This thesis is a narratological analysis of the poem “The Miracle” by Edith Södergran. The thesis uses narratological tools from Mieke Bal in order to investigate different themes mainly connected to Christological sacrificial mythology. The thesis furtermore offers a discussion that highlights the poem from a feminist theological point of view, mainly with the help of ideas developed by Catherine Keller and Anne-Sofie Eriksson. ”The Miracle” is a dialogue between a girl and a nun about a troublesome dream that the girl has. It is a dream, which the girl finds strange and it concerns the need for revenge to reach relief. The dialogue also shows the risk of a kind of oppressive forgiveness by covering unfairness, and how the girl finds her way with help from the nun. With the altar in the poem as a kind of stage, “The Miracle” offers a challenge for the church and the whole world about attitudes, and about how to be constructive and liberating. This includes questions about the need to be careful and realistic when it comes to danger as well. How can you aim for fairness and at the same time handle unfairness, at several levels? Both the girl and the nun keep progressing in their different situations, from a horizon including escatological expressions. It is not easy, but they are not tied to oppressive traditions in their way of thinking either. What makes “The Miracle” such an interesting poem is the way it directs the reader to pose several constructive questions, without offering preformed answers.

Univ., Diss. u.d.T.: Jahn, Stefanie: Aeternaque Pergama servas--Düsseldorf, 2006.

Zugl.: Düsseldorf, Univ., Diss., 2008

The content of this master´s thesis is compact complex piece of knowledge from semestral projects 1 and 2. These semestral projects deal with analysis two-axle servo - drive, most common methods design regulators, design regulators and their simulation. Further was analysed quality regulation integral criteria, whereupon connect simulation circular and linear interpolation. Simulation was effected by force of Matlab Simulink. In one’s chapter was tested effect feedforwards to regulation. In closing parts is acquaint with control section position EPOS, and programming environment Open PCS company Maxon. In this environment was biaxial drive with EC motors Maxon and control section EPOS P 24/5 programmed. Results was discusseds with simulation.

This work describes direction of the two-axle drive with EC motors type MAXON by means of control unit EPOS. Except own direction of EC motors it contains various types progress for proposal parameters of the continuous and discrete regulator with consequence verification and character comparison by means of programming surroundings MATLAB. After the successful simulation verification is introduced most suitable regulator for positional direction of the two-axle drive into the real control units EPOS which they are connected to EC motors MAXON with making sign EC- max 22. Further is realized communication setting among control unit type EPOS P and her subjection unit EPOS. Unit EPOS P is further connected with steering computer by means of serial bus RS 232. Other part these work is program for direction of the two-axle drive copying the inscription MAXON with use linear and circular interpolation. To creation of the program source code is used standard programming language ST. This program is realized in programming surroundings EPOS STUDIO which is added by the producer to control units EPOS.

The aim of this study is to introduce the idea of fate present in Homer's Iliad. By "idea" is meant what gives the unity to apparently incoherent views (1) of fate as death and life's content; (2) of fate as a given lot and a power; (3) of fate as what is shaped by men, and what meets them. This triple polarity of meaning is explored on two levels: (a) the level of construction of the epic (how the fates are represented in the poem) and (b) the level of the Homeric expressions for fate (how the characters and the narrator talk about it). Both subjects have been treated many times and from various perspectives in the existing secondary literature. That's why this study does in neither case aim at an exhausting analysis. As for the construction of the epic, it focuses on the role played in its structure by decision, and especially on how the various decisions of different characters are integrated into the unity of narration. Among the expressions that are standardly envisaged it treats in some detail only the two most important, i.e. μοῖρα and αἶσα, although at the same time it considers also two verbs, τεύχω and τυγχάνω , to which the due attention has not yet been paid. Exploiting the results of formal-literary studies of the last decades this study returns back to a question formulated in the...

