Originally presented as the author's thesis, Munich, 1973. / Includes index. Bibliography: p. [291]-313.

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Syftet med denna undersökning är att undersöka huruvida det finns några föreställningar eller förväntningar gällande internkommunikation hos arbetsgivare respektive framtida medarbetare ur Generation Y, för att sedan studera hur dessa antingen matchar eller krockar med varandra. Denna undersökning utgår från den åldersdefinition som beskriver Generation Y som födda mellan 1982-2002 (Howe och Strauss, 2010). Undersökningen bygger på semistrukturerade intervjuer som genomförts med nio informanter – sex ur Generation Y samt tre arbetsgivare. De teoretiska perspektiv som undersökningen utgår från är teorin om Generation Y samt David McClellands teori om grundläggande behov för skapandet av motivation. Dessa teorier applicerades på materialet för att studera varför de olika grupperna hade de föreställningar och de förväntningar de hade samt vad deras motiv med dessa förväntningar kunde vara.  Undersökningen visar på att både arbetsgivarna och de framtida arbetstagarna ur Generation Y innehar föreställningar och förväntningar gällande internkommunikation dock skiljer dessa sig åt. De båda grupperna har tankar kring vilka områden som kan leda till krockar mellan generationerna men de är inte överens om var krockarna kommer att uppstå eller hur de kan undvikas. Undersökningen visar på att både arbetsgivarna och de framtida arbetstagarna inom Generation Y är viljestarka och bär på föreställningen om att de andra ska anpassa sig. / The purpose of this study is to investigate whether there are any beliefs or expectations regarding internal communication among employers and future employees from Generation Y, and study how these two groups either match or clash with each other. The study is based on semi-structured interviews conducted with nine informants, six of Generation Y and three employers. This study is based on the age definition that describes the Generation Y as a generation born between 1982-2002 (Howe and Strauss, 2010). The theoretical perspectives the study uses are the theory of Generation Y and David McClelland's need theory. These theories were used for the analysis of why the different groups had the ideas and expectations they had and what their motives with these expectations could be. The study shows that both future workers from Generation Y and employers hold beliefs and expectations of internal communication – they differ, however. The two groups have thoughts about what areas can lead to clashes between the generations but they do not agree on where collisions will occur or how they can be avoided. The survey shows that both employers and future employees in Generation Y are strong-willed and bears on the notion of the others to adapt.

This thesis explores the role of lament and praise in the respective theological approaches of Walter Brueggemann and David Ford for the purpose of examining how Christian faith transforms human response to suffering. The first three chapters trace Brueggemann’s engagement with Israel’s lament psalms, beginning with his observation that their typical dual form mirrors the collective shape of Israel’s psalter as well as all biblical faith. Influential interactions with sociology eventually lead Brueggemann to propose faith not simply as response to God’s faithfulness, but rather through rhetorical tension maintained between conflicts perceived in aspects of scripture such as praise and lament. We critique this view of irresolvable textual tension for leaving Brueggemann with an unresolved understanding of divine fidelity which obscures biblical expectation that God will respond faithfully to human lament. The fourth and fifth chapters concern David Ford’s consistent engagement with praise and subsequently, Christian joy. His early collaborative scholarship proposes praise as the result of faith in who God is through the suffering person and work of Jesus Christ. Nevertheless, continued ethical concerns lead Ford to identify Christian faith as an inextricable relationship between joy and responsibility resulting from “facing” Christ’s life and suffering death. We critique Ford for failing to clarify how such “facing” is made possible through who God is in Christ, rendering faith merely the result of human expression of Christ’s example, and thus obscuring any real reason for praise amidst suffering. Beyond a synthesis of Brueggemann and Ford’s respective approaches to lament and praise, the final chapter argues that a trinitarian approach to Christ’s atonement is necessary to propose how God confronts both suffering and sin thereby producing faithful human response amidst persistent evil. We conclude by arguing that a trinitarian understanding of praise cannot be proposed apart from either who God is in Christ’s atonement or how the atoning Christ is humanly faithful in lament.

