Pour construire la paix dans le monde, Tomi Ungerer raconte ses mythes personnels et impersonnels, tel Janus. Durant son enfance, il a été choqué par la Deuxième Guerre mondiale et endoctriné par les nazis : depuis lors, il est comme un témoin de l’Histoire. Dans cette recherche, nous étudions son art provocateur et éveilleur à travers les albums qu’il a réalisés à destination des enfants. L’artiste rebelle s’arme de son « T », sa hache graphique et identitaire, afin de proposer de nouvelles fables face à une société qu’il juge absurde. Dans son racontage-montage, la poétique du « O » est à la fois une forme parfaite et cosmologique, et un rythme infini, répétitif, tourbillonnant. Cette poétique concerne la forme, le mouvement, l’observation, la voix, mais aussi la vacuité que les rythmes du « M » organisent dans de multiples métamorphoses. Il s’agit du rythme de la vie et du vivre ensemble. Son racontage-montage est mécanique, musical et thématique, il est effectué dans un style bref, avec l’humour et le rire, mais aussi profond, avec une voix juste et plurielle que le « I » des identités et de l'Histoire pluralise vocalement. Ainsi, la reprise des lettres de son prénom engagerait la poétique des albums de Tomi Ungerer, celle d’un raconteur double puisqu’ils ne sont pas réservés aux seuls enfants et constituent une œuvre majeure de la littérature. / To spread peace in the world, Tomi Ungerer tells his personal and impersonal myths, such as Janus. During his childhood, he was traumatized by the Second World War and also brainwashed by the Nazis: he has thus witnessed History. In this research, we study his provocative and awakening art through the albums he made for children. The rebellious artist armed himself with his “T”, his graphic and identity ax, in order to oppose his new fable to a society he regards as absurd. In its telling-editing, the poetics of the “O” symbolizes a perfect and cosmological form, but also an infinite repetitive, whirling rhythm. This poetics concerns form, movement, observation, voice, but also depth, with a fair and plural voice the “I” of identities and History vocally pluralizes. Thus, the letters of his first name would reflect the poetics of the picture books of Tomi Ungerer, the double storyteller, since his picture books are not only intended for the children but also constitute a major work of literature. / 세계의 평화를 건설하기 위해, 토미 웅게러는 야누스 신처럼 개인적인 동시에 보편적인 신화를 이야기한다. 어린시절, 그는 제 2차세계대전에 충격을 받았고 나치의 정권 아래 학교 교육을 받는다. 그때부터 그는 역사의 증언자이다. 그러므로 본 연구는 그의 선동 예술과 그가 들려주는 그림책을 분석한다. 강요된 복종을 거부하는 이야기꾼 웅게러는 부조리한 사회를 반대하는 새로운 우화를 이야기 하기 위해 그래픽과 정체성을 나타내는 도끼를 상징하는 그의 이름 Tomi의 이니셜 ‘T’는 예술적 힘을 상징한다. 그는 ‘이야기 합성’ 안에서 완벽하고 우주적인 형태와 영원히 반복적이고 소용돌이같은 리듬으로 ‘O’ 시학을 이야기 한다. 이는 ‘달의 시학’이자 ‘시간의 시학’이다. 이 시학은 형태, 운동( mouvement), 관찰, 목소리, 공(vacuité) 과 동시에 끊임없이 변화(metamorphoses) 를 상징하는 ‘M’의 리듬이다. 이는 삶과 모두가 평화롭게 살기 위한 멜로디와 리듬이다. ‘이야기 합성’은 유머와 웃음의 간결한 문체의 메커니즘과 그림을 통한 음악적, 테마적 오브제들의 함축적 요소들은, 정체성( identité)과 다중적 목소리 이야기의 ‘I’로서 간결함과 다중적인 깊은 의미가 축적되어 있다. 그러므로 작가의 이름을 상징하는 알파벳 문자는 토미 웅게러의 ‘존재적 시학’을 상징하며, 그림책이 단지 어린이 전용이 아닌 문학 전반의 작품성을 구성하는 그림과 글로서의 종합적 예술장르의 가치를 가지며, 그림책 작가는 그래픽언어와 텍스트언어의 경계를 넘나드는 이중(겹)으로 표현하는 이야기꾼이다.

