Texte remanié de: Dissertation--Philosophische Fakultät--Aachen--Rheinisch-Westfälische Technische Hochshule, 2003. / Bibliogr. p. 373-409.

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Zugl.: Bonn, Univ., Diss., 2005/2006

Dissertation--Bonn--Rheinische-Friedrich-Wilhelms-Universität, 2005/2006. / Bibliogr. p. 573-616.

Notre thèse de doctorat cherche, de manière générale, à répondre à une question fondamentale sur la nature du politique, en parvenant au terme de notre analyse à une définition de ce phénomène qui soit compatible avec le libéralisme. Nous estimons que, dans les dernières décennies, la philosophie politique a majoritairement négligé des éléments essentiels de la politologie (souveraineté, États, guerres, etc.) pour se livrer à des réflexions normatives dans lesquelles le rapport dialectique entre l’idéal et la réalité était souvent absent. Par conséquent, selon nous, la philosophie politique peine depuis quelque temps à analyser les difficultés que traversent les démocraties libérales en ce début de XXIe siècle. Ainsi, pour redécouvrir le phénomène politique et les tensions qui l’habitent, nous nous sommes tournés vers le philosophe français Julien Freund qui, dans les années 1960, avait tenté avec sa thèse de doctorat de répondre à la question : qu’est-ce que le politique? Nous avons donc jugé que ce texte, L’essence du politique (1965), représentait une conceptualisation philosophique susceptible de nous fournir des concepts pour repenser le politique avec le libéralisme. Cependant, le problème avec L’essence du politique c’est que cette thèse fut marquée par l’influence de deux célèbres intellectuels européens, dont Carl Schmitt, un antilibéral notoire. De la sorte, notre travail consiste, de manière plus spécifique, à dévoiler l’influence du second intellectuel à avoir influencé le travail de Freund, c’est-à-dire son directeur de thèse: le sociologue Raymond Aron. Pour ce faire, dans un premier temps, nous illustrons le contexte historique dans lequel Aron et Freund ont été amenés à collaborer. Dans un deuxième temps, nous montrons en quoi la conceptualisation de Freund se distingue de celle de Schmitt. Dans un troisième temps, nous dévoilons plus précisément l’influence aronienne sur L’essence du politique. Nous l’avons fait d’abord avec l’étude de la correspondance entre les deux hommes, en soulignant les points sur lesquels Aron a conseillé Freund et la façon dont ce dernier a appliqué les conseils de son directeur dans son travail. Ensuite, pour étoffer la thèse du lien entre les idées d’Aron et celles de Freund, nous exposons la manière dont le sociologue a lui-même traité, avant 1965, de certaines notions qui sont au cœur de L’essence du politique. Finalement, nous révélons la part la plus libérale de la thèse de Freund en expliquant le présupposé privé-public et le lien que celui-ci peut avoir avec la conception que se faisait Aron des régimes constitutionnels pluralistes. Dans un dernier temps, dans le but d’éviter les défauts de la thèse de Freund, nous examinons la pertinence des criques qu’Aron a formulées à l’endroit de ce travail. Ce n’est qu’au terme de ce dernier examen que nous parvenons à produire une définition du politique qui soit, selon nous, compatible ultimement avec le libéralisme. En terminant, dans notre conclusion, nous analysons les implications de notre conceptualisation du politique pour le libéralisme contemporain. Au terme de notre étude, nous croyons ainsi être parvenus à une vision singulière du libéralisme que nous qualifions de libéralisme tragique.

