Parfois occultée, longtemps étouffée, l’interrogation sur l’identité juridique de la subvention s’avère indispensable dans un contexte de confusion de celle-ci avec la notion de commande publique. Pour l’isoler de ce « genre » voisin et lui fournir une identité propre, un seul trait distinctif paraît opératoire : sa qualité de don public ou, pour emprunter un vocabulaire plus civiliste, son titre gratuit. La recherche des deux éléments utilisés en droit privé pour identifier un tel acte s’avère concluante, et plus encore, révèle la spécificité de cet objet en droit public. L’intention libérale s’articule de manière originale avec l’intérêt général, et dresse la subvention en véritable donation avec charges de droit public. Le don public, avec son lot de spécificités, vient ensuite façonner les règles applicables à la subvention, pour lui offrir un véritable régime juridique, cohérent et compréhensible. L’octroi de la subvention s’avère régulé par l’intérêt général, et la mise en œuvre de cet acte, gouvernée par sa nature conditionnelle. La subvention est un don public, et se trouve régie comme telle. C’est à la faveur d’une rencontre de la valeur heuristique du don qu’elle a pu être saisie / The issue of the legal definition of grant has long been blotted out and constrained. Nowadays, in a context of confusion between this notion with the closely related notion of public procurement, it is more than necessary to tackle it. A single distinctive feature seems efficient to isolate itself from this nearby type: its very nature of public gift or, to employ the French “civil law” terminology, its quality of “gratuitous act”. The research for the two elements used in French private law to identify such an act proves to be conclusive. Furthermore, it reveals the specificity of this item in public law. Animus donandi can originally be combined with general interest, and this raises grant as a real gift with charges of public law. Public gift, as specific as it is, fashions the rules applied to grants. It provides this notion with a genuine legal status, which turns out to be consistent and intelligible. The funding mechanism is ruled by the concept of general interest, and its implementation is governed by its conditional quality. Grants proves to be a public gift, and it is ruled as such. This conclusion couldn’t have been reached without meeting with the heuristic value of the concept of public gift

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Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T19:03:23Z (GMT). No. of bitstreams: 1 Silva_GustavoRodriguesda_M.pdf: 1551456 bytes, checksum: e4003a3b502430573237a1f412eed5b8 (MD5) Previous issue date: 2015 / Resumo: Alguns pesquisadores estudaram o estilo tardio, como Gottfried Benn, Havelock Ellis, Edward Said, entre outros. Quem consagra a noção de estilo tardio é Theodor Adorno em seu ensaio El estilo tardío de Beethoven (2008 [1963]). De acordo com Adorno, uma obra tardia é única porque ela causa uma ruptura no cenário literário da época, pois traz novidades impensadas até então. Essa ruptura não é compreendida em um primeiro momento por muitos leitores que, só com um exame detido da obra em questão, como nos propomos nessa dissertação, conseguem captar a grandeza de uma obra tardia. Ela é atemporal, pois se distancia do passado pela inovação, se diferencia do presente pelo estranhamento e prenuncia um futuro, dadas as suas inovações serem consideradas como referências literárias para obras por vir. Logo, cada obra tardia tem um estilo tardio único. Ramón María del Valle-Inclán (1866-1936) tem uma vasta obra literária, com várias peças. Segundo John Lyon, em The theatre of Valle-Inclán (2009), o ápice do teatro de Valle-Inclán são os esperpentos. Quando analisamos o esperpento Los cuernos de Don Friolera (1968 [1921]), observamos que a obra traz algumas inovações literárias para a época, que podem ser enquadradas na noção teórica de estilo tardio. Já o esperpento anterior, Luces de bohemia (2001 [1920]), apresenta a teoria esperpêntica que é posta em prática no esperpento seguinte, justamente Los cuernos de Don Friolera. Em nossa dissertação, vamos mostrar de que forma Valle-Inclán trabalha a teoria estética esperpêntica proposta em Luces de bohemia e em Los cuernos de Don Friolera, e como essa maneira de trabalhar essa teoria se constitui em um estilo tardio. Logo, vamos provar o estilo tardio do esperpento Los cuernos de Don Friolera quando comentarmos as suas inovações quanto à forma e ao conteúdo como a grande variação de possíveis sequências de leitura, a combinação de quatro paródias de movimentos literários espanhóis diferentes dentro do mesmo esperpento, a criação de uma obra que é tanto literária como histórica, entre outros aspectos. Também comentaremos o estilo tardio nos outros dois esperpentos valle-inclanianos: Las galas del difunto (1968 [1926]) e La hija del capitán (1968 [1927]). Defendemos que esse caráter tardio do nosso objeto de estudo reflete o exaurimento das formas literárias existentes