Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-Graduação em Engenharia Ambiental. / Made available in DSpace on 2012-10-23T16:19:51Z (GMT). No. of bitstreams: 1 250631.pdf: 4062591 bytes, checksum: d426c0070170529e3a43988a6ea5f940 (MD5) / Esta dissertação apresenta a construção de uma metodologia participativa na construção temática do Atlas Escolar Ambiental. Trata-se de um trabalho de pesquisa-ação realizado com um professor e um grupo de alunos da Escola de Educação Básica Silva Jardim no município de Alfredo Wagner. A prática interdisciplinar e a abordagem sistêmica foram utilizadas como referencial para o desenvolvimento da metodologia participativa. Os procedimentos utilizados foram as reuniões, os trabalhos de campo para coleta de informações e registro fotográfico, entrevistas e visitas aos órgãos públicos. A metodologia participativa, seja com os grupos participantes ou com demais colaboradores voluntários na pesquisa, mostrou-se adequada à elaboração temática do Atlas, imprimindo a este as observações e os significados dos atores que, ao mesmo tempo, possuem a vivência da realidade do município. Os participantes se sentiram valorizados por participarem no grupo, ter vez e voz, fazer críticas e sugestões. O interesse do grupo no trabalho, nas reuniões e trabalhos de campo se fez na construção da contextualização dos temas, apontando os aspectos positivos que visualizam no município e também as situações problemas que merecem ser abordadas. Os trabalhos de campo evidenciaram que após a experiência de (re)conhecer o município, o significado e a importância dos lugares para os participantes são reafirmados, ou seja, reforça a identidade das pessoas com o #lugar#. O Atlas procura sintetizar, de maneira singular, o resultado do processo participativo que se mostrou de maneira ampla nas expressões dos participantes. Desta maneira, pretende-se que a metodologia participativa cristalizada no processo participativo, reflita no recorte temático do Atlas, a realidade e a história do município. This dissertation presents the construction of a participative methodology in the thematic construction of Environmental School Atlas. It is about a work of research-action carried through with a teacher and a group of students from the #Escola de Educação Básica Silva Jardim# in the city of Alfredo Wagner. The interdisciplinary practice and the systemic approach had been used as a referential for the development of the participative methodology. The used procedures were meetings, the field works for the information collection and photographic register, interviews and visits to the public agencies. The participative methodology, either with the participant groups or with other collaborating volunteers in the research, revealed adequate to the thematic elaboration of the Atlas, indicating to this the observation and the meanings of the people who, at the same time, have the experience of the city reality. The participants felt valued of participating in the group, having place and voice, criticizing and making suggestions. The group interest in the work, the meetings and the field works had been made in the construction of the context of the subjects, pointing the positive aspects that visualize in the city and the problematic situations that deserve to be approached. The field works evidenced that after the experience of (re) knowing the city, the meaning and the importance of the places for the participants are reaffirmed, that is, strengthen the identity of the people with the #place#. The Atlas looks for to synthesize, in a singular way, the result of participative process that showed in an ample way in the participant expressions. In this way, it is intended that the crystallized participative methodology in the participative process, reflects in the Atlas thematic clipping, the city reality and history.

