, which helps to maintain the subject’s negativity and militancy. By enclosing the Real into the Symbolic we create the new consistency as the subject seeks not to maintain a passive form and place inside the structure, but names the positive lack in the structure itself and thereby creates the new political content.

Gameplay, learning and emotions in the board game Violets: cinema & action in combating violence against women.

The board game Violets: cinema and action in combating violence against women was developed prioritising the liberating features of play to offer a setting for struggles to secure citizenship. The objective of the article was to examine the gameplay of Violets as regards players' understanding of the rules and engagement, and the game's mechanics and design; and to evaluate gameplay, emotions and learning comparatively as dimensions of play. This mixed method study proceeded in stages: a) perfecting gameplay: a workshop with 12 experts, usability tests with 33 participants and content analysis; and b) evaluating play: questionnaires for 78 participants and non-parametric Mann-Whitney U-test comparing groups of variables. Agreement among participants on aspects of gameplay was high. The group of gameplay variables returned values equal to those of the learning group; both differed significantly from the group for emotions felt while playing. In Violets, the interweave of gameplay with the formative, learning components set up a challenging, affective, symbolic field where players' imagination, interaction, tension and interest were expressed during play.

Gender, kinship and relatedness in fifteenth-century Tibet: The biography of Chokyi Dronma (1422–1455) through anthropological eyes

ABSTRACT A 15th century Tibetan biography offers a rare glimpse into the life of the Tibetan princess Chokyi Dronma (1422–1455), who experienced marriage, childbirth, the death of her daughter and eventually became a Buddhist nun and a famous spiritual master. Recognised as an emanation of the Buddhist deity Dorje Phagmo, she became the founding figure of Tibet’s most famous female reincarnation line. Written close to the events by one of her fellow monks and rich in daily life details, this account offers an ideal opportunity to explore gender and kinship practices among Tibetan rural elites of the time. It also gives a rare insight into the hurdles that women faced when they decided to challenge social and cultural conventions to pursue spiritual aims. An anthropologically informed study of this manuscript offers a unique opportunity to explore kinship terminology and practices as well as particular instances of kinship politics at a time in which marriage alliances were essential for the relationships among Tibet's regional polities. It also offers useful insights into kinship networks that underpinned patronage practices, highlighting the often mis-recognised importance of women (including their role in printing projects). Finally, it enables the exploration of Tibetan spiritual kinship and reincarnation contributing to wider debates in the anthropology of kinship and relatedness. Substances and spiritual principles appear to be symbolic fields connecting past and present – they constitute the backdrop for practical negotiation not only in Chokyi Dronma’s biography but also in many other historical sources and ethnographic cases.

Creation of author’s lexical and semantic dictionary in the dramaturgical practice of Oleksandr Irvanеts

The subject of the research is the lexical and semantic features of the carnival-ironic dramatic writing by Oleksandr Irvanets. The object of the research is the dramas “A Little Play about Betrayal for an Actress”, “Electric Train for Easter”, “Recording”, “Live Broadcast” and “Liar from Lithuanian Square”. The purpose of the article is to analyze the writer’s dramas through the prism of keywords, author’s semantic constructions, neologisms and other features of artistic language. Lexical-semantic and stylistic analyzes are an effective method for achieving this goal. As a result of the research it was found that in his dramas O. Irvanets exposes Soviet myths to aesthetic destruction and formulates a number of artistically camouflaged questions related to the civilizational choice of post-totalitarian Ukraine and addressed to readers / listeners / viewers of his works. Issues of totalitarian traumatic experience of Ukrainians and its postcolonial experience, simulated reality and its aesthetic representations, subjectivity / non-subjectivity of Ukrainians at the turn of the 20th–21st centuries, return of Ukrainians to their own language and mental values become important for the writer in his dramatic work. He does not declare these issues directly, but resolves them at the levels of global conceptual metaphors, symbolic field, authorial word formation, anti-utopian modes, associations and allusions, combination of multilingual and multidisciplinary fragments and remarks, ardent discussions, including internal ones. This whole register of means is designed to encourage Ukrainians, both in the first post-Soviet decade and in subsequent years, to self-awareness, civilizational self-determination, and the search for their own subjective identity. The novelty of the study lies in the interpretation of texts on the basis of identified lexical and semantic features. The perspective of the research is to consider its results in the context of all the works of O. Irvanets, as well as with the lexical and semantic features of the works of other playwrights-postmodernists.

