Littérature scientifique sur le sujet « Germany (West) – Appropriations and expenditures »

In contrast to the United States, where there is little or no public financing of parties and candidates below the presidential level, the German “party state” grants generous subsidies in a variety of forms to the political parties, though not to individual candidates. The German Basic Law (constitution), various laws passed by the national and Land (state) parliaments, and the Federal Constitutional Court have been important factors in the development of a complex and costly system of public financing for election campaigns, parliamentary parties and party foundations and for free television and radio time and billboard advertising space. In addition, the federal government incurs large tax expenditures through the encouragement of tax deductible contributions to political parties. In spite of the crucial role which public financing has assumed, recent scandals have occurred involving illegal contributions from business interests. A revised party law of 1984 and a Federal Constitutional Court decision in July 1986 have brought about significant changes, but controversy in Germany over public financing and the impact of recent reforms continues.

Abstract Very few researchers have focused on the question of: if and to what extent, regional economic disparities affect military base closures. In this paper, we aim to explain regional patterns of military base closures in the Czech Republic, a country that has experienced a sharp decline in military employment and expenditures since the beginning of 1990s. Three groups of predictors of closure were considered: local (size, age, location and hierarchical position of the military base); regional (wages, unemployment, city size, the initial level of militarisation of the district); and national-level predictors (geostrategic priorities and restructuring of the Czech Armed Forces). Our research is informed by the theory of public choice and its application to the decision-making processes concerning military base closures and realignments. We employed a combination of regression models to determine which group of the above-mentioned factors affected the spatial distribution of military bases in the period 1994–2005. While geostrategic factors (such as distance from the border with West Germany) and restructuring of the army (type of a military base) were the most important, regional economic disparities showed no significant correlation with the intensity of military base closures/downsizing. We did not demonstrate that military bases in economically lagging regions had been systematically protected in the Czech Republic.

Abstract We provide—to the best of our knowledge—the first empirical study on the political economy of public spending on vocational education. Vocational schools raise human capital among non-academics and give the latter a stronger bargaining position in wage negotiation—thereby supporting the clientele of leftwing parties. At the same time, they provide publicly funded inputs that raise firm productivity—an aim particularly important for conservative parties. We analyze expenditures on vocational schools of 301 West-German counties between 2002 and 2013 using two-way fixed effects and mixed models. We find the counties’ expenditures on vocational schools to decrease in the political power of Social Democrats and increase in the political power of Christian conservatives in the county council. Expenditures are higher in election years. We find no support for the conjecture building on Jensen (2011, Compar. Polit. Stud. 44, 412–435) according to which expenditures on vocational education are higher in regions suffering from deindustrialization. (JEL codes: H75, D72).

In the last months of the Second World War, as the Red Army approached Berlin, the Wehrmacht suffered catastrophic losses, resulting in thousands of war graves on East German soil. In the aftermath of the war, the Soviet Occupation Zone (1945–9) and the German Democratic Republic (1949–90) committed to a socialist ‘politics of history’ which centred on the liberation of Germany by the Red Army, disowning the German fallen. This article, based on my PhD research and current British Academy Postdoctoral Fellowship, outlines how the central authorities of the Soviet Occupation Zone and the GDR managed the thousands of German Wehrmacht war burials on East German territory. I focus, in particular, on how Wehrmacht war burials came to constitute political and ideological liabilities, prompting concerns about their appropriations by the German Lutheran Church and West Germany. In doing so, I uncover a little-known yet highly significant dimension of the transition between the Third Reich and the German Democratic Republic.

