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Ausgehend von der ethischen Dimension in allen Variationen der Philosophischen Anthropologie wird angesichts der erneuten Aktualität des Begriffs „Hypermoral“ Arnold Gehlens letzte Monographie „Moral und Hypermoral“ (1969) im Hinblick auf das Phänomen einer „Überdehnung ethischer Prinzipien“ dargestellt. Das Buch enthält zwei einander opponierende Diskurse, nämlich einmal die Rekonstruktion von vier voneinander nicht ableitbaren Ethosformen, die in Spannung zu einander stehen. Damit widersprach er der Ansicht, dass es eine mehr oder weniger lineare Ausweitung ethischer Motive von der Familie bis in Weltmaßstäbe hinein existiere. Stattdessen werden Konfliktkonstellationen im Rahmen einer „pluralistischen Ethik“ behandelt, etwa zwischen dem „familienbezogenen ethischen Verhalten bis hin zum Humanitarismus“ oder einer zunehmend dominant werdenden „Ethik des Wohlbefindens und des Glücks (Eudaimonismus)“ im Gegensatz zum „Ethos der Institutionen einschließlich des Staates“. Diese einleuchtende These wird im zweiten Teil dieser Studie überlagert durch eine scharfe Kritik an einer zunehmenden Schwächung des Staates durch die Ansprüche eines Humanitarismus in Verbindung mit der Ausbreitung einer „Moralhypertrophie“. Das richtete sich besonders gegen die „68er“-Studentenbewegung und die Demokratisierungsansprüche der Willy-Brandt-Regierung, behandelte aber zugleich grundlegendere Formen einer Schwächung der Institutionen überhaupt. Aus Gehlens Perspektive hatte das katastrophische Auswirkungen für die Gesellschaft und bedeutete insofern für ihn tatsächlich eine „Tragödie“ – und dies in einer Zeit, in welcher deren Pathos längst vergangen war. Wenigstens gibt es nicht mehr die schicksalhafte Unentrinnbarkeit wie in den griechischen Tragödien, deren bekannteste das Schicksal der Antigone darstellt. Unversöhnlich treffen in der Figur des Kreon, des Königs von Theben, die Verpflichtungen des Staates auf die familiendynastischen Pflichten dieser unglücklichen Tochter des Königs Ödipus. Ausgehend davon wird sodann die heutige Gleichzeitigkeit von moralischer Sensibilisierung und hypermoralistischer Hysterie diskutiert. / Starting from the ethical dimension existing in all variations of philosophical anthropology, this paper presents Arnold Gehlen’s last monograph Moral und Hypermoral (1969) in view of the renewed topicality of the term “hypermorality” with regard to the phenomenon of an “overstretching of ethical principles”. The book contains two opposing discourses. First, there is the reconstruction of four ethos forms that cannot be derived from and are in tension with each other. Gehlen thus contradicts the view that there is a more or less linear extension of ethical motives from the family to global scales. Instead, he treats conflict constellations within the framework of “pluralistic ethics”; for example, between the “family-related ethical behaviour up to humanitarianism” or an increasingly dominant “ethics of well-being and happiness (eudaimonism)” in contrast to the “ethos of institutions, including the state”. This plausible thesis is overlaid in the second part of Gehlen’s study by a sharp criticism of an increasing weakening of the state through the claims of a humanitarianism combined with the spread of “moral hypertrophy”. The criticism was particularly directed against the student movement of the “68ers” and the claims of democratisation on the part of Willy Brandt’s government, but at the same time pertained to more fundamental forms of a weakening of institutions in general. From Gehlen’s perspective, this had catastrophic consequences for society and in this respect actually represented a “tragedy” for him, and at a time when the pathos of the events had long since passed. We at least are no longer subject to the fateful inescapability of Greek tragedies, most famously represented in the Antigone. In the figure of Creon, the king of Thebes, the obligations of the state collide irreconcilably with the family-dynastic obligations of the unfortunate daughter of King Oedipus. On this basis, I then discuss the contemporary simultaneity of moral sensitisation and hyper-moralistic hysteria.

Thesis / ENGLISH ABSTRACT: The aim of this study is to contribute to the investigation of the methods in which serial technique expresses meaning in the first movement of Arnold Schoenberg's Third Quartet, Op.30. It aims to add to the debate concerning Schoenberg's use of conventional formsparticularly sonata form-in his serial music, by investigating how he manipulates the row to playa narrative function, seemingly in opposition to its homogeneous nature. The analytical section consists of a semiotic analysis based on the work of Jean- Jacques Nattiez. It incorporates a narratological analysis which infers from the semiotic data that Schoenberg's "idea", which is associated with notions of unity, is brought towards fulfilment through his narrativization of the row in the context of sonata form. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om by te dra tot die ondersoek na die metodes met behulp waarvan seriële tegniek "betekenis" tot uitdrukking bring in Arnold Schoenberg se derde strykkwartet, op. 30. Dit poog om 'n bydrae te lewer tot die debat oor Schoenberg se gebruik van konvensionele vorms-in besonder sonatevorm-in sy seriële musiek te ondersoek, deur middel van manipulasies van die reeks in diens van 'n narratiewe funksie, oënskynlik in teenstelling met die homogene aard van die reeks. Die analitiese gedeelte van die studie bestaan uit 'n semiotiese analise gebaseer op die werk van Jean-Jacques Nattiez. Hierby word ingesluit 'n narratologiese analise waarin vanuit die semiotiese data afgelei word dat Schoenberg se "idee", wat geassosieer word met opvattings van eenheid, tot 'n slotsom gebring word deur middel van sy narrativering van die reeks in die konteks van sonatevorm.