Zugl.: Bonn, Univ., Diss., Wintersemester 2005/2006

Arnold Schoenberg's development of twelve-tone serial ism in the early 20th Century had profound and far-reaching impact on the musical world. As Schoenberg himself grew and matured as a composer, so did the compositional technique of, and indeed his proficiency with, serialism. The opera Moses und Aron was composed in Schoenberg's third compositional period that lasted from 1923 through Schoenberg's death in 1951 and was characterized almost exclusively by this new technique of twelvetone serialism. Moses und Aron's first two Acts (as well as the libretto for the third) were written from 1930 to 1932 and based entirely on a single tone row. Though the opera itself was composed in the early 1930s, it had its beginnings as a religious play, similar to Schoenberg's earlier work, Oer Biblische Weg. Schoenberg left the opera as it was in 1932 and failed to return to score the libretto in Act III. Despite remaining unfinished, Moses und Aron is still widely regarded as one of Schoenberg's finest works and displays a composer working at the height of his skill. This project brings to light the brilliance of the tone row Schoenberg chose as his foundation for Moses und Aron through examining the various tone row transformations used throughout the opera as well as their specific setting and orchestration within the context of each scene. More than simply a musical background for the dramatic events of the Exodus narrative, the tone row becomes a character in-and-of itself, transforming and shifting to mirror dramatic events and becoming a driving force throughout the opera. In addition to informing dramatic content and context, the way in which Schoenberg scores the tone row also helps to illuminate the large scale musical form of each scene and is even essential to the dramatic tension and characterization within the narrative. In addition, this project endeavors to show that Moses und Aron displays Schoenberg's mastery of the compositional technique of twelve-tone serialism by examining in detail the significance of the functional orchestration as well as the divisions, or partitions, of Schoenberg's twelve-tone row. Inseparably connected with a discussion of the functional orchestration and partitioning of Schoenberg's tone row is a discussion of the different kinds of counterpoint that often occur as a result of such partitioning within the choral and instrumental orchestration of Moses und Aron. These concepts of functional orchestration, partitioning, and multiple forms of counterpoint are defined and unpacked in the upcoming chapters. As counterpoint functions as such an important aspect of the partitioning of the tone row, a brief discussion of counterpoint in serialism, specifically in Moses und Aron, accompanies the discussion of functional orchestration and the row partitioning. This understanding of the function of counterpoint in twelve-tone serial atonality is essential to this study. Much has been written, specifically by Michael Cherlin, about the formal and dramatic organization of Moses und Aron and how Schoenberg's permutations of his tone row both influence and are influenced by the formal and dramatic context. Cherlin has also given significant attention to defining links between tone row partitions and dramatic events or characters within Moses und Aron. An important part of my research, therefore, includes examining the analytical findings of Cherlin as well as those from other scholarly sources. This project also challenges or supports these findings based on my own analysis and discusses what I believe to be a new facet of the organization of Moses und Aron not previously revealed in other studies. In Chapter 5 of this project, I bring to light two specific partitions of the row that occur within the choral counterpoint of the opera and have not been mentioned in any study of Moses und Aron that I have discovered in my research.

Zugl.: Chemnitz, Techn. Univ., Diss., 2008

Texte remanié de: Diss. / Bibliogr. p. 267-276. Index.

The demands for greater capacity and lower transmitted power have historically motivated research in spatial diversity systems. Diversity techniques have been implemented in many current systems and have been shown to reduce the transmit power required to maintain acceptable system performance. Traditionally spatial diversity is based on the transmission and reception of a single stream of symbols through independent and spatially separated propagation channels. In more recent developments, space-time coding and array processing techniques use diversity concepts to resolve multiple independent streams of data and increase the potential data-rate. This new space-time research investigates the unprecedented ability to simultaneously transmit separate data streams from many closely-spaced antennas on a common carrier frequency. The effectiveness of these multi-element arrays in communication systems has been found to depend on antenna design and specific characteristics of the propagation channels. This thesis describes an effort to characterize an indoor office environment with respect to these applications. Theoretical analyses have demonstrated a relationship between the theoretical capacity of multi-element array systems with the cross-correlation of spatially separated channels. Historical measurements have also shown that in the presence of Rayleigh fading, antenna spacing may be used to control the level of correlation between propagation channels and maximize the diversity gain, or potential system capacity of a space-time system. Both the design of the antenna arrays and characteristics of the propagation environment influence a system's potential capacity. This thesis describes the construction of a measurement system and the use of this system to evaluate the capacity gains of multi-element arrays in a wireless communication system. The presented system is capable of measuring the channel gains between a number of transmitter and receiver antenna elements and calculating both the cross-correlation between channel gains and the theoretical system capacity. After a discussion of previous research, the measurement system and subsequent measurement results are described. / Master of Science