Funds, whether from government or generated by institutions from other sources are the lifeblood of institutional development. Since there is never an end to development and improvement, fund sourcing and allocation are continuing concerns of every educational institution. The study determined the financial variables and productivity of SUCs in Region VI for CY 2002-2003. The study aimed to determine the a) institutional profile of the 11 SUCs in Region VI, b) profile of financial managers of SUCs in Region VI, c) budgetary allocation based on the General Appropriations Act (GAA) and income from the Special Trust Fund (STF), and d) how these financial resources are utilized for the operation. Descriptive method of research was employed and data were analyzed through frequency count and percentage mean. Study revealed that 11 SUCs in Region VI shared a common vision of becoming the center excellence, research, extension, and production with a mission of producing globally competitive graduates. The West Visayas State University (WVSU) had the biggest budgetary allocation from GAA, and got the highest earnings in school fees. A similar pattern of expenditures had been adopted by the 11 SUCs in Region VI. The SUCs in the region foresee their respective institutions as Center of Excellence. Fiscal managers had upgraded their educational qualifications. Faculty members have conducted extension, income generating projects and published researches. Fiscal managers of SUCs in Region VI should think and implement strategic plans to increase budgetary allocations to meet the demands of necessary expenditures vital to the attainment of quality education.Keywords – Fiscal Administration, SUCs productivity, descriptive research, Western Visayas, Philippines

SummaryEquivalence scales are a prerequisite for any economic well-being comparison with measures on income distribution, inequality and poverty. This paper provides new equivalence scales based on revealed preference consumption microdata. We concentrate on single expenditure Engel equations and on a complete demand system, the extended linear expenditure system (ELES), with all interdependencies of a full market basket.Microdata base is the newest availabe West German Income and Consumption Sample of 1983 with more than 42,000 households. Our results with differences regarding the goods' basket and household composition effects are compared to other discussed consumption, expert, and subjective based equivalence scales.

A study of the current state of research and development in Ukraine was implemented. In particular, the analysis of trends in the number of scientific personnel engaged in research activities, analyzed the costs of research and development and their structure by type of research and industry. By studying the dynamics of changes in the share of expenditures on research and development in the GDP of the EU and Ukraine, it was found that the share of R&D in Ukraine's GDP is below the EU average and much lower than leading leaders such as Germany and Slovenia. At the present stage of development of the domestic economy, the share of innovative enterprises in Ukraine is about 18.4%, most of which carry out technological innovations. In 2017, according to Forbes Ukraine ratings, the top 20 innovative enterprises of Ukraine were selected, which included 5 agricultural enterprises: Myronivsky Hliboproduct, Nibulon, Svarog West Group, AgriLab, Kernel. We offer the innovative experience of these enterprises for implementation in other agricultural enterprises and their associations to improve the innovative component of the industry as a whole. As a result of the analysis of the age structure of scientific personnel engaged in research and development, a negative trend towards the aging of the country's scientific potential was revealed, and the share of scientists under 49 is a little more than half of scientists: 52.5%. This has a very negative effect on the results of innovation and investment projects and the speed of their implementation in production. The structure of expenditures for research and development by sources of funding in 2019 was analyzed and the predominance of public funds and low interest of private investors in investing in innovations of domestic agricultural enterprises were revealed. Measures are proposed to improve the situation with scientific personnel through state grants and other means of material incentives for young scientists to conduct scientific research in the agricultural sector. Further research is planned to highlight specific factors that negatively affect the innovation and investment activities of agricultural enterprises.