Les erreurs dimensionnelles des pièces d'une famille de pièces provoquent un mauvais placement initial de la pièce sur le montage affectant la qualité du produit final. Même si la pièce est positionnée correctement, la pièce s'écarte de cette position initiale à cause des forces externe d'usinage et de bridage et de la rigidité du montage. Dans cette thèse, un modèle analytique complet, composé d'un modèle cinématique et un modèle mécanique, ayant une configuration de type 3-2-1 des appuis est proposé. Le modèle cinématique remet la pièce, initialement mal placée dans la référence machine, sur la bonne position par les avancements axiales des six appuis en tenant compte de tout les éléments du montage considérés rigides. Cette pièce repositionnée se déplace à nouveau à partir de la position corrigée sous les forces de bridage et d'usinage. Le modèle mécanique calcule ce déplacement de la pièce en considérant les appuis et des brides élastiques. Le plateau cuboïde rigide, utilisé pour repositionner la pièce précisément, est également considéré élastique au niveau des contacts avec les appuis. Le comportement non-linéaire de la déformation des contacts est linéarisé en convergeant la déformation des appuis jusqu'à ce que la précision requise est atteinte. En utilisant l'hypothèse des petits déplacements et en considérant le frottement nul au niveau des contacts, On calcule le déplacement de la pièce, la déformation de chaque appui suivant l'énergie minimale, la matrice de rigidité et le comportement mécanique du système du montage grâce à la formalisation Lagrangienne. Le déplacement de la pièce est à nouveau compensé par l'avancement axial des six appuis calculés par le modèle cinématique.

I have zoomed in and out, cut and pasted, simplified and exaggerated my way through twelve shelf metres of Swedish architecture history. My ambition with this project has been to understand how Swedish architecture has been narrated in The Swedish Review of Architecture - tidskriften Arkitektur - during the 113 years the publication has existed. Has its "dramaturgy" changed and is this reflected in the development of Swedish design? Through using the architectural skills I have developed through my education, I was able to use the relatively simple, yet complex technique of photomontage as a means of analysing historical images. Each montage, once composed, vividly suggest certain tendencies of different historical periods, from the use of material, the social ways in which spaces are inhabited, the way light is managed, and so forth. I developed this method of photomontage because it exposes much more than documentary photography and writing. The project suggest an active engagement in history, rather than a passive acceptance of thing that have been. The final spreads can be read as retrospective and visionary simultaneously, to open up for several readings, and a possibility to keep on producing more material. / Sedan 1901 har tidskriften Arkitektur dominerat den svenska arkitekturscenen. Det är en viktig historisk källa, inget annat tidskriftsarkiv innehåller en sån stor mängd svensk arkitektur.I mitt examensarbete har jag försökt definiera hur tidskriften har skildrat den svenska arkitekturen. Hur har detta förändrats under de 113 år tidskriften har existerat? Fokus för min undersökning har varit presentationer av villor och sommarhus. Med hjälp av digitala verktyg har jag zoomat in i materialet, klippt och klistrat och byggt upp nya verkligheter som ger en ny bild av berättelsen om svensk arkitektur.

In this dissertation I investigate the stylistic shift in the cinema of selected filmmakers whose work is rooted in Bertolt Brecht’s dramatic theory: Jean-Marie Straub and Danièle Huillet, Peter Watkins, and Lars von Trier. Through the work of these filmmakers, I trace the ongoing change in the cinematic applications of the theory. By and large, the change consists of a lessening of the role of montage – a technique that occupies a paramount place in Brecht’s theatrical and filmic practice – in favour of the objects within the camera’s field of view and the sounds within the microphone’s range. Since the ultimate effect for which the Brechtian filmmaker aims is that of Verfremdung, theatrical stylisation – itself estranging within the context of cinema – appears as a natural corollary of the described shift in emphasis. I also suggest a causal connection between the aforementioned shift and the growing self-consciousness of the style employed by meainstream cinemas (of which Hollywood is the foremost representative), which often manifests itself in the use of unorthodox editing patterns. Accordingly, I propose that we can attribute the contemporary Brechtian filmmaker’s growing reliance on mise-en-scène elements as a source of Verfremdung largely to the major film industries’ adoption of montage and other specifically cinematic codes that make a film’s style overt. Not surprisingly, perhaps, the Brechtian filmmaker – whose political stance is inherently antagonistic to that exemplified by most mainstream cinema, reacts to the normalisation of foregrounded film style by employing the opposite strategy.