e questiona o status de obra ficcional no começo do século XX, além de ditar novos rumos para a literatura espanhola e, quiçá, ocidental / Abstract: Some researchers studied the late style as Gottfried Benn, Havelock Ellis, Edward Said, among others. The one who enshrines the notion of late style is Theodor Adorno in his essay El estilo tardio de Beethoven (2008 [1963]). According to Adorno, a late work is unique because it causes a break in the literary scene of the era, because it brings thoughtless news so far. This break is not understood at first by many readers, that only with a close examination of the work in question, as we propose in this thesis, can capture the greatness of a late work. It is timeless because it moves away from past by the innovation, it differs from the present by the estrangement and predicts a future, given the innovations being considered as references to literary works to come. Thus, each late work has a unique late style. The Spanish writer Ramón María del Valle-Inclán (1866-1936) has a vast literary work, with several plays. According to John Lyons in The theatre of Valle-Inclán (2009), the theater apex of that Spanish author is the esperpentos. When we analyze the esperpento Los cuernos de Don Friolera (1968 [1921]), we realize that the work brings some literary innovations for the time, which can be evidenced in the theoretical notion of late style. Already the previous esperpento, Luces de bohemia (2001 [1920]), presents the esperpêntica theory that is put into practice the next esperpento precisely Los cuernos de Don Friolera. In our thesis, we are going to show in what way Valle-Inclán works the esperpêntica aesthetic theory proposal in Luces de bohemia in Los cuernos de Don Friolera and how this way of working this theory constitutes a late style. Thus, we will prove that the late style of esperpento Los cuernos de Don Friolera when commenting their innovations as the form and the content as the wide range of possible sequences of reading, the combination of four parodies of different Spanish literary movements within the same esperpento, the creation of a work that is both literary and historical, among others. We are also going to comment the late style in the other two valle-Inclanianos esperpentos: Las galas del difunto (1968 [1926]) and La hija del capitán (1968 [1927]). We argue that this late character of our matter subject reflects the depletion of existing literary forms and questions the fictional work status in the early twentieth century, in addition to dictate new directions for Spanish literature and perhaps western / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

La découverte de nouveaux procédés biotechnologiques remet en question la capacité de la loi de fournir une protection suffisante de l'être humain dès le commencement de sa vie. Ces nouvelles méthodes, comme la méthode CRISPR/Cas9, également connue sous le nom de « genome editing », le don de mitochondries et, finalement, la création de cellules souches pluripotentes induites humaines (cellules hiPS) permettent de manipuler et d'influencer de manière fondamentale la constitution génétique de la progéniture et des générations futures. En vue de ces développements, cette thèse vise à élaborer un projet de loi adressé au législateur allemand en prenant compte de deux aspects : d'un côté, sur la base d'une analyse comparative du droit allemand et français, il s'agit d'optimiser la législation allemande actuelle en identifiant des avantages éventuels de l'approche réglementaire en France. De l'autre côté, en admettant que les techniques en question pourront être appliquées un jour avec des risques gérables, il est examiné sur la base d'une étude de droit constitutionnel allemand si une telle application future pourrait en principe être justifiée, le résultat de cette étude étant également concrétisé sous forme d'une proposition de loi. / The discovery of new biotechnological processes calls into question the ability of the law to provide sufficient protection for human beings from the beginning of their lite. These new methods, such as the CRISPR/Cas9 method -also known as "genome editing" -mitochondrial donation, and the creation of human induced pluripotent stem cells (hiPS cells), make it possible to manipulate and influence in a fundamental way the genetic make-up of one's offspring and future generations. This thesis aims to prepare a draft law addressed to the German legislature. ln so doing, it takes into account two aspects : on the one hand, it aims to optimise, on the basis of a comparative analysis of German and French law, current German legislation by identifying possible advantages of the regulatory approach in France. On the other hand – assuming that the techniques in question can one day be applied with controllable risks – it examines, on the basis of an analysis of German constitutional law, whether such a future application could, in principle, be justified and implements these considerations by drafting a legislative proposal.