Kylie Minogue, her interviewer tells us in the October 2000 issue of Sky Magazine, is a "fatalist": meaning she "believe[s] everything happens for a reason" (Minogue "Kylie" 20). And what kind of reason would that be? Well, the Australian singer gives us a few clues in her interview of the previous month with Attitude, which she liberally peppers with references to her personal beliefs (Minogue "Special K" 43-46). When asked why she shouldn't be on top all the time, she explains: "It's yin and yang. It's all in the balance." A Taoist – or at any rate Chinese – perspective then? Yet, when asked whether it's important to be a good person, she responds: "Do unto others." That's St. Matthew, therefore Biblical, therefore probably Christian. But hang on. When asked about karma, she replies: "Karma is my religion." That would be Hindu, or at least Buddhist, wouldn't it? Still she goes on … "I have guilt if anything isn't right." Now, far be it from us to perpetuate religious stereotypes, but that does sound rather more like a Western church than either Hinduism or Buddhism. So what gives? Clearly there have always been religious references made by Western pop stars, the majority of them, unsurprisingly, Christian, given that this has traditionally been the major Western religion. So there's not much new about the Christian references of Tina Arena or Céline Dion, or the thankyous to God offered up by Britney Spears or Destiny's Child. There's also little that's new in references to non-Christian religions – who can forget the Beatles' flirtation with Hinduism back in the 1960s, Tina Turner's conversion to Buddhism or Cat Stevens' to Islam in the 1970s, or the Tibetan Freedom concerts of the mid- to late nineties organised by the Beastie Boys' Adam Yauch, himself a Buddhist convert? What is rather new about this phenomenon in Western pop music, above and beyond its scale, is the faintly dizzying admixture of religions to be found in the songs or words of a single artist or group, of which Kylie's interviews are a paradigmatic but hardly isolated example. The phenomenon is also evident in the title track from Affirmation, the 1999 album by Kylie's compatriots, Savage Garden, whose worldview extends from karma to a non-evangelised/ing God. In the USA, it's there in the Buddhist and Christian references which meet in Tina Turner, the Christian and neo-pagan imagery of Cyndi Lauper's recent work, and the Christian iconography which runs into buddhas on Australian beaches on REM's 1998 album Up. Of course, Madonna's album of the same year, Ray of Light, coasts on this cresting trend, its lyrics laced with terms such as angels, "aum", churches, earth [personified as female], Fate, Gospel, heaven, karma, prophet, "shanti", and sins; nor are such concerns entirely abandoned on her 2000 album Music. In the UK, Robbie Williams' 1998 smash album I've Been Expecting You contains, in immediate succession, tracks entitled "Grace", "Jesus in a Camper Van", "Heaven from Here" … and then "Karma Killer". Scottish-born Annie Lennox's journey through Hare Krishna and Buddhism does not stop her continuing in the Eurythmics' pattern of the eighties and littering her words with Christian imagery, both in her nineties solo work and the songs written in collaboration with Dave Stewart for the Eurythmics' 1999 reunion. In 2000, just a year after her ordination in the Latin Tridentine Church, Irish singer Sinéad O'Connor releases Faith and Courage, with its overtones of Wicca and paganism in general, passing nods to Islam and Judaism, a mention of Rasta and part-dedication to Rastafarians, and considerable Christian content, including a rendition of the "Kyrié Eléison". Even U2, amongst their sometimes esoteric Christian references, find room to cross grace with karma on their 2000 album All That You Can't Leave Behind. In Germany, Marius Müller-Westernhagen's controversial single "Jesus" from his 1998 chart-topping album Radio Maria, named after a Catholic Italian radio station, sees him in countless interviews elaborating on themes such as God as universal energy, the importance of prayer, the (unnamed but implicit) idea of karma and his interest in Buddhism. Over a long career, the eccentric Nina Hagen lurches through Christianity, Hinduism, Hare Krishna, and on towards her 2000 album Return of the Mother, where these influences are mixed with a strong Wiccan element. In France, Mylène Farmer's early gothic references to Catholicism and mystical overtones lead towards her "Méfie-toi" ("Be Careful"), from the 1999 album Innamoramento, with its references to God, the Virgin, Buddha and karma. In Italy, Gianna Nannini goes looking for the soul in her 1998 "Peccato originale" ("Original sin"), while on the same album, Cuore (Heart), invoking the Hindu gods Shiva and Brahma in her song "Centomila" ("One Hundred Thousand"). "The world is craving spirituality so much right now", Carlos Santana tells us in 1995. "If they could sell it at McDonald's, it would be there. But it's not something you can get like that. You can only wake up to it, and music is the best alarm" (qtd. in Obstfeld & Fitzgerald 166). It seems we're dealing here with quite a significant development occurring under the auspices of postmodernism – that catch-all term for the current mood and trends in Western culture, one of whose most conspicuous manifestations is generally considered to be a pick 'n' mix attitude towards artefacts from cultures near and distant, past, present and future. This rather controversial cultural eclecticism is often flatly equated with the superficiality and commercialism of a generation with no historical or critical perspective, no interest in obtaining one, and an obsession with shopping for lifestyle accessories. Are pop's religious references, in fact, simply signifieds untied from signifiers, symbols emptied of meaning but amusing to play with? When Annie Lennox talks of doing a "Zen hit" (Lennox & Stewart n.pag.), or Daniel Jones describes himself and Savage Garden partner Darren Hayes as being like "Yin and Yang" (Hayes & Jones n.pag.), are they merely borrowing trendy figures of speech with no reflection on what lies – or should lie – or used to lie behind them? When Madonna samples mondial religions on Ray of Light, is she just exploiting the commercial potential inherent in this Shiva-meets-Chanel spectacle? Is there, anywhere in the entire (un)holy hotchpotch, something more profound at work? To answer this question, we'll need to take a closer look at the trends within the mixture. There isn't any answer in religion Don't believe one who says there is But… The voices are heard Of all who cry The first clear underlying pattern is evident in these words, taken from Sinéad O'Connor's "Petit Poulet" on her 1997 Gospel Oak EP, where she attacks religion, but simultaneously undermines her own attack in declaring that the voices "[o]f all who cry" will be heard. This is the same singer who, in 1992, tears up a picture of the Pope on "Saturday Night Live", but who is ordained in 1999, and fills her 2000 album Faith and Courage with religious references. Such a stance can only make sense if we assume that she is assailing, in general, the organised and dogmatised version(s) of religion expounded by many churches - as well as, in particular, certain goings-on within the Catholic Church - but not religion or the God-concept in and of themselves. Similarly, in 1987, U2's Bono states his belief that "man has ruined God" (qtd. in Obstfeld & Fitzgerald 174) – but U2 fans will know that religious, particularly Christian, allusions have far from disappeared from the band's lyrics. When Stevie Wonder admits in 1995 to being "skeptical of churches" (ibid. 175), or Savage Garden's Darren Hayes sings in "Affirmation" that he "believe[s] that God does not endorse TV evangelists", they are giving expression to pop's typical cynicism with regard to organised religion in the West – whether in its traditional or modern/evangelical forms. Religion, it seems, needs less organisation and more personalisation. Thus Madonna points out that she does not "have to visit God in a specific area" and "like[s] Him to be everywhere" (ibid.), while Icelandic singer Björk speaks for many when she comments: "Well, I think no two people have the same religion, and a lot of people would call that being un-religious [sic]. But I'm actually very religious" (n.pag.). Secondly, there is a commonly-expressed sentiment that all faiths should be viewed as equally valid. Turning again to Sinéad O'Connor, we hear her sing on "What Doesn't Belong to Me" from Faith and Courage: "I'm Irish, I'm English, I'm Moslem, I'm Jewish, / I'm a girl, I'm a boy". Annie Lennox, her earlier involvement with Hare Krishna and later interest in Tibetan Buddhism notwithstanding, states categorically in 1992: "I've never been a follower of any one religion" (Lennox n.pag.), while Nina Hagen puts it this way: "the words and religious group one is involved with doesn't [sic] matter" (Hagen n.pag.). Whatever the concessions made by the Second Vatican Council or advanced by pluralist movements in Christian theology, such ideological tolerance still draws strong censure from certain conventional religious sources – Christian included – though not from all. This brings us to the third and perhaps most crucial pattern. Not surprisingly, it is to our own Christian heritage that singers turn most often for ideas and images. When it comes to cross-cultural borrowings, however, this much is clear: equal all faiths may be, but equally mentioned they are not. Common appropriations include terms such as karma (Robbie