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"My name is Tamba Cisso. When I was eight years old, I lived in the village with my father, my mother and my sister. I went to school and had learned to read. I knew there was war in my country, but I didn't know that children could wage it." Providing a testimonial to one of the most heart-wrenching and chilling developments in modern warfare, this graphic novel chronicles the realities of hundreds of thousands across the world, kidnapped and forced to commit atrocities.
This book exposes the role of children in war, describing where, why, and how children are deployed, the attempts made by international organizations to protect children, and the underlying political and cultural issues that make this such a thorny issue. In conflict-torn countries such as Myanmar and Uganda, the use of child soldiers in military and paramilitary operations continues to occur despite widespread condemnation and the efforts of organizations such as the Coalition to Stop the Use of Child Soldiers. This book will allow readers to grasp the impact of this issue for both individuals and nations worldwide. Child Soldiers: A Reference Handbook traces the evolution of child soldiers from approximately 1940 onwards, covering important historical to modern conflicts. The subject is discussed from a global perspective, with particular attention given to areas where the use of child soldiers is most prevalent. The book covers the complex underlying reasons for the continued use of child soldiers in the modern world, examines the political and psychological consequences of using children—both male and female—in military and paramilitary organizations, and describes how this subject has been addressed by international law and various human rights organizations.
The practice of using children to participate in conflict has become a defining characteristic of 21st century warfare and is the most recent addition to the canon of international war crimes. This text examines the development of this crime of recruiting, conscripting or using children for participation in armed conflict, from human rights principle to fully fledged war crime, prosecuted at the International Criminal Court. The background and reasons for the growing use of children in armed conflict are analysed, before discussing the origins of the crime in international humanitarian law and human rights law treaties, including the Convention on the Rights of the Child and its Optional Protocol. Specific focus is paid to the jurisprudence of the Special Court for Sierra Leone and the International Criminal Court in developing and expanding the elements of the crime, the modes of ascribing liability to perpetrators and the defences of mistake and negligence. The question of how the courts addressed issues of cultural sensitivity, notably in terms of the liability of children, is also addressed.
This book investigates how, while children used as soldiers are primarily perceived as victims of offences against international law, they also commit war atrocities. In the aftermath of armed conflict, the mainstream justice system targets warlords internationally, armed groups and militias’ commanders who abduct and enrol children as combatants, leaving child perpetrators not being held accountable for their alleged gross human rights violations. Attempts to prosecute child soldiers through the mainstream justice system have resulted in child rights abuses. Where no accountability measures have been taken, demobilised young soldiers have experienced rejection, and eventually, some have returned to soldiering. This research provides evidence of the potential of restorative justice peacemaking circles and locally-based jurisprudence – specifically the Baraza - to hold former child soldiers accountable and facilitate their reintegration into society.
This book addresses age-based persecution of children as a crime against humanity in connection with genocide, crimes against humanity and war crimes (persecution - with some variation in the elements of the crime - is an existing offence under the Rome Statute of the permanent International Criminal Court, the statutes of various international criminal tribunals i.e. International Criminal Tribunal for Rwanda, the International Criminal Tribunal for the Former Yugoslavia and under the statutes of other international criminal courts (i.e. the Special Court of Sierra Leone)). The book introduces a completely original concept in international criminal law, however, in discussing age-based persecution of children as an international crime against humanity where (i) the particular discrete child collective is targeted ‘as such’ for international atrocity crimes or (ii) individual children are targeted based on their age-based group identity as it intersects with other perpetrator – targeted characteristics such as gender, ethnicity, religion etc.
"My name is Tamba Cisso. When I was eight years old, I lived in the village with my father, my mother and my sister. I went to school and had learned to read. I knew there was war in my country, but I didn't know that children could wage it." Providing a testimonial to one of the most heart-wrenching and chilling developments in modern warfare, this graphic novel chronicles the realities of hundreds of thousands across the world, kidnapped and forced to commit atrocities."--back cover
In the seventies, countries lauded American education as one of the best systems in the world. Then came the accountability movement. What was measured was what counted. Those who measured low were punished. Those who measured high were rewarded. With measurements came the loss of emphasis on the critical thought so necessary to the preservation of American democracy and improving the American way of life. Where do children learn the skills, practice and habits of democracy? Sharron Goldman Walker’s second volume on democracy in education asks educators, especially teachers and principals, to contemplate their roles in education and its connections with the preservation of American democracy. Do we send children to school to learn only how to achieve high scores on high stakes tests? If democracy is not learned by practice in the schoolhouse, how will children recognize it when they leave it? Will they be able to critically reflect upon the issues presented to them? Today’s politics have descended into mutual shouting matches, name-calling, hate and fear. Without the ability to critically reflect upon divergent views through reasoned discourse what will be the quality of the democracy? If democracy in education is not practiced in the schoolhouse, democracy in America will vanish.
This is the story of the incredible journey of David Good, the son of an American anthropologist father, and indigenous Yanomami mother who calls the Amazon rainforest her home. Overlapping the story of what David' s mother' s early years were like being raised in the rainforest, the book follows David from childhood to adulthood as he searches for identity, love, acceptance, and the one thing truly missing from his life, his mother. Growing up in a predominantly white population of the US without a mother or a deeper connection to his South American roots, David struggles with issues of identity and relationships. His and his mother' s stories intertwine in a heartbreakingly beautiful climax when they are reunited in the jungle. Beautifully illustrated and co-authored by award winning artist and storyteller, FLuX, Good is a vivid and breathtaking visualization of a highly unusual life' s journey.
“ I play what I am. I play Mingus.” Bass player and pianist, composer and band leader, Charles Mingus is universally recognized as one of the greatest musicians in the history of jazz. An overflowing talent, who experienced the last fires of the swing age, the Be Bop revolution, the experimental seasons of Third Stream and Jazz Poetry up to Free Jazz. But he was also a tormented and angry soul, a man who, due to his mestizo origins, always had to deal with the hostility of American society. Journalist Flavio Massarutto and artist Squaz (Pasquale Todisco) retrace the stages of Mingus's journey, giving life to a non-canonical biography, which proceeds in paginated episodes like a succession of passages that form a musical suite: fragments of existence told by fishing from interviews, writings, testimonies and historical facts. The portrait of a musician who is the mirror of an era comes out, of a brilliant composer who was also one of the most clearly committed artists in denouncing racism, with real manifesto pieces such as the famous Fable of Faubus denouncing the segregationist governor of Arkansas. In the words of Massarutto and in the evocative art of Squaz, which also reinterpret some of the famous covers of Mingus records, we relive the burning parable of a restless man, always in search of perfection, in constant struggle with himself and with the world: a master capable of leaving an indelible mark on the musical and cultural panorama of the twentieth century.
2051. The world's largest company, The Company, has seized power on a planetary scale and runs the world as if it were a business. In a plutocracy, the richer one is, the more powerful one is. In this context, an anonymous citizen becomes compelled to uncover how the world came to this situation, without paying any attention to the official version. Several members of the government end up encouraging him to carry out this investigation by giving him access to all information. He decides to discover the true history of The Company and the various interests that are trying to influence his investigation.