C'est l'histoire d'un mathématicien qui est allé à la recherche des tores perdus<br />dans la jungle des systèmes complètement intégrables. Il a trouvé des feuilles<br />particulières et des tores pour construire une petite cabane qui donne une vue<br />topologique sur la jungle.

We study the chaotic phase synchronization (CPS) between the external periodically driving signals and the nonlinear dynamic systems. The periodical signal was applied to drive the Chua circuit system with two-scroll attractor and the four-scroll attractor circuit system. The phase synchronization between the outputs of these two circuit systems and the driving signals were investigated. Besides, the chaotic phase synchronization of the periodically pump-modulated microchip Nd:YVO4 laser and the microchip Nd:YVO4 laser with optical feedback were also examined in this study. Phase synchronization (PS) transition of these periodically driven nonlinear dynamic systems exhibited via the stroboscopic technique and recurrence probability. The recurrence probability and correlation probability of recurrence were utilized to estimate the degree of PS. In this thesis, the degree of PS was studied by taking into account the amplitude and frequency of the external driving signal. The experimental compatible numerical simulations also reflected the fact that the Arnold tongues are experimentally and numerically exhibited in the periodically driven nonlinear dynamic systems.

Thesis (M.A.)--Kutztown University of Pennsylvania, 1995. / Source: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 180-190).

The central focus of the thesis is Alice Arnold (1881-1955), women's organiser for the Workers' Union in Coventry between 1917 and 1931 and Labour councillor on Coventry City Council from 1919. The adoption of a local, biographical approach highlights the need to move beyond generalisations about 'Labour women' and encourages examination of the diverse political experiences of women who worked within trade unionism and municipal labour politics in interwar Britain. Within the context of Coventry's early twentieth century industrial and political development, Arnold's politicisation is explored and her experiences compared with those of men and women activists who worked in the industrial and political wings of the Coventry Labour movement. Additionally material that allows comparisons to be made with national figures as well as those from other localities is employed. As well as emphasising the influence of factors including gender, class and political affiliation upon Arnold's position within the male dominated labour movement between the wars, there is consideration of the effect that her status as a single woman had upon her career. The thesis advances what is known about the development of regional labour politics and emphasises the effects that local political, economic and social factors had upon both the involvement of women and on the attitudes of male colleagues towards women's participation. The study is situated within a tradition of feminist history that seeks not merely to draw attention to what women did but questions their motivations for doing it and how they were able to pursue their political ambitions. Through analysis of a range of primary sources, it examines the effects that gendered perceptions and sexist stereotypes had on the ways in which women were able to work within trade unionism and municipal politics. It places women's interests first in an area of history that has traditionally been dominated by accounts of men's involvement and it challenges the construction of historical accounts that have ignored or marginalised women. The influence of masculine epistemology on the ways in which women's political work has been recorded both nationally and at a local level is examined throughout the thesis.

Thesis (D. Min.)--Trinity International University, 2006. / Abstract. Includes bibliographical references (leaves 142-147).

Thesis (D. Min.)--Trinity International University, 2006. / Abstract. Includes bibliographical references (leaves 142-147).

The human voice holds a significant position in works of Arnold Schönberg. My dissertation focuses on the use of a voice technique, the so-called Sprechstimme (Spoken-voice) in the musical piece Pierrot Lunaire, op. 21 (1912). I confront the term Sprechstimme with the term Sprechgesang (Spoken-singing) in the very opening of my study. In addition, Schönberg's use of human voice in the pieces written before Pierrot, are briefly mentioned. I am peripherally exploring the other melodramas written by Schönberg, namely Ode to Napoleon Buonaparte, op. 41 (1942) and A Survivor from Warsaw, op. 46 (1947) at the conclusion of this dissertation. I am clarifying why the author has chosen this type of voice technique and also where it is used in musical and aesthetical contexts. I explain the term Sprechmelodie (Spoken-melody) in the area of analysis and focus on the composer's approach to the text material in the ambit of rhythmical component, articulation, dynamics, agogic and the verbal directions for the narrator. Sprechstimme represents one of two fundamental composers approaches towards the human voice and becomes some sort of parallel to the purely vocal composition attitude during the composition time.