Pour respecter les droits d'auteur, la version électronique de ce mémoire à été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Dans l’ensemble de ses œuvres, l'artiste canadien David Rokeby cherche à comprendre l’impact des images numériques de surveillance et de leurs divers dispositifs d’enregistrement et de diffusion sur le spectateur. Comment ces images peuvent-elles modifier notre perception de l'espace et, surtout, changer notre configuration du temps? Ce questionnement est le point de départ de notre étude de Seen, une installation visuelle de David Rokeby, exposée pour la première fois à la 8e exposition internationale d’architecture de la Biennale de Venise en 2002 et également présentée au Musée des beaux-arts de Montréal en 2007. Seen met en place un dispositif de surveillance électronique qui semble capter, en temps réel, les passants de la Place San Marco à Venise. Toutefois, ces images ne reflètent pas exactement le moment présent : elles sont traitées, en temps réel, par un programme informatique qui sépare les éléments immobiles des éléments mobiles, les corps en mouvement de l’architecture, et conserve les traces du mouvement. Nous sommes alors menés aux hypothèses suivantes : l’usage d’un tel dispositif de surveillance ne constitue-t-il pas une réflexion sur le passage du temps ? Cette description temporelle d’un lieu ne serait- elle pas une façon détournée d’archiver notre mémoire collective? Il s'agit donc d'examiner comment, en observant l’espace public, l’artiste propose une nouvelle lecture de notre histoire, bâtie non pas autour de l’archivage de ses monuments, mais autour de l’expérience humaine et temporelle. / Throughout his work, Canadian artist David Rokeby seeks to understand how digital surveillance images, and their various modes of recording and transmitting, impact the viewer. How can these images alter our perception of space and, more specifically, change our configuration of time? This question serves as the starting point to our study of Seen, a visual installation shown for the first time in 2002 at the 8th International Architecture Exhibition of the Venice Biennial and later presented at the Montreal Museum of Fine Arts in 2007. Seen is an electronic surveillance installation, which appears to record, in real-time, the pedestrians’ movements through Piazza San Marco in Venice. In truth, these filmed images do not reflect the present moment per se, but are treated in real-time by a computer program which separates the motionless from the mobile; the moving bodies from the architecture, and saves only brief moments or traces of movement. This raises the following questions: Can the use of such a surveillance device be understood as comment on the passage of time? Can this temporal description of a place constitute an alternative means to preserving our collective memory? In the course of our research, we shall examine how, by observing a public space, the artist suggests a new reading of history, built not around the archiving of its monuments, but around human and temporal experiences.

The purpose of the following study is to make an analysis of the structural elements and stylistic characteristics of the Sonata in A Minor for violin and piano by David Stanley Smith. This analysis will include the composer's treatment of form, harmony, melody and tonality, rhythm, intellectual and emotional content, and mediums of expression.