Que la réflexion du compositeur sur la technique et l’histoire des règles de l’écriture musicale constitue une pratique de soi, l’exercice d’une subjectivation qui suspend normes et pouvoirs du dehors, les déplace, les informe autrement, crève l’écran de l’écriture, et institue, dans la pratique compositionnelle, un sujet de l’écriture, une subjectivité autonome, c'est-à-dire musicale — voilà ce qu’il faut entendre par politique de l’écriture musicale. Que la musique génère des puissances capables d’anéantir tous les écrans qui s’interposent entre l’œuvre et l’auditeur, qu’un sujet de l’écoute soit fabriqué dans un faire corps rituel avec la musique, voire qu’un homme nouveau, une humanité régénérée surgissent d’un laboratoire sacré de l’écoute — voilà ce qu’il faut entendre par politique de l’écoute musicale. Deux compositeurs que cette question travaille ; deux dates pour la circonscrire et la problématiser. Pierre Boulez en 1950, ou comment un degré zéro de l’écriture met en crise une subjectivité cherchant dans la structure le chiffre d’une expérience radicale, fondamentale, fondatrice — homme structural devenu la variable humaine d’une prolifération qui le dépasse. Karlheinz Stockhausen ou comment ce qu’il s’est passé à New York le 11 septembre 2001 fut la plus grande œuvre d’art pour le cosmos tout entier — rêve d’une œuvre d’art totale, réveil de l’obsession de Richard Wagner, et révélation d’une expérience musicale et d’une expérience politique que seules la technologie et la marchandise mettent en œuvre. Des structures et des hymnes, des hélicoptères et des éclats, et, à la fin du parcours, un carnaval symphonique. / That reflection of the composer on the technique and the history of the rules of musical writing constitutes a practice of the self and the exercise of a subjectivation which suspends norms and powers from the outside, moves them, informs them in another way, passes through the screen of writing, and institutes, in the practice of composition, a subject of the writing, an autonomous, that is musical subjectivity — that is how one has to understand politics of musical writing. That music gathers powers capable of annihilating any screen which intervene between the work and the listener, that a subject of listening is ritually made by an identification between bodies and music, even that a new man, a regenerated humanity appear from a sacred laboratory of the listening — that is what it is necessary to listen by politics of musical listening. Two composers whom this question works; two dates to define and problematize it. Pierre Boulez in 1950, or how a writing degree zero puts into crisis a subjectivity looking in the structure for the figure of a radical, fundamental, founding experience — a structural man which becomes the human variable of a proliferation which exceeds him. Karlheinz Stockhausen, or how what it happened in New York September 11th, 2001 was the greatest work of art for the whole cosmos — dream of a total work of art, awakening of Richard Wagner's obsession, and revelation of a musical experience and a political experience which only the technology and the commodity operate.Structures and hymns, helicopters and fragments, and, at the end of the route, a symphonic carnival.

Paris, et plus largement la France, ont préoccupé Wagner tout au long de sa vie. Entre 1830 et 1861, il ne séjourne pas moins de sept fois en France et même lorsqu’il se trouve en Allemagne, puis exilé en Suisse, il garde toujours Paris à l’esprit. Bien que Wagner se soit toujours présenté avant tout comme un Allemand et qu’il se soit toujours défini comme un compositeur allemand, la France, sorte de miroir dans lequel il ne cesse de considérer sa patrie, lui sert de référence pour définir une nouvelle Allemagne essentiellement artistique et appelée à devenir sur ce plan le modèle de l’Europe. Cette thèse se propose d’analyser les relations de Wagner et de la France entre 1830 et 1861 sous ce nouvel éclairage et d’étudier la réception française des œuvres wagnériennes. Cette dernière repose avant tout sur un malentendu et trouve son origine non pas dans la musique ou les écrits du compositeur, mais dans les différents articles de Liszt qui paraissent à partir de 1849 / Throughout his lifetime, Richard Wagner was preoccupied by Paris, in particular, and by France, in general. Between 1830 and 1861 — the period upon which this thesis concentrates — he went to Paris on no fewer than seven occasions. Although Wagner always introduced himself as above all a German, and although he always considered himself to be a German composer, still, France—as a kind of mirror in which he never ceased to see the reflection of his homeland—always served him as a crucial point of reference as he attempted to define a new and essentially artistic Germany that was destined in this sense to become a model for all of Europe. It is in this new light, then, that I propose, in this thesis, to analyze the relations between Wagner and France and to study French reception of Wagner’s creations. That reception, based above all on a kind of misunderstanding, finds its beginnings neither in the composer’s music nor in the composer’s writings, but rather in Franz Liszt’s various articles on Wagner that began to appear in 1849

This thesis follows on the Bachelor's thesis dedicated to those aspects of origins and functioning of Wagner's festival in Bayreuth, which are seen as links to the ideological ambiance of the Third Reich most often. This thesis examines the development of the same issue in the period after the end of World War II. The objective of this thesis is to survey the post-war development of the Bayreuth festival, personal contacts between the heirs of Wagner's legacy with representatives of the Third Reich or the sincerity of "denazification" of Bayreuth in the 50s. The thesis summarizes Wagner reflection from 1945 until the end of era of Winifred Wagner in 1980.

In dem 1938 erschienenen Buch des Musikforschers Friedrich Herzfeld, „Minna Planer und ihre Ehe mit Richard Wagner“, war sie trotz des für sie aufgebrachten Verständnisses letztlich doch nur die Gattin, die es dem Genie an ihrer Seite selten Recht machen konnte.