Zusammenfassung Heutige Ansätze des 3D-Trackings für die Registrierung in der realen Welt zum Einsatz von Augmented Reality lassen sich in modellbasierte und umgebungsbasierte Verfahren unterteilen. Umgebungsbasierte Verfahren nutzen den SLAM-Algorithmus zur Erzeugung dreidimensionaler Punktwolken der Umgebung in Echtzeit. Modellbasierte Verfahren finden Ihren Ursprung im Canny edge detector und nutzen aus den CAD-Modellen abgeleitete Kantenmodelle. Wird das modellbasierte Verfahren über Kantendetektion und das umgebungsbasierte Verfahren über 3DPunktewolken kombiniert, ergibt sich ein robustes, hybrides 3D-Tracking. Die entsprechenden Algorithmen der verschiedenen Verfahren sind in heute verfügbaren AR-Frameworks bereits implementiert. Der vorliegende Betrag zeigt zwar, welche Effizienz das hybride 3D-Tracking aufweist, jedoch auch die Problematik der erforderlichen geometrischen Ähnlichkeit von idealem CAD-Modell, bzw. Kantenmodell, und realem Objekt. Bei unterschiedlichen Montagestufen an verschiedenen Montagestationen und mit wechselnden Anwendern ist beispielsweise eine erneute Initialisierung erforderlich. Somit bedingt das hybride 3D-Tracking zahlreiche Kantenmodell, die zuvor aus der jeweiligen Montagestufe abgeleitet werden müssen. Hinzu kommen geometrische Abweichungen durch die Fertigung, die je nach Größe der branchenspezifischen Toleranzen keine hinreichend hohe Übereinstimmung mit den abgeleiteten Kantenmodellen aus den idealen CAD-Modellen aufweisen. Die Autoren schlagen daher den Einsatz parametrisch aufgebauter Mastermodelle vor, welche durch eine interaktive Initialisierung geometrisch Instanziiert werden. Zum Einsatz kommt hier ein mobiler Tiefensensor für Smart Devices, welcher mit Hilfe des Anwenders eine Relation der realen geometrischen Merkmale mit den Idealen des CAD-Modells ermöglicht. Des Weiteren wird in dem dargestellten Konzept die Nutzung von speziellen Suchalgorithmen basierend auf geometrischen Ähnlichkeiten vorgeschlagen, sodass eine Registrierung und Instanziierung auch ohne hinterlegtes Mastermodell ermöglicht wird. Der Beitrag fokussiert sich bei der Validierung auf die interaktive Initialisierung anhand eines konkreten anwendungsnahen Beispiels, da die Initialisierung die Grundlage für die weitere Entwicklung des Gesamtkonzeptes darstellt.

The purpose and problem of this thesis is to formulate a theory on screenplay aesthetics with Eisenstein's montage as the mother theory providing the aesthetic nourishment for the proposed concept of imaging. The theory of screenplay imaging proposes that the screenplay is a montage of sub-narratives occurring in the sensual, emotional, and intellectual dimensions and expressing the grand narrative theme. It further suggests that the interaction between the screenplay and the reader-interpreter should yield a prolificity of interpretation with a unified meaning. The thesis consists of five chapters. Chapter I, Introduction, lays the background for subsequent arguments. Chapter II, The Principles of Montage, discusses Eisenstein's theory. Chapter III, The Theory of Imaging, explains imaging and develops Gonzalez's Model of Imaging. Chapter IV, The Principles of Sensual, Emotional, and Intellectual Imaging, explains the three dimensions with examples. Chapter V, Conclusion and Recommendation, suggests improvements and applications of the theory.

