After May 1940 a national soul searching took place in the Netherlands to uncover the reasons for the quick defeat at the hands of the Germans. One of the reasons frequently mentioned was the antimilitaristic and pacifistic mentality permeating large parts of Dutch society during the twenties and early thirties. But no serious investigation was ever undertaken to prove or disprove this claim. This dissertation attempts to discover the degree to which antimilitarism and pacifism weakened the national will to resist an invasion in general and undermined the combat efficiency of the armed forces in particular. To determine the nature and extent of antimilitarism the wealth of contemporary pamphlets, newspapers and documents in the International Institute for Social History in Amsterdam and in the Peace Palace in the Hague were used. Antimilitarists and pacifists were categorized into five main groups: social democrats, those further left (anarchists, communists, syndicalists, etc.), religious groups, certain middle class groups including two major women organizations, and youths. The size of each category, its political and economic strength, and the extent each was able to influence Dutch society as a whole are described as accurately as possible. Information on the effect of antimilitaristic propaganda on the armed forces was obtained from documents and reports in the military Central Archive Depot in the Hague, the military archives in Schaarsbergen, the Sectie Krijgsge- schiedenis of the army, and the reports of the Central Intelligence Service. The conclusions reached were that in the early twenties antimilitarists were strong enough to force considerable reductions in the size of the conscripted army and the length of its service. Until the later thirties antimilitarists were influential enough to prevent an increase in the size of the armed forces and to block the allocation of sufficient funds for modernizations of material and weapons. Antimilitaristic propaganda was extensive and persuasive enough to convince a large segment of the population that the military forces were a useless and dangerous extravagance of a by-gone era. Professional soldiers were laughed at and as a result their morale was low and their efficiency slight. Conscripts were indifferent or belligerent and tried to do as little as possible during their tour of duty. The result was that training, discipline, skill and morale were insufficient and below standard. Since arms and equipment were also of an inferior quality and in short supply the Dutch forces, and specifically the army, quickly collapsed when the Germans invaded. Antimilitarism was not the sole cause of the Dutch defeat but it was the main reason for the rapidity of the defeat of the Netherlands. / Arts, Faculty of / History, Department of / Graduate

郭詩詠. / "2000年8月" / 論文 (哲學碩士)--香港中文大學, 2000. / 參考文獻 (leaves 155-162) / 附中英文摘要. / "2000 nian 8 yue" / Guo Shiyong. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2000. / Can kao wen xian (leaves 155-162) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 引言 --- p.1-6 / Chapter 第二章 --- 硏究目的及方法 --- p.7-25 / Chapter 第一節 --- 硏究背景 --- p.7-12 / Chapter 第二節 --- 硏究目的 --- p.12-14 / Chapter 第三節 --- 硏究方法 --- p.14 / Chapter 一、 --- 錢理群「典型現象」理論簡介 --- p.15-18 / Chapter 二、 --- 硏究方法的適用性 --- p.18-22 / Chapter 三、 --- 本文的硏究架構與分期方法 --- p.22-23 / Chapter 四、 --- 硏究方法的特點及限制 --- p.23-25 / Chapter 第三章 --- 1919-1928 ：從啓蒙者到尋路人 --- p.26-73 / Chapter 第一節 --- 引言 --- p.26-30 / Chapter 第二節 --- 早期作品中的五個單位意象 --- p.30 / Chapter 一、 --- 「踪跡」 --- p.31-36 / Chapter 二、 --- 「腳步」 --- p.36-40 / Chapter 三、 --- 「尋路人」 --- p.40-45 / Chapter 四、 --- 「自然」 --- p.45-50 / Chapter 五、 --- 「薔藏色的歷史」 --- p.50-55 / Chapter 第三節 --- 朱自淸早期作品中個人與時代的關係 --- p.55 / Chapter 一、 --- 〈槳聲燈影裡的秦淮河〉 --- p.56-61 / Chapter 二、 --- 〈毀滅〉 --- p.61-66 / Chapter 三、 --- 〈那裡走〉 --- p.66-71 / Chapter 第四節 --- 總結 --- p.71-73 / Chapter 第四章 --- 1928-1945 ：十字街頭外的象牙塔 --- p.74-110 / Chapter 第一節 --- 引言 --- p.74-78 / Chapter 第二節 --- 「無話可說」的「平凡人」 --- p.78 / Chapter 一、 --- 小引 --- p.78-79 / Chapter 二、 --- 人到「中年」的「無話可說」 --- p.80 / Chapter 1. --- 所謂「無話可說」的涵義 --- p.80-81 / Chapter 2. --- 〈論無話可說〉與朱自淸個人定位的關係 --- p.81-84 / Chapter 3. --- 在「無話可說」中寫作 --- p.85-89 / Chapter a. --- 「憶的路」 / Chapter b. --- 「我」的消失 / Chapter 三、 --- 朱自淸的「無話可說」與時代的關係 --- p.89-94 / Chapter 四、 --- 小結 --- p.95 / Chapter 第三節 --- 「求是」與「致用」的學術硏究 --- p.95 / Chapter 一、 --- 小引 --- p.95-96 / Chapter 二、 --- 「求是」、「致用」的學術硏究 --- p.96 / Chapter 1. --- 「求是」與「歷史的觀點」 --- p.97-99 / Chapter 2. --- 「致用」與「現實的觀點」 --- p.99-102 / Chapter 三、 --- 「求是」與「致用」的學術硏究之積極意義 --- p.102-108 / Chapter 四、 --- 小結 --- p.108 / Chapter 第四節 --- 總結 --- p.109-110 / Chapter 第五章 --- 1945-1948 ：民眾的步伐 --- p.111-151 / Chapter 第一節 --- 引言 --- p.111-115 / Chapter 第二節 --- 「動亂時代」的「標準與尺度」 --- p.116 / Chapter 一、 --- 小引 --- p.116-117 / Chapter 二、 --- 朱自淸筆下的「標準與尺度」 --- p.117 / Chapter 1. --- 「標準與尺度」的定義 --- p.118-119 / Chapter 2. --- 朱自淸討論「標準與尺度」的方法 --- p.119-127 / Chapter a. --- 客觀敘述的語調與「歷史化」的處理手法 / Chapter b. --- 以「動亂時代」與「平民的興起」解釋歷史的變化 / Chapter c. --- 以上兩點所呈現的不協調 / Chapter 三、 --- 「動亂時代」中的朱自淸 --- p.127-134 / Chapter 四、 --- 小結 --- p.134-135 / Chapter 第三節 --- 現代的立場：論雅俗共賞 --- p.135 / Chapter 一、 --- 小引 --- p.135-136 / Chapter 二、 --- 「現代」、「雅俗共賞」、「人民」 --- p.137-140 / Chapter 三、 --- 「近於人民的立場」與「自己的立場」 --- p.140 / Chapter 1. --- 常識的標準 --- p.142-144 / Chapter 2. --- 雜感 --- p.144-145 / Chapter 3. --- 百讀不厭 --- p.145-147 / Chapter 四、 --- 小結 --- p.147-148 / Chapter 第四節 --- 總結 --- p.148-151 / Chapter 第六章 --- 總結 --- p.152-154 / 參考書目 --- p.155-162 / 附錄一：朱自淸著譯繫年目錄 --- p.1-73 / 附錄二 ：朱自淸硏究知見書目 --- p.74-89

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Dissertação (mestrado)-Universidade de Brasília, Departamento de Artes Visuais, Instituto de Artes, Brasília, 2007. / Texto liberado parcialmente pelo autor. Conteúdo: Sumário, Resumo, Abstract, Introdução, Conclusão, Referências Bibliográficas, Filmografia de Eisenstein, Galeria de Imagens. / Submitted by Mariana Fonseca Xavier Nunes (nanarteira@hotmail.com) on 2010-09-18T02:45:44Z No. of bitstreams: 1 2007-Damiana Cerqueira Campos Rodrigues.pdf: 2638761 bytes, checksum: 63e4e92243ec1e88479af6ec13f8f6b3 (MD5) / Approved for entry into archive by Lucila Saraiva(lucilasaraiva1@gmail.com) on 2010-10-11T22:48:13Z (GMT) No. of bitstreams: 1 2007-Damiana Cerqueira Campos Rodrigues.pdf: 2638761 bytes, checksum: 63e4e92243ec1e88479af6ec13f8f6b3 (MD5) / Made available in DSpace on 2010-10-11T22:48:13Z (GMT). No. of bitstreams: 1 2007-Damiana Cerqueira Campos Rodrigues.pdf: 2638761 bytes, checksum: 63e4e92243ec1e88479af6ec13f8f6b3 (MD5) / Esta dissertação investiga a aparente dicotomia entre cinema e teatro, suas relações e oposições, bem como os