Williams' 1998 "Karma Killer", Mylène Farmer's 1999 "Méfie-toi", U2's 2000 "Grace") and yin and yang (see the above-quoted Kylie and Savage Garden interviews), concepts like reincarnation (Tina Tuner's 1999/2000 "Whatever You Need") and non-attachment (Madonna's 1998 "To Have and Not to Hold"), and practices such as yoga (from Madonna through to Sting) and even tantrism (Sting, again). Significantly, all of these are drawn from the Eastern faiths, notably Hinduism, Buddhism and Taoism, though they also bear a strong relation to ideas found in various neo-pagan religions such as Wicca, as well as in many mystical traditions. Eastern religions, neo-paganism, mysticism: these are of course the chief sources of inspiration for the so-called New Age, which constitutes an ill-defined, shape-shifting conglomeration of beliefs standing outside the mainstream Middle Eastern/Western monotheistic religious pantheon. As traditional organised religion comes under attack, opening up the possibility of a personal spirituality where we can pick and choose, and as we simultaneously seek to redress the imbalance of religious understanding by extending tolerance to other faiths, it is unsurprising that we are looking for alternatives to the typical dogmatism of Christianity, Islam and even Judaism, to what German singer Westernhagen sees as the "punishing God" of the West ("Rock-Star" n.pag.). Instead, we find ourselves drawn to those distant faiths whose principles seem, suddenly, to have so much to offer us, including a path out of the self-imposed narrow-mindedness with which, all too often, the major Western religions seem to have become overlaid. Despite certain differences, the Eastern faiths and their New Age Western counterparts typically speak of a life force grounding all the particular manifestations we see about us, a balance between male and female principles, and a reverence for nature, while avoiding hierarchies, dogma, and evangelism, and respecting the equal legitimacy of all religions. The last of these points has already been mentioned as a central issue in pop spirituality, and it is not difficult to see that the others dovetail with contemporary Western cultural ideals and concerns: defending human rights, promoting freedom, equality and tolerance, establishing international peace, and protecting the environment. However limited our understanding of Eastern religions may be, however convenient that may prove, and however questionable some of our cultural ideals might seem, whether because of their naïveté or their implicit imperialism, the message is coming through loud and clear in the world of pop: we are all part of one world, and we'd better work together. Madonna expresses it this way in "Impressive Instant" on her 2000 album, Music: Cosmic systems intertwine Astral bodies drip like wine All of nature ebbs and flows Comets shoot across the sky Can't explain the reasons why This is how creation goes Her words echo what others have said. In "Jag är gud" ("I am god") from her 1991 En blekt blondins hjärta (A Bleached Blonde's Heart), the Swedish Eva Dahlgren sings: "varje själ / är en del / jag är / jag är gud" ("every soul / is a part / I am / I am god"); in a 1995 interview Sting observes: "The Godhead, or whatever you want to call it - it's better not to give it a name, is encoded in our being" (n.pag.); while Westernhagen remarks in 1998: "I believe in God as universal energy. God is omnipresent. Everyone can be Jesus. And in everyone there is divine energy. I am convinced that every action on the part of an individual influences the whole universe" ("Jesus" n.pag.; my transl.). In short, as Janet Jackson puts it in "Special" from her 1997 The Velvet Rope: "You have to learn to water your spiritual garden". Secularism is on its way out – perhaps playing the material girl or getting sorted for E's & wizz wasn't enough after all – and religion, it seems, is on its way back in. Naturally, there is no denying that pop is also variously about entertainment, relaxation, rebellion, vanity or commercialism, and that it can, from time to time and place to place, descend into hatred and bigotry. Moreover, pop singers are as guilty as everyone else of, at least some of the time, choosing words carelessly, perhaps merely picking up on something that is in the air. But by and large, pop is a good barometer of wider society, whose trends it, in turn, influences and reinforces: in other words, that something in the air really is in the air. Then again, it's all very well for pop stars to dish up a liberal religious smorgasbord, assuring us that "All is Full of Love" (Björk) or praising the "Circle of Life" (Elton John), but what purpose does this fulfil? Do we really need to hear this? Is it going to change anything? We've long known, thanks to John Lennon, that