La thèse a pour ambition de confronter un grand classique du droit des sociétés, la notionmême de société, avec les exigences confinant parfois au « vampirisme financier » de cetarchétype du capitalisme financier qu’est un « Leveraged Buy Out ». Un LBO se traduit, sousl’angle du droit des sociétés, par la constitution d’un ensemble sociétaire composé de deuxsociétés : celle qui achète (la holding de reprise) et celle qui est achetée (la « cible »). Pouraussi importante que soit la seconde, c’est à l’étage supérieur, celui de la holding de reprise,que sont cristallisées les spécificités du montage et leur incidence sur la notion de société.Cette incidence est mesurée au niveau du fond (Partie I) et de la forme (Partie II) de lasociété qui sert de pierre angulaire au montage de LBO.PARTIE I : L’INCIDENCE DU LBO SUR LE FOND DE LA SOCIETELe fond de la société étudiée a été entendu comme ce qu’elle a d’essentiel et qui lui donneconsécutivement son identité. La démonstration a été conduite à partir de deux aspectsfondamentaux de cette société: ce qu’elle fait, c'est-à-dire son activité (Titre I) et ce qu’elleest, c’est à dire sa qualification (Titre II). Ces deux aspects reflètent bien, dans un LBO, latéléologie de la holding de reprise, cette dimension fonctionnelle de la société qu’a simagistralement mise en lumière l’« Ecole de Rennes ». La holding de reprise a en effet unedouble finalité : elle organise à la fois une opération sociétaire (une prise de contrôle aveceffet de levier) et une opération contractuelle (un « contrat d’investissement » entendu commeun contrat de prêt d’argent), la seconde étant clairement l’accessoire de la première. Cettepremière partie conduit l’auteur à proposer de renouveler l’étude de certaines questionsmajeures en droit des sociétés, comme celle de la nature juridique de l’acquisition et de ladétention du contrôle d’une société commerciale (la « cible ») ou encore celle de laqualification proposée en doctrine de « contrat d’investissement » d’une société (telle laholding de reprise) dont le capital est ouvert à des professionnels du capital investissement.PARTIE II : L’INCIDENCE DU LBO SUR LA FORME DE LA SOCIETELe mot forme doit être ici compris dans une double acception. Il est d’abord retenu dans sonsens taxinomique comme faisant référence aux différents types de sociétés qui peuvent êtreutilisés pour jouer le rôle d’habit juridique de la holding de reprise. Il vise également, defaçon subséquente et liée, l’aboutissement du travail du spécialiste du droit des sociétés4cherchant, une fois un type de société choisi, à en utiliser toutes les potentialités pour adapterle type choisi aux besoins spécifiques du montage de LBO. La raison de l’incidence du LBO àce niveau tient à la nécessité de rechercher un maximum de liberté contractuelle pourpermettre cette adaptation de la forme au fond. Il s’agit en effet de pouvoir choisir dans lapalette des instruments offerts par le droit des sociétés ceux qui permettront d’organiser leplus efficacement possible d’une part, l’effet de levier attendu sous l’angle juridique del’interposition de la holding de reprise entre le repreneur et la « cible », d’autre part lepartenariat entre ce repreneur et les financiers qui participent au « tour de table » de cetteholding. La démonstration est conduite d’abord pour un montage national (Titre I) puis pourun montage transfrontalier (Titre II). / The dissertation means to focus on confronting a classic of corporate law, the very notion ofcompany, with the requirements often bordering on « financial vampirism » related to thisarchetype of financial capitalism, the « Leveraged Buy Out ». A LBO embodies, from thepoint of view of corporate law, the setting-up of a grouping made up of two companies, one :the take-over holding company, the other : the one that is being bought, the « target ».However important the latter may be, it is at the upper level, the take-over holding company,that the specific features of the financial set-up and their impact on the notion of company arebest given a definite form. The impact is measured according to the content (Part I) and theform (Part II) of the company which acts as the cornerstone in the financial set-up of a LBO.PART I : THE IMPACT OF THE LBO ON THE CONTENT OF THE COMPANYThe content of the company studied here, has been grasped as what constitutes its essential,defining consequently its identity. The demonstration has been conducted from thefundamental aspects of the company : what it does, i-e its operations (Heading I) and itsnature, i.e its qualification (Heading II). The two aspects well evince, in a LBO, theteleology of the take-over holding company, that functional dimension of the company, sobrilliantly expounded by the « Rennes School ». Indeed the take-over holding company has adouble purpose : organizing both a share-holding operation (a take-over with leverage) and acontractual operation (an investment contract conceived as a loan contract), the latter beingclearly incidental to the former. This first part lead us to propose renewing the study of somemajors questions related to corporate law such as the legal nature of the control acquisitionand holding of a trading company (the « target ») as well as that of the qualification putforwardas doctrine of « investment contract » of a company (such as a take-over holdingcompany) with a capital open to professionals of capital investment.PART II. THE IMPACT OF THE LBO ON COMPANY STRUCTUREThe word form should here be understood in tis double meaning. It is first used in itstaxinomic sense, referring to the different company structures that can be applied to play therole of legal outfit for the take-over holding company. It also aims, subsequently and closelylinked, at the outcome of the corporate law specialist’s task, once the company’s structure has6been chosen, endeavouring to use all its inherent capacities for growth in order to adapt thechosen structure to the specific requirements entailed in the setting-up of the LBO.The reason of the LBO’s impact at his stage stems for the need for seeking the maximumcontractual freedom allowing the adaptation of structure to content. It is indeed a matter ofbeing able to choose in range of instruments made available by corporate law, those allowingto organize as efficiently as possible on the one hand, the legally expected leverage performedin the take-over holding company’s intervention between the rescuer and the financiers takingpart in the take-over holding company’s investor round. The demonstration is first conductedfor a financial set-up at national level (Heading I) then cross-border (Heading II).