Hummel's Concerto for Trumpet (Concerto a Tromba principale) is overtly operatic and is stylistically reminiscent of Mozart's Don Giovanni. Using the methodology of Leonard Ratner and Wye J. Allanbrook, it is possible to explore gesture and rhetoric in Hummel's Concerto for Trumpet and Mozart's Don Giovanni, and achieve a deeper understanding of the stylistic similarities shared between the two works. In the third movement, dance is the most significant link to Don Giovanni. In the second movement, Hummel alternates between the emotions of Donna Anna and Don Ottavio as they appear in act 1, scene 13. The first movement makes extensive use of contrasting topics identified with buffa and seria characters to advance the musical narrative. Comparing Hummel's concerto and Mozart's opera is a hermeneutical approach that illuminates several performance practice implications. Knowing the expressive similarities and rhetorical strategies common to both works clarifies several issues, such as tempo, ornamentation, and above all, expression. Though Mozart's Don Giovanni and Hummel's Concerto for Trumpet are unequal in significance, it would be valuable to any interpretation of Hummel's concerto if the performer and audience acknowledge that the work is rhetorically and stylistically similar to Mozart's Don Giovanni.

Au cours de l’été 2014, le cas d’un patient conscient, dépendant d'un respirateur, ayant demandé un arrêt de traitement vital et exprimé le souhait de faire don de ses organes a secoué la communauté québécoise du don d’organes et de la transplantation. Ce fut le début d’une réflexion importante quant à l’acceptabilité du don d’organes chez des personnes conscientes et aptes ayant choisi de mettre fin à un traitement vital. Cette réflexion était d’autant plus pertinente que le gouvernement québécois préparait sa Loi concernant les soins de fin de vie qui allait rendre légale l’aide médicale à mourir (AMM). Puisqu’il était cliniquement possible pour certains patients de faire un don d’organes suite à une AMM, il était probable que la légalisation de cette pratique augmente le nombre de patients conscients désirant donner leurs organes alors qu’ils auraient choisi de mourir. La littérature sur les enjeux éthiques soulevés par ce type de dons d’organes était alors quasi inexistante et, au moment de débuter le projet de recherche, des lignes directrices de pratique n’existaient pas au Québec et au Canada. Il devenait donc impératif de mieux identifier les enjeux éthiques et de les analyser afin de contribuer à l’encadrement de ces nouvelles pratiques. Il n’y avait également aucune étude décrivant les perspectives des professionnels de la santé face à de tels dons. Les objectifs de ce projet de thèse étaient i) d’identifier les enjeux éthiques soulevés par le don d’organes chez un patient conscient et apte demandant un retrait de thérapie de maintien des fonctions vitales ou une AMM; ii) d’analyser ces enjeux à l’aide de théories éthiques; iii) de connaître et comprendre les perspectives des professionnels de la santé sur les enjeux soulevés par le don d’organes dans ces contextes particuliers; iv) finalement, de mettre en relation les perspectives des professionnels et les politiques qui ont été adoptées au Québec depuis sa mise en route. Nous avons donc mené une étude exploratoire qualitative par le biais d’entretiens avec des professionnels du don d’organes susceptibles d’être impliqués à un moment ou un autre dans le processus du don d’organes par un patient apte ayant demandé un retrait de thérapie de maintien des fonctions vitales ou une AMM. Notre échantillon comprenait médecins et infirmiers des soins intensifs, de la salle d’opération ou impliqués en don d’organes dans deux centres hospitaliers montréalais très actifs au niveau du don d’organes (CHUM et l’Hôpital Sacré-Cœur) et à Transplant Québec. Nous avons identifié les enjeux éthiques à l’aide d’une revue de littérature et par l’analyse des perspectives des professionnels. Les principaux enjeux éthiques sont liés au respect de l’autonomie des patients, à l’information à fournir ou non aux donneurs potentiels, à l’objection de conscience par les professionnels, à la possibilité pour les receveurs de refuser ou non les organes provenant de l’AMM, à l’acceptabilité du don d’organes suite à une AMM confidentielle, à la règle du donneur décédé́, à la possibilité de diriger un don d’organe vers un receveur désigné par le donneur et à l’acceptabilité de choisir l’AMM pour rendre possible le don d’organes. Nous avons d’abord analysé ces enjeux éthiques à l’aide du modèle de l’équilibre réflexif large de Norman Daniels et nous avons ensuite intégré à notre analyse les perspectives des participants sur les différents enjeux selon le modèle de l’équilibre réflexif- normatif empirique. À la lumière de nos résultats, nous pouvons conclure que : i) le don d’organes pour les patients aptes demandant une AMM ou un retrait de thérapies de maintien des fonctions vitales était, de manière générale, éthiquement acceptable dans le contexte légal en vigueur au moment de notre recherche; ii) les patients demandant l’AMM et souffrant d’une maladie compatible avec le don d’organes devaient être informés de la possibilité qui s’offre à eux de faire un don d’organes; iii) les objections de conscience devraient être respectées dans la mesure où elles ne compromettent pas l’accès aux soins des patients; iv) la possibilité de refuser des organes provenant de l’AMM devrait être offerte aux receveurs