you can imagine a liberal agenda, supporting human rights or peace initiatives, without religion – so where does religion fit in? It has been suggested that the emphasis of religion is gradually changing, moving away from the traditional Western focus on transcendence, the soul and the afterlife. Derrida has claimed that religion is equally, or even more importantly, about hospitality, about human beings experiencing and acting out of a sense of the communal responsibility of each to all others. This is a view of God as, essentially, the idealised sum of humanity's humanity. And Derrida is not alone in giving voice to such musings. The Dalai Lama has implied that the key to spirituality in our time is "a sense of universal responsibility" (n.pag.), while Vaclav Havel has described transcendence as "a hand reached out to those close to us, to foreigners, to the human community, to all living creatures, to nature, to the universe" (n.pag.). It may well be that those who are attempting to verbalise a liberal agenda and clothe it in expressive metaphors are discovering that there are - and have always been - many useful tools among the global religions, and many sources of inspiration among the tolerant, pluralistic faiths of the East. John Lennon's imaginings aside, then, let us briefly revisit the world of pop. Nina Hagen's 1986 message "Love your world", from "World Now", a plea for peace repeated in varying forms throughout her career, finds this formulation in 2000 on the title track of Return of the Mother: "My revelation is a revolution / Establish justice for all in my world". In 1997, Sinéad points out in "4 My Love" from her Gospel Oak EP: "God's children deserve to / sleep safe in the night now love", while in the same year, in "Alarm Call" from Homogenic, Björk speaks of her desire to "free the human race from suffering" with the help of music and goes on: "I'm no fucking Buddhist but this is enlightenment". In 1999, the Artist Formerly Known as Prince tells an interviewer that "either we can get in here now and fix [our problems] and do the best we can to help God fix [them], or we can... [y]ou know, punch the clock in" (4). So, then, instead of encouraging the punching in of clocks, here is pop being used as a clarion-call to the faith-full. Yet pop - think Band Aid, Live Aid and Net Aid - is not just about words. When, in the 2000 song "Peace on Earth", Bono sings "Heaven on Earth / We need it now" or when, in "Grace", he begs for grace to be allowed to cancel out karma, he is already playing his part in fronting the Drop the Debt campaign for Jubilee 2000, while U2 supports organisations such as Amnesty International, Greenpeace and War Child. It is no coincidence that the Eurythmics choose to entitle their 1999 comeback album Peace, or give one of its tracks a name with a strong Biblical allusion, "Power to the Meek": not only has Annie Lennox been a prominent supporter of the Dalai Lama and the Tibetan cause, but she and Dave Stewart have divided the proceeds of their album and accompanying world tour between Amnesty International and Greenpeace. Religion, it appears, can offer more than hackneyed rhymes: it can form a convenient metaphorical basis for solidarity and unity for those who are, so to speak, prepared to put their money - and time and effort - where their mouths are. Annie Lennox tells an interviewer in 1992: "I hate to disappoint you, but I don't have any answers, I'm afraid. I've only written about the questions." (n.pag). If a cursory glance at contemporary Western pop tells us anything, it is that religion, in its broadest and most encompassing sense, while not necessarily offering all the important answers, is at any rate no longer seen to lie beyond the parameters of the important questions. This is, perhaps, the crux of today's increasing trend towards religious eclecticism. When Buddha meets Christ, or karma intersects with grace, or the Earth Goddess bumps into Shiva, those who've engineered these encounters are - moving beyond secularism but also beyond devotion to any one religion - asking questions, seeking a path forward, and hoping that at the points of intersection, new possibilities, new answers - and perhaps even new questions - will be found. References Björk. "Björk FAQ." [Compiled by Lunargirl.] Björk - The Ultimate Intimate. 1999. 26 Jan. 2001. <http://bjork.intimate.org/quotes/>. Dalai Lama. "The Nobel [Peace] Lecture." [Speech delivered on 11.12.89.] His Holiness the 14th Dalai Lama of Tibet. The Office of Tibet and the Tibetan Government-in-Exile. Undated. 26 Jan. 2001. <http://www.dalailama.com/html/nobel.php>. Hagen, N. "Nina Hagen Living in Ekstasy." [Interview with M. Hesseman; translation by M. Epstein.] Nina Hagen Electronic Shrine. Undated. 