This thesis is about Gesar epic in the culture of The Gesar epic in the cultures of Inner Asian ethnic groups, primarily of Mongolian and Tibetan. After the general introduction to the Gesar epic there is a short history of Gesar epic studies and list of different versions of epic in every region it is known. In the central part the thesis deals with a development of religion cult of the main epic hero. A special attention was put on a ritual of smoke offering, known as sang and on texts related to this ritual. Then there is a description of Gesar's reflection in iconographic Buddhist art as well as in modern art. The end of the thesis is dedicated to a structural analysis of one sang text, its transcription and Czech translation are given at the supplement of the thesis with some images of Gesar in art.

Die Grundlage meiner Dissertation ist die systematische und detaillierte Betrachtung der Darstellungen von Prothesis, Ekphora und Besuch am Grab auf der griechischen Sepulkralkeramik. Diese drei Vorgänge sind allgemein als Teile von Bestattung und Totenkult identifiziert, eine derartige Untersuchung stand jedoch aus. Mein primäres Ziel war, unter den Klagenden und Trauernden auf ikonographischem Wege Personen zu benennen, da Beischriften kaum vorhanden sind. Hieraus ergab sich eine umfassende Analyse der Darstellungen vom Geometrischen um 760 bis zum Ende der griechischen Grabbilder auf Vasen um 400 v.Chr. Innerhalb dieser ca. 360 Jahre verändern sich Form, Funktion und Aufstellungsweise der Grabgefäße sowie der Malstil mehrmals gravierend, während bei den Sepulkralthemen, vor allem bei der Aufbahrung der Toten, eine diachrone Kontinuität in der Bildstruktur zu beobachten ist; hieraus erklärt sich der große zeitliche Rahmen meiner Arbeit. Zwei Methoden helfen bei der Figurenanlayse: der Vergleich der Figuren innerhalb eines Sepulkralbildes und die Gegenüberstellung von zeitgleichen nicht-sepulkralen Vasenbildern. Damit lassen sich jenseits der zeitspezifischen malerischen Konventionen Besonderheiten in der Figurengestaltung herausfiltern, die sich auf die Interpretation der Dargestellten auswirken. Die hierfür wichtigen Merkmale Frisur, Kleidung und Bewegungsmotiv ergeben in Kombination mit der Position der Figur im Bild bzw. mit den dargestellten Gesten sogar Verbindungen zwischen Szenen verschiedener Maler, so daß von einer absichtsvollen Darstellungsweise auszugehen ist. Dies gilt vor allem für die Klagenden in unmittelbarer Nähe des Toten. Außerdem lassen sich bei ihnen auch einige Figurentypen vom Mittelgeometrischen bis zu den weißgrundigen Lekythen verfolgen; am markantesten ist dabei das Schlagen des Kopfes. Bei den Trauernden, die seit dem Ende des 6. Jhs. v.Chr. dargestellt werden, ergibt sich ein Bedeutungswandel: bis ins 2. V. des 5. Jhs. sind sie Hinterbliebene, danach bis zum Ende der Grabbilder auf der attischen Keramik Verstorbene. Ikonographische Parallelen zu diesen Klagenden und Trauernden finden sich in den zeitgleichen mythologischen Vasenbildern. Die dort inhärenten Personenbeziehungen werden durch eine Vielzahl an Darstellungsweisen für die Mütter, Väter, Ehefrauen und Schwestern vermittelt, es gibt für sie kein einheitliches, gleichbleibendes Figurenschema. Die Beteiligten erklären sich vielmehr aus dem szenischen Zusammenhang und oft mit Hilfe von Beischriften. Den Malern standen demnach feststehende Figurenmuster zur Verfügung, die sie mit bestimmter Absicht in den Vasenbildern verwendeten, auch wenn sich die Gefäße in ihrer Funktion grundlegend unterschieden. Der Blick auf die Schriftquellen rundet meine Betrachtung ab. Ausführlich sind die Vorbereitungen für Prothesis und Ekphora dokumentiert, sie werden jedoch kaum auf der Keramik dargestellt, bei Aufbahrung und Besuch am Grab verhält es sich umgekehrt; für die Grablegung bleibt das Verhältnis ausgewogen. Die partizipierenden Personenkreise hängen von der jeweiligen Situation ab: involviert sind nahe Verwandte, freundschaftlich verbundene Personen, gelegentlich sogar Fremde. Es handelt sich immer um Sonderfälle, eine Schilderung des ‚normalen’ Ablaufes fehlt. Aus diesem Grund ist eine Benennung der auf der Grabkeramik dargestellten Personen also nur bedingt möglich, dennoch