Political Myths in The Context of Political Symbolism: A Case Study on the Social Media Discourses of Three Romanian Politicians

Focused on the topic of political symbolism and political mythology, the purpose of this article is twofold. On the one hand, the aim consists of exploring certain essential elements of political symbolism, mainly through the appeal to the viewpoint of fundamental authors in the field such as Raoul Girardet, Gilbert Durand, and other relevant authors in the context of this study. On the other hand, the purpose refers to the scope of the application of the theoretical approach to a case study regarding the analysis of the social media discourse of three Romanian politicians on Facebook, starting from Girardet’s four political myths while incorporating them into a version of content analysis suited for this type of social media symbolic content. The method of content analysis includes a wide variety of potential manners of methodological design and implementation, both from a quantitative and from a qualitative angle. The field of political symbolism in general and the analysis by means of political myths such as the ones of Raoul Girardet in particular also bear the potential for numerous versions of application when it comes to the exercise of discourse analysis, especially in the realm of the specificity of social media usages and content. Hence, what seemed to stand as a more advantageous preference in terms of the construction of the theoretical background whereon this case study was based ultimately amounted to the herein presumed endeavour of rendering several of the distinctive and potentially overlooked elements of these political myths more accessible for an adequate understanding of their manifold versions of appearance in fairly mundane circuits of political discourse such as those on social media.

ИЛЛЮЗИЯ И РЕАЛЬНОСТЬ В ПОРТРЕТАХ ГЕОРГА ПЕНЦА

Georg Pencz’s picturesque portraits represent one of the brightest stages of development in the master’s work. In the 1540s, after his second Italian trip, the artist became the leading portrait painter of the Nuremberg nobility and turned to the type of monumental large-format portrait that included elements of genre painting. Pencz depicted the rich entourage surrounding a patron with the attention to nature inherent in German Renaissance art. It was a demonstration not only of the social status and affluence of his patron, but also of the artist’s skill. At the same time, the image was endowed with an inherent aesthetics of mannerism, in which notional and optical allusions, among other things, indicated the enlightenment and subtle taste of the portrayed individual. Illusion and reality combined to create a symbolic field, within which a picture should be interpreted. This trend continued into XVII century painting.

Аctionism in the theater practices of Western Ukraine of the end of the XX century

The purpose of the publication is to capture the facts of theatrical actionism in Western Ukraine against the background of the socio-political crisis of the late twentieth century, to identify different contexts of perception of practices, to explore the arsenal of artistic means inherent in the phenomenon. Research methods: a factor method is used that allowed to assess the place and role of theatrical actionism in Western Ukraine in the late twentieth century in historical reality and the method of causal analysis, which traced the genesis of this phenomenon. The field research method is used to collect sources. The issue of theatrical actionism in the consolidating practices of Western Ukraine at the end of the twentieth century is considered, the key changes in the movements towards the predominance of interaction, experimentation, performativity, social activity and politicization in general are identified. Conclusions. As proved, the bright manifestations of actionism in the theatrical practices of Western Ukraine in the late twentieth century were a bold attempt to construct a new society and consciousness by means of culture. The period of experiments coincided not only with national movements, but also with the time of destruction of hierarchies: ideological, economic, value, so in each case the directors focused on their own understanding of dialogue with society, aimed not only at expression but also its formation. Common features and differences of the approach in concrete actions to translation of contents, actual symbolics, contexts are revealed: both delegated, and reflected. Forms of interaction of directors, creative groups with the public in the context of political, sociocultural and aesthetic impact are clarified. The self-reflexivity of the phenomenon is proven ,in which theatrical actionists often identified themselves with the state in the symbolic field, acquiring the characteristics of creators of new meanings, mixing artistic and social, and finally, becoming representatives of public influence.The Galician Young Theater became a system of meanings, a personal example of sacrifice, a directed action that transformed the mass consciousness of the Sovietized towns, villages of Prykarpattia and Bukovyna. The Lesya Kurbas Theater in Lviv united intellectuals and aesthetes with its actions, created a refined society, and the festival "Dislocations" demonstrated a total, anarchic fascination with both attention and space.

Cartografias da cultura underground

O objetivo desde artigo é analisar o surgimento da subcultura heavy metal na região do ABC paulista, a partir das práticas culturais que envolviam seus subgêneros musicais nas duas últimas décadas do século XX. Analisaremos, particularmente, os processos identitários relacionados à categoria “cena heavy metal” em sua interação com as demais subculturas. Em um primeiro momento, buscaremos estabelecer um referencial teórico para a abordagem desse fenômeno, basicamente em torno dos cutural studies. Na segunda etapa, indicaremos alguns antecedentes relevantes para sua gênese histórica na região, isto é, a consolidação da indústria cultural no Grande ABC. A seguir, procuraremos identificar o núcleo comum apresentado pelos diferentes subgêneros metal, suas diferentes inserções na cultura local e suas principais disputas no campo simbólico. Por fim, indicaremos alguns desdobramentos dessa subcultura inaugurada pelos Headbangers ABC e que se estende até as vertentes contemporâneas do metal extremo.

