Desmistificando a ideia de que música para o cinema e música para as salas de concerto pertencem a universos distintos, na qual a primeira seria inferior à segunda, o presente trabalho propõe a análise musical parcial de duas obras do compositor norte-americano Bernard Herrmann: a Sinfonietta for String Orchestra e a trilha sonora do filme Psycho (Psicose). Ele se desenvolve mostrando a interação e a intersecção do que denominamos domínios da sala de concerto e do meio cinematográfico, analisando essas peças sob a ótica da intertextualidade elemento de forte presença materializado em Psycho pela reutilização de ideias e até mesmo de movimentos integrais da Sinfonietta O trabalho também retrata o desenvolvimento histórico e estético da música para o cinema e discute questões de ordem funcional e formal. É acompanhado de um CD-ROM com os áudios dos trechos analisados e as imagens das sequências do filme que contêm os trechos musicais selecionados para análise. / In this work an attempt is made to demystify the idea that music for film and music for concert halls belong to different universes, where the first would carry less value than the second. The Sinfonietta for String Orchestra and the soundtrack from the movie Psycho, two musical works of the american composer Bernard Herrman, will be partially analyzed. The analysis portrays the interaction and intersection of what we call the domains of the concert hall and the cinema, analizing these scores from the perspective of intertextuality which can be seen through the reuse of ideas and even whole movements from the Sinfonietta within the soundtrack of Psycho. The work also depicts the historical development, aesthetics of music for film and discusses issues of its function and form. It is accompanied by a CD-ROM with audio excerpts and sequences from the film which contains the musical excerpts selected for this analysis.

Desmistificando a ideia de que música para o cinema e música para as salas de concerto pertencem a universos distintos, na qual a primeira seria inferior à segunda, o presente trabalho propõe a análise musical parcial de duas obras do compositor norte-americano Bernard Herrmann: a Sinfonietta for String Orchestra e a trilha sonora do filme Psycho (Psicose). Ele se desenvolve mostrando a interação e a intersecção do que denominamos domínios da sala de concerto e do meio cinematográfico, analisando essas peças sob a ótica da intertextualidade elemento de forte presença materializado em Psycho pela reutilização de ideias e até mesmo de movimentos integrais da Sinfonietta O trabalho também retrata o desenvolvimento histórico e estético da música para o cinema e discute questões de ordem funcional e formal. É acompanhado de um CD-ROM com os áudios dos trechos analisados e as imagens das sequências do filme que contêm os trechos musicais selecionados para análise. / In this work an attempt is made to demystify the idea that music for film and music for concert halls belong to different universes, where the first would carry less value than the second. The Sinfonietta for String Orchestra and the soundtrack from the movie Psycho, two musical works of the american composer Bernard Herrman, will be partially analyzed. The analysis portrays the interaction and intersection of what we call the domains of the concert hall and the cinema, analizing these scores from the perspective of intertextuality which can be seen through the reuse of ideas and even whole movements from the Sinfonietta within the soundtrack of Psycho. The work also depicts the historical development, aesthetics of music for film and discusses issues of its function and form. It is accompanied by a CD-ROM with audio excerpts and sequences from the film which contains the musical excerpts selected for this analysis.

Extr. de: Thèse de doctorat--Histoire et sociologie des religions--Paris--École pratique des hautes études, 2008. / Bibliogr. p. 231-235.

