by Chow Chiu Mei, Loletta, Fok Hoi Yun, Irene. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1998. / Includes bibliographical references (leaves [67-70]). / ABSTRACT --- p.i -ii / TABLE OF CONTENTS --- p.iii -iv / CHAPTERS / Chapter 1. --- INTRODUCTION --- p.1-5 / Chapter 2. --- ARTHUR ANDERSEN & CO --- p.6 -15 / Chapter 2.1 --- Vision and Mission --- p.7 / Chapter 2.2 --- Arthur Andersen Strategic Framework --- p.7-15 / Chapter 3. --- RESOURCE-BASED FRAMEWORK --- p.16 -30 / Chapter 3.1 --- Firm Resources --- p.16-18 / Chapter 3.2 --- Competitive Advantage and Sustained Competitive Advantage --- p.18-19 / Chapter 3.3 --- Resource Homogeneity and Mobility and Sustained Competitive Advantage --- p.20 -21 / Chapter 3.4 --- Firm Resources and Sustained Competitive Advantage --- p.21 -27 / Chapter 3.5 --- Applications of Resource-based Approach --- p.27 -30 / Chapter 4. --- METHODOLOGY --- p.31-33 / Chapter 4.1 --- Data Sources --- p.31 -32 / Chapter 4.2 --- Measurement --- p.32 / Chapter 4.3 --- Method of Analysis --- p.33 / Chapter 5. --- FINDINGS --- p.34 -47 / Chapter 5.1 --- Valuable --- p.35 -39 / Chapter 5.2 --- Rareness --- p.39 -45 / Chapter 5.3 --- Imperfectly Imitable --- p.45-46 / Chapter 5.4 --- Substitutability --- p.46-47 / Chapter 6. --- DISCUSSIONS --- p.48-52 / Chapter 7. --- CONCLUSION --- p.53-54 / Chapter 7.1 --- Limitations of the Study --- p.54 / APPENDICES / Chapter A. --- Big-Six Accounting Firms Comparative Data / Chapter B. --- Andersen Worldwide Facts1996 / Chapter C. --- Structure of Andersen Worldwide / Chapter D. --- Arthur Andersen Strategic Framework / Chapter E. --- Arthur Andersen Range of Services / Chapter F. --- 1996 Manpower Survey Report of Accountancy / REFERENCES

Ce travail constitue une analyse de la place du pictural dans la poétique de Rimbaud. Il a pour objectif de comprendre la naissance du pictural, cette image particulière qui s’impose au lecteur dans les poèmes de Rimbaud. Le pictural désigne la plasticité de l’image poétique, qui prend la forme d’une image mentale évoquée par l’agencement des mots. Ce travail traite ainsi, non pas du rapport entre un certain poème et une certaine peinture, mais du lien entre la formation du pictural et la forme d’expression. L’auteur cherche à montrer l’importance du pictural qui est ancré dans la poétique de Rimbaud, à travers l’analyse de la formation et de l’évolution de la notion du pictural de ses premiers poèmes aux Illuminations. À cette fin, ce travail explore en premier lieu la connaissance livresque que Rimbaud avait de l’art, la naissance d’une définition personnelle de la peinture qui permettent l’apparition d’une forme primitive du pictural dans les premiers poèmes de Rimbaud. En second lieu, il analyse l’évolution du pictural propre à Rimbaud qui émerge de l’emprunt intentionnel aux formes d’expression déjà établies : les trois chapitres sont consacrés à l’ekphrasis, au pittoresque et à la métaphore dans les poèmes descriptifs des Illuminations. Mettant en relief le rôle de médium du pictural, entre le poète et le lecteur, le lecteur et le texte, et le texte et le poète, l’incorporation du moi du poète dans la poésie est analysée sous l’angle du pictural. La recherche porte finalement sur la correspondance esthétique entre le langage poétique de Rimbaud et le langage plastique de Roger de La Fresnaye autour des dessins de ce dernier pour les Illuminations. / In this analysis of how pictorial takes place in Rimbaud’s poetics, we aim at understanding the birth of pictorial, this particular image which compels the reader of Rimbaud’s poems. Pictorial refers to the plasticity of poetic imaging, when the ordering of words elicits the creation of a mental picture. This study does not deal with the relationship between a given poem and a given painting, but explores the link between the building of pictorial and the wording of expression. We attempt to show the importance of the pictorial that is anchored into Rimbaud’s poetics, through a study of how the elements of pictorial form and develop from his first poems to the Illuminations. We first explore the bookish knowledge of art that Rimbaud had acquired and the emergence of a personal definition of painting which gave birth to a primitive form of pictorial in the first poems of Rimbaud. Secondly, we examine the evolution of Rimbaud’s own pictorial after it had emerged from intentional borrowings from already established forms of expression : three consecutive chapters deal with ekphrasis, picturesque and metaphor in the descriptive poems of the Illuminations. By giving depth to the role of the pictorial’s medium, from poet to reader, reader to text, and text to poet, we analyze the incorporation of the poet’s ego in his poetry, under the pictorial viewpoint. Our research concludes with the esthetical correspondence between the poetic language of Rimbaud and the plastic language of Roger de La Fresnaye in his drawings to illustrate the Illuminations.