ergänzen sich Bild- und Schriftquellen offenbar. In jenen lassen sich andere Aspekte der Bestattung erfassen als in diesen, so daß verschiedene Intentionen zugrunde liegen müssen. Aufgrund der langen Laufzeit kann sich der symbolische Wert dieser repräsentativen Grabszenen nicht verändert haben. / The thesis is based on a systematic analysis of the greek sepulcral representations of Prothesis, Ekphora and the Visit at the tomb. These three events are well known as parts of the burial and cult of the dead. However, such an investigation was still a desiderat. Primary I aimed to identify distinct individuals such as parents, wives, husbands, and dependants among the mourners iconographically as related inscriptions almost lack. I analysed representations from the geometric period to the end of the funeral pictures on greek vases, ie from around 760 to 400 BC. Within these 360 years the form, function, and usage of the funerary pots as well as the style of painting changes several times in a fundamental way. The sepulcral pictures show however a diachron continuity in their iconographic syntax, eg the lying in state of the dead. The wide chronological range of my investigation is due to this coherence. Two methods were basic to the investigation of the figures: first to compare the individuals within one picture and second to compare them with non-funeral vase paintings of the same period. These two approaches reveal inherent patterns which are necessary for the interpretation of the figures. Especially important features are hair cuts, clothes, and movements. Their relations to the positions of the figure within the picture and the gestures respectively revealed underlying connections between scenes of different vase painters. The correspondences are due to iconographic conventions as shown especially for the mourners close to the deceased. Furthermore we can find corresponding figure types from the Middlegeometric to the whiteground lekythoi, such as the figures beating their heads. The mourners who express their sorrow and grief in a quiet way appear at the end of the 6th century BC. They change their meaning fundamentally: up to the 2nd quarter of the 5th century they can be identified as family members. After that time until the end of the funeral representations on attic pottery these persons represent the deceased. Iconographic parallels to mourners are to be find in the mythological vase paintings of the same time. The figures are shown in a lot of different ways as mothers, fathers, wives, and sisters, there is no standard in depicting a person with a special relation to the dead. Every figure has to be explained from the scene itself which is often aided by inscriptions. So we can assume that the vase painters used a fixed variety of figure types which they combined on their pictures to convey a special meaning independent of the function of the pot itself. One part of my investigation were the written sources. One can find brought descriptions of the preparations for prothesis and ekphora, but we can not find them on the pottery. The opposite is true for the lying in state and the visit to the tomb. The burial theme is mentioned in the written sources, and equally often shown on pottery. The participant personal groups can be identified differently according to the situation: we find near relatives, friends, sometimes even foreigners. The written sources usually describe special situations, whereas the ‘usual’ process is missing. It is therefore often not possible to identify the pictured individuals. Nevertheless, pictures and written sources complement one another as they show different aspects of the funeral. Therefore it can be proposed that the underlying intentions were different. Due to the long time representative funeral scenes appear on pottery their symbolic value can not have profoundly been changed.

This bachelor’s thesis is elaborated according to gained experience and knowledge from thie field of databases systems and business intelligence. Its result is a data warehouse with support business intelligence parts for two incompatible versions of system EPOS (Electronic cash desk checking system).

Zugl.: Berlin, Freie Univ., Diss., 2001