Les décennies comprises entre le crépuscule du XVIIe siècle et l’aube du siècle des Lumières forment un moment charnière dans l’écriture romanesque parce que le pathétique fait l’objet d’une laïcisation, d’une réhabilitation morale et d’une promotion esthétique qui en font une catégorie majeure de la littérature du Grand Siècle finissant. Cependant, le pathétique, tel qu’il s’exprime dans le roman féminin du XVIIe siècle n’a pas encore fait l’objet d’une étude circonstanciée, et les ouvrages consacrés au genre romanesque de l’époque ne proposent aucune entrée pathétique ou pathos dans l’index des notions traitées.Afin de démontrer le côté dangereux des passions, les écrivaines retenues vont exercer une censure sur le langage verbal qui bride l’exaltation du discours passionnel, actualise la crise du sujet amoureux et signe l’échec de la communication. En réduisant l’espace dialogique où s’exprime le pathos, les nouvellistes parient sur l’éloquence du corps et du langage non verbal. Les signes extralinguistiques envahissent le texte, soutenant à la fois la disposition et l’élocution du roman en en faisant le lieu où s’expérimente une dramaturgie amoureuse qui élit les silences, les regards et les larmes comme les modalités d’une nouvelle stratégie de communication impliquant un travail herméneutique permanent.À travers une analyse attentive des nouvelles de Mme de Lafayette et de Mlle Catherine Bernard, nous essaierons de démontrer que l’évolution de l’écriture romanesque féminine vers plus de sobriété et de concision, constat du reste confirmé par les spécialistes du genre est une évolution qui doit beaucoup à la représentation du pathétique. / The period between 17th century and the early stages of the Enlightenment is a pivotal one in fiction writing. This is not only because the concept of pathos acquired a profane dimension, but also a moral rehabilitation and an aesthetic development that contributed to make of it a major literary trend by the end of 17th century. However, the concept of pathos and the way it was developed in the women narratives of 17th century has hardly been the subject of any thorough readings. Moreover, the studies focusing on the fiction of that period, did not suggest any input to the concepts of pathos or the pathetic in their index table. To avoid the dangerous side of passion, the writers under focus, are proven to incline themselves to verbal linguistic censorship that pins down the exalting dimension of the passionate discourse. This censorship over-emphasizes both the crisis of the love subject and the failure of communication. As an alternative ! to the narrow dialogic space where pathos could have been expressed; women writers relied on the expressiveness of the body and the non-verbal language. Meta-linguistic signs pervade the texts, emphasizing both the dispositio and the elocutio of fiction; creating, thus, a space where love intrigues could be voiced. A space that makes of silences, gazes and tears important modalities of a new communication strategy implying a constant hermeneutical work. A thorough examination of the novels of Mme de Lafayette and Catherine Bernard, allow us to demonstrate that the tendency of women fiction writing towards somberness and pithiness, is a kind of evolution that owes much to the representation of the concept of the pathetic.

Dans cette thèse, nous nous intéressons aux relations spécifiques entre l’architecture et la philosophie dans une période bien précise de l’histoire de l’architecture. Notre recherche consiste en une analyse approfondie du processus de la conception architecturale approchée à partir de la philosophie de la déconstruction. Il ne s’agit pas d’aborder de façon générale le domaine trop vaste des emprunts que les architectes peuvent faire à la philosophie, mais bien de se limiter à une entrée beaucoup plus précise, en partant d’une interrogation portant sur les relations que les architectes dits «déconstructivistes» entretiennent avec un courant de la philosophie connu, depuis les écrits du philosophe français Jacques Derrida, sous cette même appellation de «philosophie de la déconstruction». L’enjeu est d’étudier le processus de conception architecturale, son passage par des concepts et son aboutissement dans des formes, en le référant à la philosophie et en se demandant en particulier comment les architectes utilisent des références philosophiques. Pour arriver à une assimilation plus rigoureuse de la pensée déconstructive en architecture, l’architecte American : Peter Eisenman a proposé une interprétation du processus de conception architecturale proche de la logique textuelle. Ce processus s’appellera chez Eisenman la «décomposition». Notre problématique majeure sera d’essayer de comprendre quels outils à la fois théoriques et pratiques utilisent les architectes contemporaines afin de restructurer une conception architecturale influencée par la pensée déconstructive ? Le but était d’arriver à donner à la déconstruction en architecture un aspect et une définition précis, au-delà loin des seules images métaphoriques que certains architectes peuvent proposer de cette notion. De là dépendait le choix des œuvres analysées comme exemples de ce mouvement, mais aussi l’élucidation que nous tentions du processus de conception architecturale issu de cette notion de déconstruction. Notre but était de parvenir à donner une figure esthétique, théorique, fonctionnelle et opérationnelle à un mouvement architectural. Nous avons construit notre projet de recherche autour de quatre problématiques et hypothèses majeures qui résument de façon générale le chemin parcouru. La première interrogation vise l’origine de ce mouvement, dans la mesure où il est au croisement de ses deux disciplines divers, la philosophie et l’architecture. Est-il possible que ce mouvement soit le fruit d’une transformation philosophique en architecture, détaché de toute théorie architecturale antérieure ? Ou bien n’est-il que le développement d’une ou plusieurs idéologies antérieures en architecture ? Notre deuxième interrogation est orientée vers une compréhension de la source philosophique – les écrits de Jacques Derrida – et le processus d’une critique de la métaphysique chez le philosophe. Qu’est-ce que la déconstruction? La troisième interrogation vise une analyse concrète entre les données philosophiques et les œuvres architecturales. Comment l’architecture, art de construction par excellence, peut-elle devenir une déconstruction d’elle-même ? Dans quelle (s) limite (s) est-il possible de réduire la déconstruction à des connaissances définissables, comme semble malgré tout l’exiger l’architecture ? Ainsi, la dernière interrogation principale de notre projet vise l’impacte de ce mouvement sur l’architecture en globale et l’architecture contemporaine. / In this thesis, we focus on the specific relationship between architecture and philosophy in a specific period in the history of architecture. Although our research analyzes the process of architectural design through the philosophy of deconstruction, it does not generally address too broad field of philosophy. In fact, the project undermines the effects of the philosophical method of deconstruction on architecture and the so-called deconstructivists' concern with "philosophy of deconstruction" known from the writings of the French philosopher Jacques Derrida. In other words, the challenge is to study the process of architectural design, its association with concepts and its effect on forms, by referring to philosophy and in particular by claiming how architects use the philosophical references. To achieve a more precise assimilation of deconstructive thought in architecture, American architect Peter Eisenman proposed an interpretation of the architectural design process close to the textual logic. For Eisenman, this process is called "decomposition". Our major issue is to try to understand what theoretical tools and practices are used at the same time by the contemporary architects to restructure an architectural design influenced by the deconstructive thought. The aim is to give the deconstruction in architecture, a specific dimension and precise definition, far beyond the few metaphorical images that may offer some architects of thisconcept. Although we require analyzable projects to achieve a clear-cut definition, we have tried to elucidate the architectural design process resulting from the notion of deconstruction. Our goal is to achieve an operational, functional, theoretical and anaesthetic figure in an architectural movement. We have carried out our research project around four major issues and assumptions that generally summarize achieved progress. The first question examines the origin of this movement, in so far as it is at the crossroads of two different disciplines, philosophy and architecture. Is this architectural movement theresult of a philosophical transformation in architecture apart from any previous ideologies in architecture or is it the product of the development of one or more ideologies ? Our second question is directed towards an understanding of the philosophical source in the writings of Jacques Derrida and the process of critique of metaphysics for him. What is deconstruction ? The third question is about the concrete analysis between philosophical data and architectural works. How architecture, art of construction by excellence, become a deconstruction itself ? To what extent is it possible to reduce the deconstruction to a definable knowledge that the architecture can use it ? Thus, the last main question of our project highlights the impact of this movement on architecture in global and contemporary architecture.