Diese Arbeit beschreibt im ersten Kapitel ein Zeitbild des Reisens im 19. und beginnenden 20. Jahrhunderts und erläutert im zweiten Kapitel mittels der Geschichten und kartographischen Produkte der Familiengeschichten Baedeker und Wagner & Debes die Entwicklung der Reiseführerliteratur. Sie ist ab dem dritten Kapitel eine quantitative und qualitative Erforschung der Karten einiger baedeckerscher Reisehandbücher zwischen 1828 und 1945. Diese werden dokumentiert, analysiert und bewertet. Detailliert beschrieben werden die Kartenelemente des Layouts, die topographischen Elemente und die kartographischen Situationen auf den Karten. Dabei wird jeweils unterschieden zwischen groß-, mittel und kleinmaßstäbigen Karten, Stadtplänen, Grundrissen und Panoramen. Im vierten Kapitel finden die Lesenden die Analyse und den Vergleich mit den Karten in vergleichbaren Büchern anderer zeitgenössischer Verlage besonders (Grieben und Meyer) sowie anhand eines Beispiels die Veränderungen eines Bandes in Zeitschnitten. Den Abschluss bilden im fünften Kapitel Vorschläge für Wikipedia-Einträge der großen Kartographen Eduard Wagner, Heinrich Wagner und Ernst Debes; deren Lebenswerk dort bislang noch nicht auf deutsch gewürdigt wird.:Aufgabenstellung Kurzdarstellung Inhaltsverzeichnis Einleitung 1 Eine kurze Kulturgeschichte des Reisens und der Reiseführer 1.1 Die Bedeutung des Reisens in der Geschichte 1.2 Die europäische Aufklärung als Zeit der Welterkundung 1.3 Sehnsucht, Fernweh und Abenteuerlust 1.4 Die Entstehung von Panoramen 1.5 Die Entwicklung und Charakteristik von Reisekarten 2 Die Geschichte der Verlage Baedecker und Wagner & Debes 2.1 Der Verlag Karl Baedeker 2.1.1 Die Gründung des Verlages und die Anfangsgeschichte der Reiseführer 2.1.2 Das Verlagsprogramm von der Gründung bis 1945 2.1.3 Verlag und Verlagsprogramm nach 1949 2.2 Die Verlage Wagner und Wagner & Debes 2.3 Kooperationsbeziehungen der Verlage Baedeker und Wagner & Debes 3 Untersuchung der Kartenelemente in Baedeker's Reisehandbüchern 3.1 Die Kartenelemente des Layouts 3.1.1 Kartentitel und Kartenlegende 3.1.2 Kartenschrift 3.1.3 Kartennetze 3.1.4 Rahmen 3.1.5 Maßstabsangaben 3.2 Topographische Elemente 3.2.1 Reliefdarstellung 3.2.1.1 Reliefdarstellung durch Schraffen a) in kleinmaßstäbigen Karten im Hochgebirge im Maßstab 1 : 500.000 bis 1 : 10.000.000 b) in kleinmaßstäbigen Karten im Mittelgebirge, Gebirgsvorland und Flachland im Maßstab 1 : 500.000 bis 1 : 10.000.000 c) in mittelmaßstäbigen Karten im Hoch- und Mittelgebirge im Maßstab 1 : 50.000 bis 1 : 500.000 d) in großmaßstäbigen Karten und Plänen im Maßstab 1 : 25.000 bis 1 : 50.000 3.2.1.2 Reliefdarstellung durch Höhenlinien 3.2.1.3 Reliefdarstellung durch Reliefschummerung 3.2.1.4 Reliefdarstellung durch Felszeichnung 3.2.1.5 Reliefdarstellung durch Koten (Höhenpunkte) 3.2.2 Hydrographie 3.2.2.1 Küsten- und Uferlinien 3.2.2.2 Gewässerflächen a) in kleinen Maßstäben < 500.000 b) in mittleren Maßstäben zwischen 1 : 50.000 und 1 : 500.000 c) in großen Maßstäben > 1 : 50.000 3.2.2.3 Gewässernetz a) in klein- und mittelmaßstäbigen Karten und Plänen < 1 : 20.000 b) in großmaßstäbigen Karten und Plänen > 1 : 20.000 3.3. Kartographische Situationen 3.3.1 Bodenbedeckung, Bodenbewachsung, Bodenbeschaffenheit 3.3.2 Siedlungen 3.3.3 Verkehrsnetz 3.3.3.1 Straßen a) in Stadtplänen und großmaßstäbigen Karten b) in mittelmaßstäbigen Karten c) in kleinmaßstäbigen Karten 3.3.3.2 Eisenbahnstrecken, Straßenbahnlinien und Schiffslinien 3.3.3.3 Administrative Grenzen 4 Kartenvergleiche 4.1 Erfassung der kartographischen Darstellungen nach Kartentypen 4.1.1 Quantitative Analyse und Erfassung 4.1.2 Qualitative Analyse und Erfassung 4.2 Vergleiche von Karten unterschiedlicher Ausgaben der Schweiz in Zeitschnitten 4.3. Vergleiche zwischen verschiedenen Reiseführern ähnlicher Zeitpunkte 4.3.1 Quantitativer Vergleich 4.3.2 Qualitativer Vergleich a) Länderkarten b) Umgebungskarten c) Regionalkarten d) Stadtpläne e) Panoramen 4.4 Vergleiche von Karten zwischen Baedeker und der Bibliothek des allgemeinen und praktischen Wissens 4.5 Untersuchung der Beziehungen zwischen den Karten und Texten 5 Vorschläge für Wikipedia-Texte 5.1 Baedeker 5.2 Eduard Wagner 5.3 Heinrich Wagner 5.4 Ernst Debes 6 Auswertung Literaturverzeichnis Abbildungsverzeichnis Tabellenverzeichnis Abkürzungsverzeichnis Erklärung