Submitted by Cleide Dantas (cleidedantas@ufpa.br) on 2014-10-10T12:39:21Z No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_SofrimentoConhecimentoSi.pdf: 629484 bytes, checksum: e5d15b19c61160c8bb7a4db3c75f1cf6 (MD5) / Approved for entry into archive by Ana Rosa Silva (arosa@ufpa.br) on 2014-10-10T13:20:45Z (GMT) No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_SofrimentoConhecimentoSi.pdf: 629484 bytes, checksum: e5d15b19c61160c8bb7a4db3c75f1cf6 (MD5) / Made available in DSpace on 2014-10-10T13:20:45Z (GMT). No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_SofrimentoConhecimentoSi.pdf: 629484 bytes, checksum: e5d15b19c61160c8bb7a4db3c75f1cf6 (MD5) Previous issue date: 2013 / Esta pesquisa busca explicar em que consiste o fundamento do sofrimento para a filosofia de Schopenhauer, especialmente segundo sua obra magna O mundo como vontade e como representação, partindo de uma concepção de natureza que espelha a Vontade em sua contradição consigo mesma, percorrer seus graus de objetivação até chegar ao “ápice” que se apresenta na consciência humana, e, através dela, compreender que o conhecimento, produzido como um apêndice para servir de auxílio na complexidade inerente a esta consciência, na realidade se comporta como um “parasita” trazendo, assim, pela via da individualidade e do corpo, uma consciência de ansiedade e impotência. Busca-se explorar o porquê da limitação desse conhecimento teórico frente a vontade e, pelo sentido contrário, explicitar a sentimentalidade, enquanto via de acesso a essa vontade, no corpo, torna-se como uma saída possível para a percepção de si, a qual, se for trabalhada em conjunto com o conhecimento teórico, oferece uma “melhor consciência” frente ao inexorável sofrimento. / This research seeks to explain what constitutes the basis of suffering in Schopenhauer's philosophy, especially, in his magnum opus The World as Will and Representation. From a perspective of nature that mirrors the Will in its contradiction itself, go seek their degrees of objectification until reach the "summit" that presents itself in human consciousness, and through it, to understand that the knowledge produced as an appendix to serve as a help to the inherent complexity of this awareness, actually behaves like a "parasite" thus bringing through the path of individuality and body, a consciousness of anxiety and impotence. We seek to explore the reason of the limitation of this theoretical knowledge that faces the will and, in the other hand, explain how the sentimentality as a way of access to the will, in the body, it is presented as a possible solution to the perception of self, in which, if it works in conjunction with the theoretical knowledge, offers a "better consciousness" against the relentless suffering.

This project began in Dr. Anthony Magistrale’s graduate seminar focused on the works of Edgar Allan Poe. It is the result of our common interests in Poe’s textual canon, and furthermore in the nineteenth- and twentieth-century illustrative works that were inspired by it. After performing significant research, the conclusion was reached that despite the extensive collection of visual works, catalogued by Burton Pollin, little work had been done that actually explored the relationship between these works and the text. I found myself asking what role this canon of illustrations played in shaping the public understanding of and reception towards the Poe tales that are so widely known today. “A Par/ergon for Poe: Arthur Rackham and the Fin de Siècle Illustrators” is intended as an introduction for further study on the extent of influence that nineteenth- and twentieth- century artists had in promoting and supplementing Poe’s work. Given that the earliest prominent illustrator of the canon, Édouard Manet, began illustrating “The Raven” at the request of Charles Baudelaire, Poe’s first translator and the man who communicated Poe’s work to the world, the fin de siècle illustrations were produced concurrently to Poe’s burgeoning popularity. In the first chapter, I engage in a literary history of the fin de siècle artistic movements and major figures and their exposure to Poe, including Manet, Gustave Dore, and the Symbolists, Aubrey Beardsley, Harry Clarke, and the Decadents, and finally, Arthur Rackham and the Modernists. I track Poe’s influence after his death, exploring the question of why such prominent artists were interested in representing Poe’s work, specifically, in the first place. Subsequently, this thesis also discovers what elements of their work and aesthetics could be seen as representative of Poe’s. Then, using Jacques Derrida’s ekphrastic theory of the parergon/ergon supplementary relationship, I deconstruct the textual “lack” in Poe’s tales as that which sets up an availability to the illustration. Through this “lack,” the supplemental illustration can insert itself and exert its own power, altering the way the text is received based on the style and time of its reception. My second chapter turns to Poe’s tales and the subsequent illustrations by Rackham. I place particular emphasis on texts and images of “The Cask of Amontillado” and “The Fall of the House of Usher,” with supplementary references to “Hop-Frog,” “Ligeia,” “The Domain of Arnheim,” and “Landor’s Cottage.” I use textual analysis and visual case studies to demonstrate the way in which the illustrations fill the “lack” present in their respective texts, and build out precisely where this lack can be seen. I explore the way the images both mimic and change the reader’s relationship with the tales and characters, altering the reader’s response and thus, the overarching canonical interpretation. By doing this, my project demonstrates how strong of an impact Arthur Rackham and the fin de siècle illustrators made on the public perception of and reception to the tales of Edgar Allan Poe.