The aim of the thesis is to determine the market value of Rodinný pivovar Bernard, a.s. The work consists of two parts - theoretical-methodological and practical. The first part deals with basic theoretical knowledge regarding the valuation of the company. The second part begins with a description of the company valuated. Strategic and financial analysis which is used to build a financial plan follows. That is the basis for valuation of the company using the DCF Entity method which is used to valuate the brewery in the final part of the thesis.

The diploma thesis "Value creation in innovative business and its assessment" is aimed at assessing the value of Family brewery Bernard company and later usage of potential scenarios to determine the expected value of the company. The thesis consists of two parts. First is theoretical-methodical part, where the means, methods and processes of the appreciation itself, strategic analyses, financial analyses, value generators and financial plan are analysed. Second half is aimed at practical part, where the above-mentioned theoretical process is applied to the particular business.

The diploma thesis Bon Repos and baroque monuments in surroundings of Lysá nad Labem deals with the area of Bon Repos and baroque monuments in surroundings of Lysá nad Labem that arose thanks to the benefactor Count Francis Anthony Spork. Unfortunately, most of the monuments no longer exist. The first part of this diploma thesis deals with the history of the town Lysá nad Labem and also with its monuments including the life of Count Spork. In the second part of the thesis we can find the detailed description of the ecclesiastical and the secular monuments in surroundings of Lysá nad Labem, which were built at the times during the Count Spork's life. The monuments' description was done according to the engravings and sources from the period of the first half of the 18th century. The third part of this thesis describes the area of Bon Repos which was built by Count Spork. In this part we can also find the history of the site and the description of its baroque form. Unfortunately, the site of Bon Repos was rebuilt by archbishop Prichovsky in the second half of the 18th century. It is for this reason that the description of the baroque site was done thanks to the engravings and sources from that period. Afterwards, we can find the description of the existing baroque and late baroque buildings that were...