A partir da análise do conceito de \'montagem\' cinematográfica na obra de Jean-Luc Godard e sua identificação com as noções de \'história\' e \'arquivo\', propõem-se \'exercícios\' que procuram explicar, de modo teórico-prático, a hipótese fundamental do projeto: a \'montagem\' é uma ferramenta que, apropriada pelas artes visuais, gera conhecimento e permite reordenar a história. A indagação teórica pensa a \'montagem\' como elemento que desliza do campo audiovisual. O conceito desloca-se no desenvolvimento de um trabalho que gera conexões com a produção artística, tanto quanto com a escrita da história por meio da arte. A primeira parte apresenta um processo de criação em artes visuais onde se desenvolvem \'exercícios de montagem\'. Como artista, coloco-me numa situação de deslocamento, vivendo como estrangeiro na cidade de São Paulo. A série de trabalhos é feita por meio da identificação da história econômica do café, como peça fundamental na construção do estado moderno brasileiro e colombiano. Os trabalhos buscam a emergência de narrações, novos olhares que podem aparecer no choque de imagens, na \'montagem\' como ferramenta para recontar uma história. A segunda parte apresenta um ensaio, que em sua estrutura, é proposto como um \'filme\'. Este exercício literário tem foco na história da arte colombiana e procura ser um contraponto teórico ao processo de criação em artes visuais. / The analysis of the cinematographic notion of \'montage\' in the work of Jean-Luc Godard, as well as its relation with \'history\' and \'archive\', are the points of departure to explain the main concept of this project: \'Montage\' is a tool which, when appropriated by the Visual Arts, produces knowledge and enables the rearrangement of history. The theoretical framework places \'montage\' as an element that escapes the audiovisual field. Here, the concept is widened to enable connections with artistic production, as well as with the writing of history through art. The first part deals with a creation process, where \'montage exercises\' took place. As an artist, I find myself in a situation of displacement, by living as a foreigner in the city of Sao Paulo; works were thereby created by identifying the economic history of coffee as a fundamental element of the formation of the modern states of Brazil and Colombia. The work inquires about narrations and produces a new gaze in the clash of images, and work as a tool in the \'montage\' to retell a history. The second part is an essay, a literary exercise that in its structure is proposed as a \'film\'. It focuses on the history of Colombian Art, and looks for a theoretical counterpoint to the creative process of visual arts.

Esta tese investiga o campo da imagem como forma de projetar o território urbano. O referencial teórico-metodológico adotado decorre da articulação do imaginário social a partir das visões de Walter Benjamin e Aby Warburg com os cenários pela visão de Paulo Reyes. Com vistas a uma articulação metodológica, busca-se demonstrar a possibilidade de associar os procedimentos de análise do imaginário social aos de síntese do projeto por cenários. A leitura e escrita dos aspectos subjetivos e imaginários da multifacetada realidade urbana, conjugada a um método de planejamento estratégico mais abrangente e plural. mostra-se pertinente às complexidades inerentes à cidade contemporânea. O imaginário social é decifrado através de operações imagéticas que dão a ver e a ler valores, desejos e necessidades coletivas. Ao inverter-se esse procedimento analítico, é possível sintetizar representações a partir de elementos do imaginário, conferindo-lhe caráter projetivo e projetual através do projeto urbano por cenários. A criação de cenários projetuais a partir dos procedimentos de montagem do imaginário social - as "imagens dialéticas" benjaminianas e os mosaicos do "Atlas Mnemosyne" warburguiano- combinados aos dos cenárioso "gráfico de polaridades" reyesiano- permite ampliar e qualificar o processo de leitura-escrita das narrativas por imagens. Mais do que representar, pensar e projetar por cenários é construir imagens que explicitam conflitos no território e promovem um processo projetual mais aberto, flexível e democrático. As complementaridades e analogias na capacidade hermenêutica das imagens são evidenciadas ao serem relacionadas as estruturas narrativas do imaginário social à estratégia projetual do pensamento por cenários. No âmbito da história cultural. o cruzamento de narrativas do imaginário social e do projeto por cenários denota o parentesco de operações dialéticas em que as imagens têm fator fundante tanto em ações analíticas como de sínteses projetuais da cidade. / This thesis investigates the image field as a way to design the urban territory. The theoretical framework stems from the relationship between the social imaginary from the visions by Walter Benjamin and Aby Warburg and the scenarios, from Paul Reyes' vision. With the aim to a methodological articulation, it seeks to demonstra te the possibility o f associating the analytical procedures o f the social imaginary to those o f synthesis o f the design by scenarios. The reading and writing of