lors de leur inscription sur la liste d’attente et v) un patient désirant faire don de ses organes suite à une AMM qu’il désire garder confidentielle devrait être informé de toutes les implications liées au contexte particulier du prélèvement et consentir à un bris de la confidentialité afin de minimiser les risques de nuire au don d’organes. Certaines de ces conclusions sont contraires aux politiques en vigueur. Notre étude a contribué à mieux cerner les enjeux éthiques soulevés par le don d’organes dans ces nouveaux contextes. De plus, nous identifions les enjeux pour lesquels une réflexion plus poussée , et possiblement une révision des lignes directrices, s’imposent. Plusieurs questions demeurent et de nouvelles questions surgissent alors que des modifications aux critères d’admissibilité à l’AMM sont entrevues à court ou à moyen terme (AMM en dehors de la fin de vie, en cas de maladie mentale ou pour les patients inaptes ayant fait une demande anticipée). / In the summer of 2014, the case of a conscious patient, respirator dependent, who requested a withdrawal of life-sustaining therapy and expressed the wish to donate his organs shook the Quebec organ donation and transplantation community. It was the beginning of an important reflection on the acceptability of organ donation in conscious and competent people who have chosen to stop vital treatment. This reflection was timely as the Quebec government was preparing its End-of-Life Care Act, which would make medical assistance in dying (MAID) legal. Since it was clinically possible for some patients to donate organs following MAID, it was likely that the legalization of this practice would increase the number of conscious patients wishing to donate their organs when they would have chosen to die. The literature on the ethical issues raised by this type of organ donation was then almost non-existent and, at the time the research project began, practice guidelines did not exist in Quebec and Canada. It therefore became imperative to identify these ethical issues and to analyze them in order to contribute to the guidance of these new practices. There was also no study describing the perspectives of health professionals regarding such donations. The objectives of this doctoral project were (i) to identify the ethical issues raised by organ donation in a conscious and competent patient requesting withdrawal of life sustaining therapy or MAID; (ii) to analyze these issues using ethical theories; (iii) to obtain and understand the perspectives of health professionals on the issues raised by organ donation in these particular contexts; (iv) finally, to compare the perspectives of professionals to the policies that have been adopted in Quebec since its inception. We therefore conducted a qualitative exploratory study through interviews with organ donation professionals likely to be involved in the organ donation process by a conscious patient who has requested withdrawal of life-sustaining therapy or MAID. Our sample included physicians and nurses in intensive care, operating room or involved in organ donation in two Montreal hospital centers that are very active in organ donation (CHUM and Hôpital Sacré-Cœur) and at Transplant Québec. We identified ethical issues through a literature review and by analyzing the perspectives of professionals. The main ethical issues are related to respect for patient autonomy, information to be provided to potential donors, conscientious objection by professionals, the possibility for recipients to refuse organs procured after MAID, the acceptability of organ donation following a confidential MAID, the dead donor rule, the acceptability of directing an organ to a specific recipient designated by the donor and the acceptability of choosing MAID in order to make organ donation possible. We first analyzed these ethical issues using Norman Daniels' wide reflexive equilibrium model and then incorporated participants' perspectives on the various issues using the normative empirical - reflexive equilibrium model into our analysis. Based on our results, we can conclude that : (i) organ donation for competent patients requesting MAID or withdrawal of life-sustaining therapies was generally ethically acceptable within the legal context in effect at the time of our research; (ii) patients requesting MAID and suffering from a disease compatible with organ donation should be informed of the possibility of organ donation; and (iii) conscientious objections should be respected as long as they do not compromise patients' access to care; iv) recipients should be offered the opportunity to refuse organs procured after MAID when they are placed on the waiting list; and v) a patient who wishes to donate his or her organs following MAID that he or she wishes to keep confidential should be informed of all the implications related to the specific context of the procurement and should consent to a breach of confidentiality in order to minimize the risk of undermining public trust in organ donation. Some of these conclusions are contrary to current policies. Our study has contributed to a better understanding of the ethical issues raised by organ donation in these new contexts. In addition, we identify issues that require further reflection and possibly a revision of the guidelines in place. Many questions remain and new ones arise as changes to the MAID eligibility criteria are foreseen (MAID outside of the end-of-life context, in cases of mental illness or by advanced request).