Made available in DSpace on 2016-04-04T18:22:13Z (GMT). No. of bitstreams: 1 Fernanda Marafon Frau.pdf: 21096825 bytes, checksum: 419cbbaa67e957863eccea326483a4d5 (MD5) Previous issue date: 2016-02-04 / The Edif?cio Conjunto Nacional, designed by David Libeskind (1928-2014), is an example of modern architecture held in the city of S?o Paulo with a significant constructed area described as a mixed-use development, which sought to include in its architecture different urban activities. Its implementation plan, aligned with the coincidence between city block and urban geography, as well as its dimensional characteristics allows in it an appreciation of other forms of urban occupation, different from the usual land configuration for small lots. The construction of this building , between 1955 and 1962 at Avenida Paulista, corresponds to a metropolization period of S?o Paulo, changing the urban configuration of the commercial activities from the central area to Rua Augusta`s neighborhood, which leads to a new centralization in City. This research aims to study historical and cultural conditions of the development of its project, as well as the insertion of it in the abroad context of modern architecture, approaching both typology?s configuration and the new relationship between buildings and city, that appears with the territorial and demographic expansion of urban centers in the early twentieth century. The description and analysis of this building have considered two different parts: the initial design and the building already built. This approach intended to point out the transformations that occurred during the course of its construction, with the changes in the urban characteristics, the adjustments and differences between the purpose of the architect and the final building. The realization of this project under the existing circumstances and the current situation of Edif?cio Conjunto Nacional enable to demonstrate qualities of modern architecture built in this period and to open up a discussion of its relevance in response to the current constructions in the city. / O edif?cio Conjunto Nacional, projetado por David Libeskind (1928-2014), ? uma obra de arquitetura moderna realizada na cidade de S?o Paulo com uma importante ?rea constru?da e constitui uma edifica??o de uso misto, que procurou compreender na escala edil?cia as diferentes atividades urbanas. Sua condi??o de implanta??o, com a coincid?ncia entre quadra e lote, bem como sua caracter?stica dimensional, permite uma aprecia??o de formas de ocupa??o da cidade distintas da usual divis?o fundi?ria de pequenos lotes. A constru??o do edif?cio, entre os anos de 1955 e 1962 na Avenida Paulista, corresponde ao per?odo de metropoliza??o de S?o Paulo e ? transfer?ncia de parte das atividades comerciais da ?rea central para a regi?o da Rua Augusta, com a inaugura??o de uma nova centralidade na cidade. A pesquisa contempla as condi??es hist?ricas e culturais do desenvolvimento de seu projeto, bem como sua inser??o no contexto amplo da Arquitetura Moderna, abordando para tanto sua configura??o tipol?gica e as novas rela??es estabelecidas entre edif?cio e cidade que surgem com a expans?o territorial e demogr?fica dos centros urbanos, a partir do in?cio do s?culo XX. A descri??o e an?lise do edif?cio compreendem dois momentos distintos: o projeto inicial e o edif?cio constru?do. Esta abordagem tem o intuito de apontar as transforma??es ocorridas durante a trajet?ria de sua constru??o, com as mudan?as nas caracter?sticas da urbaniza??o da cidade, bem como as adapta??es e diverg?ncias entre a inten??o do arquiteto e a realiza??o do edif?cio. As condi??es de realiza??o do projeto e a atual situa??o do Edif?cio Conjunto Nacional possibilitam apontar qualidades das obras de Arquitetura Moderna realizadas no per?odo e ampliar a discuss?o sobre sua pertin?ncia como resposta para a atual constru??o da cidade.

Esta dissertação propõe analisar os diálogos da peça Glengarry Glen Ross, de David Mamet, um dos principais dramaturgos do teatro norte-americano contemporâneo. A hipótese sugerida é que esses diálogos substituem a ação dramática e representam o substrato social que serviu de ponto de referência para a criação do enredo. São neles que as \"relações venais\" e o jogo de poder entre os personagens se concretizam, numa linguagem ilusória e ambígua, na qual valores individuais e comunitários, como a confiança, a amizade, a afeição, a lealdade e a verdade se subverteram, diante da necessidade de sobrevivência ou do sucesso a qualquer preço, ditados pelas práticas comerciais, pelas relações de poder, por uma mentalidade de negócios predatória e se transformaram em mercadoria, lucro e roubo. Glengarry Glen Ross (1983) faz parte da chamada \"trilogia do