Private Military Companies (PMCs) have increased significantly since the end of the Cold War, primarily hailing from the Western countries and South Africa, and notably employed in the War on Terror. In recent years, the Russian group generically known as ‘Wagner PMC’ has been deployed in Ukraine, the Middle East and Africa. While often referred to as Russian ‘proxies’, the Wagner group has not previously been analysed through the lens of proxy theory, and academics are divided on whether PMCs may be considered proxies at all.  Russia’s intervention in the Central African Republic through Wagner provides an important case to study this new development. Employing a theoretical framework combining elements from both proxy and PMC literature, this thesis contributes to both fields by suggesting key analytical elements through which a PMC may be considered a proxy and explains how this alters the dynamics between the intervener and its proxy. Moreover, this permits a novel analysis of Russian strategies to expand its influence in Africa, suggesting that intervention through Wagner may serve as a model for interventions in other weak countries requiring security support.

No description available.

Richard Wagner is one of the most important and influential composers for scholars of film music. His concept of the Gesamtkunstwerk or "total art work," which combined music, visuals and storytelling, played an indelible role in the creation of film aesthetics, especially with regard to music and sound design. Yet, Wagner's actual music has its own curious legacy in film history, in terms of how it is used to interact with a story that often bears no relation to those of Wagner's operas. This is particularly interesting with regard to the Der Ring des Nibelungen (aka "the Ring Cycle"). The Ring is his most ambitious and influential, and densest work, and perhaps the one with the greatest lingering legacy in popular culture. For example, "Ride of the Valkyries," an excerpt from Die Walküre made famous by Looney Tunes shorts and Francis Ford Coppola's Apocalypse Now, is still a frequent presence in film, television and advertising that want to evoke sounds of war and conquest--associations created more from its use in those contexts than the original opera. This thesis will examine films and television series of the last half-century that have used musical examples from the Ring in their soundtracks. Works given particular focus will include Apocalypse Now (1979), the Japanese anime series Princess Tutu (2002-2003) and Terrence Malick's historical romance The New World (2006). The examination will discern both how film media has influenced modern cultural perceptions of the original operas--and of Wagner's legacy in general--and also how said film media is itself a reflection of modern attitudes about Wagner and his masterwork.

This thesis centers around three pianos designed and/or decorated by the Victorian artist Sir Edward Coley Burne-Jones: the Priestley Piano, the Graham Piano, and the Ionides Piano. I read and interpret the Burne-Jones pianos not only as examples of the artist’s exploration of the boundaries of visual art and music, but also as reflections of the Victorian era female gender performance. Their physical forms and decorations, both designed and executed by Burne-Jones, enhance the piano as an instrument and accentuate their respective female performers. The music emanating from these pianos and the domestic space in which they inhabit prompt and contribute to the Victorian female performance of gender.