Das Konzept des Doing Gender geht auf Garfinkels ethnomethodologische Untersuchung der sozialen Konstruktion der Zwei-Geschlechtlichkeit zurück. Die unterschiedlichen Konzeptionen des Doing Gender variieren mit der Interpretation der Omnirelevanz-Annahme und des Garfinkelschen Accountability-Konzepts; ihnen gemein ist, Geschlecht nicht als natürliches oder erworbenes Personenmerkmal zu sehen, sondern als durch Zuschreibung oder mittels sozialer Interaktion hervorgebrachtes.

This thesis deals with the twentieth century Brazilian writer Antônio Callado and his novels written during the Brazilian dictatorship. The aim of this work is to bring the author's literary work, which has not been translated into Czech yet, closer to the Czech reader. Based on the historical context of the Brazilian military dictatorship in 1964-1985, we deal with the urban and rural left-wing resistance, which was quickly suppressed. Further, we focus on how dictatorship and censorship have influenced artistic creation. Subsequently, we concentrate on the author's life and the analysis of three selected works written and published during the dictatorship. The analysis seeks to find out how Callado represented the Brazilian leftist movements in these three novels: Kuarup (Quarup, 1967), Reflections of the Ball (Reflexos do Baile, 1976), Don Juan's Bar (Bar Don Juan, 1971).

Edición crítica en inglés de Palladine of England, libro de caballerías traducido al inglés por Anthony Munday en 1588 a través de su versión francesa L'Histoire Palladienne, de 1555. El libro original, ibérico y de autor anónimo, que Claude Colet tradujo al francés, es Don Florando de Inglaterra (1545). Esta edición crítica proporciona una introducción a la época, género y prácticas traductológicas de Munday; un seguimiento histórico de la obra, descripción bibliográfica, transcripción y edición del texto original con notas eruditas; y glosario, emendaciones y un apéndice de notas traductológicas.

Schiller's career as a dramatist spans more than two decades. Without too much difficulty, one observes that his plays are intimately related with one another. Particularly in the Storm and Stress period, his motives appear to be much the same: Schiller is an advocate of freedom, and the rights of men. I maintain that the youthful rebel is a recurrent theme in Schiller's dramatic works and this can be shown by an analysis of four characters from three plays, followed by a summary of their similarities. The rebellious youths of Schiller are Karl Moor (Die Räuber), Ferdinand (Kabale und Liebe), and Don Carlos and Marquis Posa (Don Carlos). These men seek freedom, and hope to have their dreams realized. They want to experience the world, but only on their own terms, as free and unoppressed individuals. It is shown that they are all egoists, ultimately concerned with the fulfillment of their own needs. At the same time they are moral young men, objecting to the immorality they encounter. However, their methods of rebellion are naive. This leads to their eventual downfall. Only when it is too late do they realize their inherent failing, when they finally bring the world back into focus. This thesis explores Schiller's Storm and Stress rebel, a dramatic figure which seems to lack the ruthlessness of a truly rebellious character: Schiller's "rebels" challenge authority on all social levels, yet, they finally submit to this authority. This is not at all characteristic of the actions of a rebel. It is significant that Schiller alters the direction and force of these young heroes. As Karl Moor turns himself over to the law, the question of motive arises: why does a rebel give himself up? My thesis will outline the reasons for this inconsistency. At the heart of the problem is of course the author. Schiller has decided to reconstruct the "rebel" Why he initiates this alteration is an essential part of the study.