poder\", que abarca ainda American Buffalo (1975) e Speed-the-Plow (1985). As personagens dessas peças ou vivem à margem da sociedade capitalista norteamericana, como o triângulo masculino em American Buffalo, ou são representantes da baixa classe média, como os corretores de imóveis de Glengary Glen Ross, submetidos a uma competição feroz imposta pela direção da firma, onde os vencedores são promovidos e os perdedores, demitidos. Nessas circunstâncias, o contato humano entre eles foi corrompido pela ganância, pelo dinheiro, pela necessidade de sobrevivência. Essas peças são um exercício de crítica ao darwinismo social. / This dissertation aims to analyze the speeches in Glengarry Glen Ross, a play by David Mamet, one of the leading playwrights of the contemporary American theatre. The hypotheses suggested are that these speeches replace the dramatic action and that they represent the social stratum which has served as reference point for the creation of the plot. They also make the \'venal relations\' and the power game between the characters concrete, but they do so through the use of a deceptive and ambiguous language, in which individual and communal values, such as trust, friendship, affection, loyalty and truth, are subverted, in face of the need for survival or success at any cost, determined by commercial practices, power relations, predatory business mindset, and are turned into commodities, profit and theft. Glengarry Glen Ross (1983) is part of the \"power trilogy\", which also comprises American Buffalo (1975) and Speed-the-Plow (1985). The characters in these plays either live on the margins of the American capitalist society, as the ones in the masculine triangle in American Buffalo, or are representatives of the lowermiddle- class, such as the realtors in Glengarry Glen Ross, subjected to a cutthroat competition by the corporation owners, in which the winners are promoted and the losers are fired. In these circumstances, genuine human contact among them is corrupted by greed, money, and the need for survival. These plays are an exercise of criticism of social Darwinism.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-12-14T12:10:01Z No. of bitstreams: 1 William Galle Dietrich_.pdf: 1504567 bytes, checksum: 2093d2c1d67ede79c81a88b145c0644c (MD5) / Made available in DSpace on 2018-12-14T12:10:02Z (GMT). No. of bitstreams: 1 William Galle Dietrich_.pdf: 1504567 bytes, checksum: 2093d2c1d67ede79c81a88b145c0644c (MD5) Previous issue date: 2018-10-02 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O trabalho aborda o problema da neutralidade/externalidade do método descritivo das teorias juspositivistas analíticas. O primeiro capítulo faz um recorte no empirismo filosófico, buscando as origens e fundamentos filosóficos, que amparam a estrutura básica do juspositivismo analítico, no filósofo escocês David Hume. Procura-se, portanto, estabelecer as premissas básicas de tal corrente filosófica e as respectivas incorporações dentro das teorias jurídicas que são positivistas. O segundo capítulo procura focar na questão do método descritivo. Com uma abordagem explanatória, procura detalhar como o método descritivo foi incorporado ao Direito por Jeremy Bentham, passando por John Austin e Herbert L. A. Hart, até chegar, nesta década, em Scott J. Shapiro. Trata-se, portanto, de uma reconstrução histórica do método descritivo dentro da teoria do Direito. O terceiro capítulo, por sua vez, apresenta as principais críticas ao método descritivo, sobretudo as críticas direcionadas contra a neutralidade do método, e a consequente separação rígida entre fato e valor. O trabalho tem como finalidade básica, portanto, uma exposição geral da origem do método descritivo; da sua manutenção e evolução na teoria do Direito; e das principais críticas sofridas. Trabalhou-se com o “método” hermenêutico, fio condutor da Crítica Hermenêutica do Direito e com revisão bibliográfica. Como resultados parciais, pode-se dizer, a partir do referencial filosófico adotado pelas teorias juspositivistas analíticas, ainda que inconscientemente, que as características de neutralidade valorativa e externalidade do cientista não conseguem ser mais do que meros constructos artificiais, na medida em que a rígida separação entre fato e valor já foi superada no âmbito teórico e prático da filosofia e do Direito. A introdução do método experimental de raciocínio na teoria do Direito, portanto, não consegue atingir a propugnada neutralidade/externalidade. / This work deals with the neutrality/externality problem of the descriptive method of analytical legal positivist theories. The first chapter investigates the roots of philosophical empiricism in the Scottish philosopher David Hume, seeking its philosophical origins and