In 1881 an assassin's bullet changes the course of American history. Could it be that Julia Sand was the only one to foresee the destiny of the country? Familiar with now President Arthur's exclusionary politics, Julia writes and urges the President to reform his ways and unite the Republican Party. Great Emergencies is a stage play about the lavish dangers of The Gilded Age, but ultimately a cautionary tale about those of us whose voices are doomed to be forgotten because of the ephemeral and apathetic nature of human history.

Thesis (M.A.)--State University of New York at Binghamton, Department of Philosophy, 2006. / Includes bibliographical references.

Thesis (Ph. D.)--Ohio State University, 1984. / Includes vita. Includes bibliographical references (leaves 279-287). Available online via OhioLINK's ETD Center

This work is a comparative study of the influence of the pan-Africanist discourse of ethnographers Dr. Jean Price-Mars of Haiti and Dr. Arthur Ramos of Brazil, and its impact on the respective literatures and cinemas of the two nations. Beginning in the first quarter of the 20th Century, and stemming from a developing auto-ethnography undertaken by the two scholars, a growing concern over defining cultural identity inspired a generation of writers to appropriate ethnographic methodology and apply it to their fictional works. The discourse of representation, which looked to popular sources for inspiration (Haitian Indigénisme and Brazilian Regionalismo, or which rebelled against literary conventions (modernists of both nations), gave rise to a contentious dispute over a State-sanctioned national identity versus a cultural identity spearheaded by the literati. In looking at the battle over signification, I examine the development of an ethnopoetics in the works of such writers as René Depestre, Jean-Baptiste Cinéas, Jacques Roumain, Jorge Amado, Rachel de Queiroz, Mário de Andrade and others, that is persistently used to subvert and oppose the official discourse of the State and its allies. Following the model provided by the Indigénistes, Regionalists and Modernists, and utilizing the framework of French filmmaker Jean Rouch's conceptualization of ethnofictions, the final chapter of the dissertation examines the blurring of the lines between narrative cinema and documentary as a counterdiscursive strategy in Haitian and Brazilian films.

<p>Det här självständiga arbetet i militärteknik avhandlar huruvida Försvarsmakten, med i huvudsak redan befintlig materiel, genom en teknisk aktiv skyddslösning kan uppnå en förbättrad skyddsförmåga mot indirekt eld. Förmågan som söks är främst avsedd för, men inte begränsad till, att kunna nyttjas för att erhålla ett förbättrat skydd av Försvarsmaktens internationella camper. Därmed utgörs hotbilden framförallt av granatkastarammunition och raketer vilka inom ramen för en teknisk aktiv skyddslösning först måste kunna detekteras för att sen medge förvarning, eller ännu hellre avvärjning, innan de når sitt mål. Arbetets resultat presenteras i form av Förvarsmaktens möjligheter idag tillsammans med en rekommendation om hur skyddsförmågan kan säkerställas på något längre sikt.</p> / <p>This thesis in Military Technology deals with whether the Armed Forces, with mainly pre-existing equipment and using a technical active protection solution, can achieve enhanced protection capability against indirect fire. The capability sought is primarily for, but not limited to, the purpose of obtaining greater protection for the Swedish Armed Forces’ international camps. The threat, typically mortar ammunition and rockets, should within the framework of a technical active protection solution be detectable in order to provide early warning and preferably also interception before reaching its target. The results of the thesis are presented as possibilities for the Swedish Armed Forces today and as recommendations on how this capability can be achieved in the longer term.</p>

No description available.