Arena do patrimônio cultural no século XX

A partir de fontes primárias e secundárias, materiais documentais e bibliográficos, este ensaio almeja discutir os vetores de institucionalização da política do patrimônio cultural no Brasil do século XX. Propomos dois principais vetores: 1) a escala do monumento; 2) a escala do cotidiano. O objetivo, portanto, é compreender as trajetórias institucionais erguidas na contingência do campo de produção simbólica e seus respectivos conflitos. Tem-se em vista, dessa maneira, localizar os principais agentes intelectuais mediadores e a formação dos quadros administrativos em uma arena de disputa política, institucional e, sobretudo, discursiva.

ʻ(Sports) Movies, Magic and Moreʼ: (Re)Telling the Story of College Basketball’s Integration in the Disney Sports Movie Glory Road

In 2006, Disney released the movie Glory Road to celebrate the 40th anniversary of the 1966 Texas Western, the team who won the NCAA title while starting five black players – a first in college basketball history. While ʻbased on a true storyʼ, this movie actually paints a signifying picture of both the event and time it was produced at. By proceeding to Disneyfy elements of the story, celebrate the American founding myths and ethos, deconstruct myths while building up others, and crystallize issues related to the representation of black athletes in movies, Glory Road reflects the use of sports films by Hollywood and Disney to convey political messages and build narratives which celebrate a certain view of America and its history, especially in regards to race relations. The analysis of the movie, compared with autobiographies by ʻtrueʼ actors of the event, underlines the politics of representation and Disneyfication of politically-signifying historical events, and sports films as tools to build and validate myths with a strong political dimension, while opening up on the rise of self-representation as a new form of empowerment on the field of representation and symbols.

Os memes de Lula na Operação Lava Jato

O objetivo deste artigo é analisar memes sobre a condução coercitiva do ex-presidente Luiz Inácio Lula da Silva, em 2016. A fundamentação teórico-metodológica está ancorada na Análise do Discurso de linha foucaultiana. O corpus analisado, memes retirados de três sites noticiosos e de jornais online, desconstroem a imagem de Lula graças às suas filiações a formações discursivas opostas a ele. O campo simbólico das imagens torna-se uma arena para a confrontação ideológica e a disputa de sentidos, no contexto sócio-histórico de crise política instaurada pela Operação Lava Jato. Compreendemos que, no cenário da interatividade e da convergência midiática, o dito e o não dito coexistem na superfície dos memes, construindo significações a partir dos jogos de visibilidade e de invisibilidade das imagens. No movimento discursivo das imagens analisadas, observamos a construção de efeitos derrisórios calcados no corpo do petista.

Symbolic power in the US Government Counterinsurgency Guide: US security, (non-) combatant civilians, and the refugee-in-place

Framed by symbolic power as a theory of performance, this essay takes as its subject the state’s use of performance transience for oppressive ends. For Pierre Bourdieu, the symbolic field is about group misrecognition of existing power differentials as legitimate distinctions. Building from this theory, I examine the 2009 US Government Counterinsurgency Guide’s work in the symbolic field. At once a military, social, and performance theory, the Guide creates categorization schemas that differentially define states and people based off of performances of loyalty to US interests. Through the concept of the “non-combatant civilian,” these hierarchies position non-US populations as always already threatening, and acquire social authorization through the threat of further violence. By generating roles for groups of people and framing the means of enforcing those roles, the Guide uses performance transience to structure a symbolic order with deeply racializing consequences.

Insistencia y expresión de la memoria

El medio histórico, como lo llama Merleau-Ponty, está constituido tanto por la historia privada como por la historia pública: ninguna de las dos es mera imposición determinista ni mera construcción arbitraria, sino antes bien un campo simbólico abierto y dinámico. Para Merleau-Ponty, en los dos casos tenemos un conjunto simbólico cuyo sentido se presenta como écart(divergencia). En su dialéctica, la actividad y la pasividad son necesarias para tejer este medio individual y público, pero siempre intersubjetivo. En el centro de esta aproximación ontológica se encuentra la memoria y la verdad del pasado. Nos proponemos aplicar este marco a la última trilogía fílmica de Patricio Guzmán ("Nostalgias de la Luz", "El Botón de Nácar", "Cordillera de los Sueños", estrenadas entre 2010-2019, pero especialmente al primer film citado) para analizar la manera que tiene de abordar insistentemente la memoria del acontecimiento chilenocomo llama Guzmán al golpe de estado y la dictadura subsiguiente en su país. Hoy, podemos decir que se ha resignificado dialécticamente la amnesia en memoria viva en la explosión popular del 2019. A pesar de que son películas situadas y enraizadas a un suelo y a una patria (una tierra [terre] como campo perceptivo, afirma Merleau-Ponty en La Pasividad), los acontecimientos son compartidos en una historia y una geopolítica comunes a quienes habitamos el sur del sur. Su estilo de filmar propio es una manera de ser un cuerpo exiliado que vuelve a hundirse en el desierto, el agua y las montañas del sur, pero su manera de ser ese cuerpo está estrecha, salvajemente, relacionada con la nuestra, transandina.

