This is a history of the Centre William Rappard, the first building designed to house an international organization in Geneva, and its art treasures. For nearly a century, these works of art and decorations offered by governments and institutions encouraged smooth diplomacy and fluent international negotiations in the fields of labour, trade and human rights. On occasions hidden, removed and forgotten, and then recovered and restored, the history of the artworks in the Centre William Rappard represents the confrontation between art as diplomatic device and aesthetic experience, between representation and represented, between censorship and free expression. Even before its opening in 1926, the building started receiving works from the International Labour Organization member governments. Some pieces, such as the Geneva Window by Harry Clarke, never arrived in Geneva since it was censored by the Irish government. The Spanish Pygmalion by Eduardo Chicharro y Agüera was latter covered for its female nudity and remained hidden during decades. Later in the 1970s the secretariat of the General Agreement on Tariffs and Trade occupied the building and requested the removal of other major works. This was reversed in the 2010s by its successor the World Trade Organization, when many artworks were rediscovered, restored and placed in their original locations. However, new values in the world scene contributed to further changes in the building art, including the removal of Claude Namy’s caricature In GATT We Trust from public view in 2019. Art in the Centre William Rappard continues to speak to the viewer after waves of positive reception, censorship and recovery.

This history of GATT explains how trade was implicated in foreign policy and international relations and connected to global order.

"English version has been translated from German and French original text.".

A collection of United Nations documents associated with the drafting of the Universal Declaration of Human Rights, these volumes facilitate research into the scope of, meaning of and intent behind the instrument's provisions. It permits an examination of the various drafts of what became the thirty articles of the Declaration, including one of the earliest documents – a compilation of human rights provisions from national constitutions, organised thematically. The documents are organised chronologically and thorough thematic indexing facilitates research into the origins of specific rights and norms. It is also annotated in order to provide information relating to names, places, events and concepts that might have been familiar in the late 1940s but are today more obscure.

Marshalling facts and the latest research findings, the author systematically refutes the adversaries of globalization, markets, and progress. This book will change the debate on globalization in this country and make believers of skeptics.

Written by the lead writer of the games, Mass Effect 2 and Mass Effect 3, Mac Walters, Mass Effect: Foundation features the franchise's most beloved characters in their most exciting, never-before-seen adventures, set during the events of BioWare's ultra hit science fiction trilogy! Follow Miranda Lawson and Jacob Taylor as they chase Commander Shepard to the lawless and dangerous Terminus Systems, where no training can prepare them for what they'll find! Then, join the beautiful and cunning Agent Rasa as she hunts the lethal biotic powerhous, Jack, and crosses paths with the deadly master assassin, Thane Krios!

An unflinching and intelligent alternative history of the twentieth century that provides a provocative vision of Europe's past, present, and future. "[A] splendid book." —The New York Times Book Review Dark Continent provides an alternative history of the twentieth century, one in which the triumph of democracy was anything but a forgone conclusion and fascism and communism provided rival political solutions that battled and sometimes triumphed in an effort to determine the course the continent would take. Mark Mazower strips away myths that have comforted us since World War II, revealing Europe as an entity constantly engaged in a bloody project of self-invention. Here is a history not of inevitable victories and forward marches, but of narrow squeaks and unexpected twists, where townships boast a bronze of Mussolini on horseback one moment, only to melt it down and recast it as a pair of noble partisans the next.