the subjective and imaginary aspects o f the multifaceted urban reality, articulated to a more comprehensive and pluralistic strategic planning method, is pertinent to the inherent complexities of the contemporary city. The social imaginary is deciphered through operations with images that allow seeing and reading values, desires and collective needs. By inverting the analytical procedure, it is possible to synthesize representations from elements o f the imaginary, giving it a projective and projectual character through the urban design by scenarios. The creation o f design scenarios based on the social imaginary mounting proceduresthe Benjaminian "dialectical images" and the mosaics of the Warburguian "Atlas Mnemosyne"- combined with the scenarios- the Reyesian "polarity map"- allows to enlarge and qualify the processo f reading-writing o f narratives through images. More than representing, thinking and projecting by scenarios is to construct images that make conflicts in the territory explicit and promote a more open, flexible and democratic design process. The complementarities and analogies in the hermeneutic capacity of the images are evidenced when the narrative structures of the social imaginary are related with the projective strategy of the design by scenarios. In the cultural history context, the intersection of narratives of the social imaginary and the design by scenarios denotes the affinity of dialectical operations in which the images have a founding factor in analytical actions so as in projectual syntheses of the city.

De 1993 a 2004, Walter Kempowski publicou uma série em dez volumes intitulada Das Echolot. Ein Kollektives Tagebuch. (A ecossonda. Um diário coletivo) Nessa obra, Kempowski procurou retratar alguns dos episódios principais da Segunda Guerra Mundial através da apresentação de documentos redigidos, em sua grande maioria, na época dos acontecimentos: diários, cartas, memórias, discursos ou programas de rádio. Esses documentos foram ordenados de acordo com o dia no qual foram escritos, compondo um grande diário coletivo que retrata os acontecimentos de uma perspectiva abrangente e multiforme. Nesta tese, o volume Barbarossa 41, que narra a invasão da URSS em 1941, foi tomado como exemplo para questionar o papel do autor nessa montagem monumental de citações que, à primeira vista, parece reduzir-se à organização formal dos documentos. Para analisar a forma como se estabelece o significado dos elementos organizados no livro observou-se 1) a própria estruturação do livro, 2) as citações de algumas das principais personagens, que podem ser consideradas como exemplares e 3) a sequência interna de dois dias completos do diário. As citações das personagens exemplares foram comparadas com os documentos originais de onde foram extraídas, buscando-se identificar as intenções que guiaram o autor na seleção e no recorte dos textos. O resultado dessa pesquisa indica que o papel do autor na constituição do sentido da narrativa nascida da conexão dos fragmentos é decisivo. Com uma outra seleção e um outro recorte, as personagens deixariam uma impressão diferente no leitor. Também foi confirmado que a organização específica do material criou um panorama da Segunda Guerra que se deve às intenções do autor, ainda que esse fato permaneça, em grande parte, despercebido pelo leitor. / From 1993 to 2004, Walter Kempowski published a sequence of ten books named Das Echolot. Ein Kollektives Tagebuch. (The Echo Sounder. A collective diary.) In these books, Kempowski aims to depict main episodes of the Second World War by presenting documents written mostly while the events took place: diaries, letters, memories, speeches or radio programs. Those documents were sorted according to the day they were written, and so they composed a great collective diary which depicts the events in a comprehensive and multifaceted perspective. In this thesis, the volume Barbarossa 41, which narrates the invasion of the USSR in 1941, was taken as an example to question the role of the author in this monumental montage of quotations that, at the first sight, seems to be just a formal organization of documents. In order to determinate how the meaning of the elements organized in the book gets established, the following items were observed: 1) the own structure of the book, 2) the quotations of some of the main figures that can be considered as exemplary and 3) the internal sequence in two whole days of the diary. The quotations of the exemplary characters were compared with the original documents, in order to identify the intentions that guided the author in the selection of the texts and the excerpts that would be published. The result of this research indicates that the role of the author in the constitution of the sense of the narrative which comes from the connection of the fragments is crucial. With another selection of texts and excerpts, the characters would leave a different impression on the reader; it was also confirmed that the specific organization of the material has created a panorama of the Second World War that is due to the intentions of the author, even if this fact remains mostly unnoticed by the reader.