Network Euphoria, Super-Information Systems and the West German Plan for a National Database System

Abstract Much attention has been devoted to planning as the key concept in political discourse of the Federal Republic from the mid-1960s to the mid-1970s. Much less attention has been paid to the closely related notion of information. At the turn of the 1970s, one of the most important initiatives of the West German government in the informational domain was a proposed national database network. The conception of politics that underlay this project bundled the utopian aspirations associated with the use of computers to integrate and analyse information with the conviction that more, better and different kinds of information would make complex, industrial societies like the Federal Republic more governable. The West German database network embodied two complementary modernist visions: the dream of total data integration and the antithetical but equally seductive documentarian belief that the problems of information management could be solved by reducing the symbolic field within which information was always embedded to stable, elemental units of meaning. However, the plan for a national database network collapsed before it could even fully make it onto the drawing board. This article argues that the project failed not because of privacy concerns, but because these modernist visions quickly ran up against limits that were as much political and conceptual as technological. In the end all that was left was a documentation system for the federal government in which the connections to social planning, which had provided much of the original impetus for the system, had all but disappeared.

Symbolic field of modern Islamism

The subject of this research is the key topoi of the discourse of Islamist propaganda and the mechanism of their representation by a number of unaccredited sources of the Russian-language extremist propaganda. The object of this research is the Islamist discourse covered by the “official” sources of the prohibited in the Russian Federation international terrorist organizations – “Islamic State”, “Dabiq” and “Rumiyah”, as well as a number of Russian-language sources of Islamist propaganda. The author examines such aspects of jihadist propaganda as the category of space, semiotics of Islamist propaganda; postmodern traits in the jihadist propaganda materials. Analysis is conducted on the category “Dawlah” (“state” from Arabic) as a sovereign concept in the discourse of “Islamic State” organization. Special attention is paid to the characteristic of Islamist propaganda as a phenomenon typical for the era of postmodernism. The distinctive features of the Russian-language Islamist discourse are described. Leaning on the analysis of textual and visual materials of Islamist propaganda, the author concludes on inextricable connection of the discourse of jihadist propaganda with the society of its function, despite the thesis on irreconcilable confrontation to the “Taghut” society declared by the ideologists of the international terrorist organization “Islamic State”. This thesis is proven by a certain symbolic set of Islamist propaganda, usage of symbols comprehensible to modern audiences, and significant attention given to the brand and style of the jihadists. After the defeat of the Caliphate as a proto-state entity (rather than a terrorist organization), the “Islamic State” substantially migrated into the virtual space. In an attempt to influence the audience, jihadist propaganda operates not only on the level of objective reality, but immerses the reader in an entirely virtual world. This work reveals the peculiarities of such process.

Ewolucja węgierskiego modelu zarządzania sądownictwem i samorządu sędziowskiego na Węgrzech w latach 1989–2019

THE EVOLUTION OF THE HUNGARIAN MODEL OF JUDICIAL MANAGEMENT AND JUDICIAL SELF-GOVERNMENT IN HUNGARY IN THE YEARS 1989–2019The Hungarian constitutional system after 1989 was initially subject to evolutionary changes. The previously binding constitution was only amended, although in most countries of the region the new constitutions created new system concepts. This also concerned the organisation of the judiciary, which in Hungary for a long time remained under the influence of the doctrine formed in the time of the socialist state. Significant corrections in this respect did not take place until 1997, but the solutions and institutions created at that time — including judicial self-government — survived for only slightly more than a decade. The political parties that came to power in 2010 adopted a new Basic Law and made far-reaching transformations in the field of symbolism, constitutional principles and the system of constitutional organs. Both the scope of the changes and the way they were carried out provoked resistance from various environments, including judges, whose influence on the organisation of the judiciary and its functioning was significantly reduced. The dispute that occurred was the subject of debate throughout Europe, and the institutions of the Council of Europe and the European Union were involved in resolving it.