Le présent travail concerne la connaissance humaine, telle que comprise par Bernard Lonergan. Ce dernier a proposé de concevoir la connaissance de la connaissance comme une quête, et de définir celle-ci comme une recherche de l'inconnu. Qu'est-ce que la connaissance? Cette question vise le sens de toute recherche et elle est problématique lorsque l'on ne sait pas comment y répondre. Avec l'intention d'expliquer la solution que l'on peut trouver chez Lonergan concernant cette question de la connaissance, nous aborderons la dynamique cognitive des sujets qui connaissent. Nous étudierons ces processus cognitifs en effectuant une division en trois catégories principales, qui correspondent à l'attention aux données, aux activités de l'intelligence et aux activités de la réflexion. Nous nous engagerons alors dans une recherche qui envisage la connaissance comme une activité, c'est-à-dire comme une démarche des sujets qui désirent connaître. De ce point de vue, connaître, c'est pratiquer une série d'activités récurrentes. Ces activités, en plus d'être décrites telles qu'elles peuvent apparaître au sujet connaissant si celui-ci est attentif à ce qui se passe en lui-même, seront expliquées par les relations intelligibles qui les unissent selon le modèle de Lonergan. Sans trop attendre, nous allons considérer la source de ces activités, c'est-à-dire que le sujet sera envisagé comme étant lui-même l'objet à connaître, tout en étant celui qui connaît. Il sera alors question de la possibilité d'une connaissance objective de soi-même, en tant que sujet connaissant. Cette analyse nous amènera vers une étude de la conscience intelligente et rationnelle, et de l'affirmation de soi de cette conscience. En étudiant ce processus, nous serons contraints d'admettre que cette affirmation ne peut qu'être rationnelle, et que ce jugement, qui peut être formulé par l'expression «je suis un sujet intelligent et rationnel », implique ses propres conditions de vérité lorsqu'il est effectué concrètement. Le sujet connaissant, qui est aussi un sujet conscient d'être connaissant, peut vérifier cette thèse par introspection, et affirmer catégoriquement son contenu. Cette affirmation de soi de la conscience rationnelle permet à la conscience de répondre à l'invitation de Lonergan, et de réaliser sa responsabilité relativement aux positions qu'elle soutient. Si elle accepte cette invitation à croître, cette conscience se développera et le sujet connaissant s'habilitera à discerner les positions qui encouragent son propre développement. Cette aptitude sera tout particulièrement importante dans sa vie reflexive lorsqu'elle s'appliquera à évaluer les thèses fondamentales de son rapport au réel. Nous pourrons alors conclure : si « je » suis bien le fondement de ma connaissance des choses, et si ma relation au réel tient de ma propre compréhension et de mon propre jugement, alors je suis responsable de mon propre rapport à moi-même, au monde et à l'existence en général.

[pt] A contemporaneidade é um período marcado pela presença ubíqua da tecnologia, tornando rápidas, voláteis e precárias as nossas condições existenciais. Bernard Stiegler (1952-2020), ciente disso, demonstra em várias de suas obras a preocupação com as novas gerações diante de um contexto histórico no qual o mundo parece caminhar apressadamente rumo ao abismo. Em sua obra sobre a disrupção, o autor se utiliza de uma personagem, o jovem Florian de 15 anos, com o objetivo de, através de seu discurso, ilustrar a realidade que busca compreender. O norte da dissertação é exatamente a fala desse adolescente, que entende que o seu pensamento, marcado por protensão negativa, pode ser estendido a seus pares de geração. Por meio da análise da fala do jovem, buscamos pensar sobre a projeção de futuro que a juventude faz hoje e sobre como ela se difere de outros momentos de nossa História em que a tecnologia não estava tão intimamente presente na vida diária. Também, pretendemos dar conta do que conceitualmente é a juventude, por que o recorte geracional é relevante para a discussão e como todas essas definições são condicionadas sócio-historicamente. Buscamos igualmente compreender a origem e a incidência do fenômeno da negação na psique jovem diante dos problemas que parecem se acumular na existência contemporânea, tais quais as mudanças climáticas, a redução significativa de oportunidades dignas de trabalho e o agravamento da desigualdade social. / [en] The contemporary period is marked by the ubiquitous presence of technology, causing our existential conditions to be volatile and precarious. Bernard Stiegler (1952-2020), aware of this, demonstrates in several of his works his concern for the new generations in a historical context in which the world seems to be rushing towards the abyss. In his work on disruption, the author presents a character, the 15-year-old Florian, with the aim of, through his speech, illustrating the reality he seeks to understand. The dissertation revolves around the speech ofthis teenager, who believes that his words, filled with negative protension, could be shared with his peers of the same generation. Through the analysis of the young man s speech, we seek to understand more about the projection of the future that the youth makes today and how it differs from other moments in our History in which technology was not so intimately present in our daily life. Also, we intend to understand the concept of youth, why generations are relevant to the discussion and how all these definitions are socio-historically conditioned. We also seek to discuss the origin and incidence of the phenomenon of denial in the young psyche before problems that seem to accumulate in contemporary existence, such as climate change, the significant reduction of decent job opportunities and the worsening of social inequality.