foundations, which support the basic structure of analytical legal positivism. It seeks, therefore, to establish the basic premises of such philosophical current and the respective incorporations within the positivistic legal theories. The second chapter seeks to focus more specifically on the central question regarding the descriptive method. With an explanatory approach, it seeks to detail how the descriptive method was incorporated into jurisprudence by Jeremy Bentham — which was maintained by John Austin, Herbert L. Hart, and, in this decade, by Scott J. Shapiro. It is, therefore, a historical reconstruction of the descriptive method within jurisprudence and legal theory. The third chapter, in its turn, presents the main criticisms of the descriptive method, especially the criticisms directed against the (supposed) neutrality of it, and the consequent rigid distinction between fact and value. The main purpose of the work is, therefore, a general exposition of the origins of the descriptive method; its maintenance and evolution in jurisprudence; and the main criticisms. The work’s approach is the hermeneutical "method", the basis of the Hermeneutical Critique of Law, and also a bibliographical revision. As partial results, it can be said, from the philosophical referential adopted by analytical legal positivist theories, albeit unconsciously, that the characteristics of the scientist's neutrality and externality cannot be more than mere artificial constructs, insofar as the rigid distinction between fact and value has already been overcome in both theoretical and practical scopes of philosophy and law. The introduction of the experimental method of reasoning in legal theory, therefore, fails to achieve the advocated neutrality/externality.

Cette thèse porte sur la relation entre histoire et analyse dans les considérations de Hume et de Smith sur le progrès. Son objectif est double. En premier lieu, elle vise à montrer que ces deux auteurs écossais articulent une approche historique, dite conjecturale, avec une autre approche historique qui relève de leur analyse de l’émergence de la société civile. Tandis que Hume rassemble ces deux approches historiques distinctes dans sa philosophie politique, Smith fait émerger son analyse économique de sa philosophie politique, qui est une histoire conjecturale de la société civile. Selon les deux auteurs, le gouvernement naît d’une inégalité de richesse au sein de la société et son but principal est de sécuriser la propriété privée. L’analyse économique de la Richesse des Nations dérive de cette théorie du gouvernement et de la justice. En second lieu, ce travail a pour but de souligner que Smith donne un moindre rôle à l’histoire dans sa théorie économique que Hume. Les attitudes divergentes de Hume et Smith vis-à-vis du problème de la dette publique britannique en témoigne. Tandis que Hume met en avant le danger provenant de la politique belliqueuse de la Grande Bretagne en traçant un parallèle avec l’Empire romain, Smith privilégie les effets économiques de la dette, qui, malgré leur nocivité, sont compensés par l’épargne privée. Une telle comparaison explique l’émergence ultérieure de l’école classique qui privilégie une analyse économique purement théorique, dépourvue de contexte historique. / This dissertation examines the relationship between history and analysis in Hume’s and Smith's considerations on progress. Its objective is twofold. First, it aims to show that these two Scottish thinkers bring together an historical approach, i.e. conjectural history, with another historical approach stemming from their analysis of the rise of civil society. Hume conflates these two distinct historical approaches in his political philosophy, whereas Smith separates gradually his economic analysis of from his political philosophy ― which is a conjectural history of civil society. According to both of them, the government originates from the inequality of wealth within society and its main purpose is to secure private property. The economic analysis of the Wealth of Nations derives from this theory of government and justice. Secondly, this study aims to emphasize that Smith’s economic theory is less historical than Hume. This is illustrated by the difference between Hume’s and Smith’s stance on the problem of the British public debt. While Hume points out the danger proceeding from Great Britain's aggressive international politics ― by drawing a parallel with the Roman Empire ―, Smith brings to the fore the economic effects of public debt, which, despite their harmfulness, are offset by private savings. Such a comparison explains the subsequent emergence of the classical school which deploys a purely theoretical economic analysis that lacks historical context.