reflexos da experiência teatral de Sergei M. Eisenstein em seus filmes. São analisados os artigos teóricos de Eisenstein, escritos na década de 1920, onde o diretor aborda assuntos pertinentes ao teatro e ao cinema, assim como sua produção cinematográfica e teatral da década, de forma a identificar e discutir as relações existentes entre teatro e cinema em sua obra prática e teórica enquanto cineasta. _____________________________________________________________________________________ ABSTRACT / This study investigates the apparent dichotomy between cinema and theater, their relations and oppositions, as well as the reflexes of the theatrical experiences of Sergei M. Eisenstein in his films. Eisensteins theoretical essays written on 1920s where the director discuss subjects refering to theater and cinema, as well as his films and theatrical productions of the decade are analized, in order to identify and discuss the existent relations between theater and cinema in his practical and theorical work as a filmmaker.

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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.

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Dissertação (mestrado)—Universidade de Brasília, Faculdade de Comunicação Social, Programa de Pós-Graduação em Comunicação, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2013-06-10T12:39:07Z No. of bitstreams: 1 2013_MarcelaTammRabello.pdf: 1013138 bytes, checksum: ec5fc229cf49184d3f40df140e64a82b (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-06-10T13:07:30Z (GMT) No. of bitstreams: 1 2013_MarcelaTammRabello.pdf: 1013138 bytes, checksum: ec5fc229cf49184d3f40df140e64a82b (MD5) / Made available in DSpace on 2013-06-10T13:07:30Z (GMT). No. of bitstreams: 1 2013_MarcelaTammRabello.pdf: 1013138 bytes, checksum: ec5fc229cf49184d3f40df140e64a82b (MD5) / Esta dissertação trata da teoria do monólogo interior de Serguei M. Eisenstein, cineasta e teórico russo. A fim de acompanharmos as reflexões de Eisenstein acerca do monólogo interior no cinema relacionamos tanto o recurso quanto a obra do cineasta e teórico russo ao contexto das vanguardas artísticas do início do século XX, principalmente o construtivismo russo. Ao considerar as reverberações do monólogo interior em outras linguagens artísticas, constatamos como o cinema e a teoria de Eisenstein estão inseridas em um movimento muito maior que abarca transformações em variadas formas de expressão que seguem se intensificando até os dias de hoje. _______________________________________________________________________________________ RÉSUMÉ / Cette dissertation a pour sujet la théorie du monologue intérieur de Serguei M. Eisenstein, cinéaste e théoricien russe. Pour accompagner les reflexions d’Eisenstein sur le monologue intérieur dans le cinéma, nous mettons en rapport aussi bien cette forme d’expression que l’oeuvre du cineaste et theoricien russe avec le contexte des avantgardes artistiques du début du XX ème siècle, notamment le Constructivisme Russe. En considerant les maniféstations du monologue intérieur dans des autres langages artistiques, nous constatons que le cinéma et la théorie d’Eisenstein s’insèrent dans un mouvement beaucoup plus grand qui concerne des transformations dans multiples formes d’expressions qui s’intensifient jusqu’aux jours actuels.