26 Jan. 2001. <http://208.240.252.87/nina/interv/living.html Havel, V. "The Need for Transcendence in the Postmodern World." [Speech delivered on 04.07.94.] World Transformation. Undated. 26 Jan. 2001. <http://www.worldtrans.org/whole/havelspeech.php>. Hayes, D. & D. Jones. Interview [with Musiqueplus #1 on 23.11.97; transcribed by M. Woodley]. To Savage Garden and Back. Undated. 26 Jan. 2001. <http://www.igs.net/~woodley/musique2.htm>. Lennox, A. Interview [with S. Patterson; from Details, July 1992]. Eurythmics Frequently Asked Questions. Undated. 26 Jan. 2001. <http://www1.minn.net/~egusto/a67.htm>. Lennox, A. & D. Stewart. Interview [from Interview Magazine, December 1999]. Eurythmics Frequently Asked Questions. Undated. 26 Jan. 2001. <http://www1.minn.net/~egusto/a64.htm>. Minogue, K. "Kylie." [Interview with S. Patterson.] Sky Magazine October 2000: 14-21. Minogue, K. "Special K." [Interview with P. Flynn.] Attitude September 2000: 38-46. Obstfeld, R. & P. Fitzgerald. Jabberrock: The Ultimate Book of Rock 'n' Roll Quotations. New York: Henry Holt, 1997. [The Artist Formerly Known as] Prince. A Conversation with Kurt Loder. [From November 1999.] MTV Asia Online. Undated. 26 Jan. 2001. <http://www.mtvasia.com/Music/Interviews/Old/Prince1999November/index.php>. Sting. Interview [with G. White; from Yoga Journal, December 1995]. Stingchronicity. Undated. 26 Jan. 2001. <http://www.stingchronicity.co.uk/yogajour.php>. [Müller-] Westernhagen, M. "Jesus, Maria und Marius." [From Focus, 10.08.98.] Westernhagen-Fanpage. Undated. 26 Jan. 2001. <http://home.t-online.de/home/340028046011-001/Presse/Focus/19980810.htm>. [Müller-] Westernhagen, M. "Rock-Star Marius Müller-Westernhagen: 'Liebe hat immer mit Gott zu tun.'" [From Bild der Frau, no.39/98, 21.09.98.] Westernhagen-Fanpage. Undated. 26 Jan. 2001. <http://home.t-online.de/home/340028046011-001/Presse/BildderFrau/19980921.htm>.

Defence date: 10 February 1997
Examining board: Prof. Richard T. Griffiths (Supervisor), EUI; Prof. Werner Abelshauser, Universität Bielefeld; Prof. Wolfgang Krieger, Universität Marburg; Prof. Alan S. Milward, EUI; Prof. Gustav Schmidt, Universität Bochum
First made available online 27 June 2017

The aim of this research project was to investigate the impact of funding on the service delivery of the Information Technology Division in the Department of Finance, North West Province. A secondary related purpose of the study was to determine the existence and utilisation of a proper strategic plan in the Division of Information Technology. A Division or Programme without a proper strategy would not be in a position to compile a credible budget. Two different self-administered questionnaires were developed. The first questionnaire was a survey of all Information Technology staff members including high-ranking officials such as assistant directors, deputy directors and managers. The second questionnaire was directed to provincial departmental officials across various departments who were willing to take part in the study. Eight provincial departments were chosen and the sample represented a total population of twelve provincial departments in the North West Provincial government. In addition to the surveys, direct interviews were conducted in cases where the respondents were not able to complete questionnaires without assistance. Although the intention of the study was to determine the impact of funding on the service delivery of information technology Division in the Department of Finance, the overall findings revealed that the strategic plan, which was not well defined, was found as the major problem that impacted on the process of compiling a reasonable budget. This, in effect, had a greater impact on service delivery than the actual funding of the Division.
(MBA) North-West University, Mafikeng Campus, 2004

The article is based on the assumption that research and development is a crucial source for creating innovations and increasing competitiveness. There are significant disparities in research and development across the regions of the European Union. Some regions have long been considered European research leaders, and other regions perceive them as an inspiration for themselves. However, the position of leaders may not be permanent. The aim of the paper is to assess how stable is the position of European regions, which have long been considered European leaders in R&D. For this purpose, gross and business expenditures on research and development were analysed, and their changes between the periods 2007-2009 and 2015-2017 were assessed. The analysis has shown that the Nordic countries, such as Finland and Sweden, are losing their good position. Increasing research activity has been observed only in the West Sweden region. On the other hand, growing trends have been detected mainly in some regions of Germany, Austria and the Czech Republic.