Seventeenth century French society was a time in which the arts flourished and were used to create an eminence of power and absolutism. The gardens of Vaux-le-Vicomte were commissioned by Nicolas Fouquet and designed by André Le Nôtre. The gardens created a political and social space through the characteristics of design and standards of order which together conveyed power and absolutism. Louis XIV, newly crowned king, recognized at Vaux the perfect vehicle for the portrayal of power. French theater at the same time was gaining popularity and establishing itself as a great art form. Similar to the gardens at Vaux which illustrated beauty and power through order and careful design, the theater also was subject to specific guidelines of order and design. Powerful men such as Cardinal Richelieu helped to establish the early acceptance and development of theater at this time. Principles set forth for the theater were followed in order to create the perfect theatrical illusion onstage. Standards such as those set forth by Scudéry, d'Aubignac and the Academy were closely followed while plays such as Pierre Corneille's Le Cid were criticized for their lack of adherence to the rules. Trends and elements of formal gardens aligned with similar trends in French theater to reflect the power of the king. This power was doubly manifested through the garden setting and the theatrical performances which took place within them. The festivities of The Pleasures of the Enchanted Isle presented numerous plays by Molière such as Les Fâcheux and Tartuffe. These works demonstrated the power of the king while the week-long festivities created a space in which real and the desire for reality combined.

Abstract The main sources has been found recently of the works of the greats architects Max Tintner and Zikmund Kerekes, II. w.w. survivors, architects who extablished their lives after II. w.w. in Israel. Also new information has been occurred in reconnection with architect André Steiner who spent his life in Atlanta, USA. Archives materials about unknown work made by Otto Eisler was also found. The main intention of the PhD thesis is to collect those unsorted materials and information of mentioned architects and to create comparison of their architectural works.

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Der Vortrag beleuchtet die Zusammenarbeit von Werner von Siemens mit Wilhelm André im Vorfeld des Reichspatentgesetzes 1877. / The lecture covers the cooperation between Werner von Siemens and Wilhelm André in the run-up to the formal proclamation of the first uniform German Patent Act as “Reichspatentgesetz” in 1877.

Im Rahmen der Jubliäen 175 Jahre Technische Universität Chemnitz und 100 Jahre Neues Rathaus in Chemnitz veranstaltete die Bibliothek der Technischen Universität Chemnitz und die Bürgerinitiative "André-Ehrung", vertreten durch die Gesellschaft der Freunde der TU Chemnitz, am 19. Mai 2011 das Kolloquium "Dr. jur. Wilhelm André und das erste deutsche Patentgesetz". Im Mittelpunkt des Kolloquiums stand die Zusammenarbeit zwischen Dr. Werner von Siemens und Dr. Wilhelm André bei der Bearbeitung des ersten deutschen Reichspatentgesetzes von 1877. Herr Dr. Seifert, Oberbürgermeister der Stadt Chemnitz von 1993 bis 2006, eröffnete als Vorsitzender der Gesellschaft der Freunde der TU Chemnitz die Veranstaltung. Herr Dr. Richter übernahm die Moderation des Kolloquiums.

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This essay analyses Call Me by Your Name by André Aciman and Swimming in the Dark by Tomasz Jedrowski through a phenomenological lens. Through the theoretical framework, mainly consisting of Sara Ahmed’s The Cultural Politics of Emotion and Queer Phenomenology, I discuss how feelings such as desire and shame work through the subject and influence its relationship with their surroundings. The analysis concludes that the emotion of shame is an isolating feeling, causing the subject to shield themselves from their surroundings. At the same time shame is forgotten in its own temporality, whereas the emotion itself is mistaken as permanent by the subject in the feeling state. On the other hand, the forbidden desire feels temporary and like something that could be expelled from the body. Furthermore, I discuss how desire affects the relationship between subject and object, especially through the ways that desire complicates the hierarchal division between the two. I further posit how desire affects boundaries between bodies and how the forbidden desire creates the will to penetrate boundaries while at the same time maintaining them. Through the combination of shame and desire the subject is limited in their worldview, where the desire can feel impossible to navigate through the “life-lines” that Ahmed theorizes because of the shame that follows. The essay concludes that the relationship between shame and desire affects the relationship between subject and object mainly through the internalization of societal norms.

This dissertation explores the political potential of dance and dance performances in public protests whereby dancing bodies are capable of performing politics through actions and movements within the boundaries established by existing power structures. Building upon the insights of political theorist Jacques Rancière, dance theorist André Lepecki, and affect theorist Brian Massumi, this study reveals the micro-political value of dancing in the form of dissensus and as an affective and aesthetic practice in politics. Dissensus, as articulated by Rancière, refers to the collision between the prevailing order and opposing viewpoints that disrupts "the distribution of the sensible" (or common sensual perception) in society. In this sense, this study suggests that the subversive affective intensities of dancing in the form of dissensus not only transgress politics as what is articulated in words, but also, transindividually, spread to other bodies and thus potentially compel them to act and think differently. Within this theoretical framework, this study argues that dissensual dancing not only expresses via the body political messages and alternative ways of living and becoming in motion, but also enables bodies to disrupt the predominant, normative, representational, and choreographic structures of power that control them in certain ways. Following the insights of critical theorists Gilles Deleuze, Brian Massumi, Judith Butler, François Debrix, and Nigel Thrift, this dissertation methodologically problematizes the idea of a singular mode of knowledge and the operation of normative frames that limit our apprehension of different worlds and lives. Thus, it adopts a more-than-representational mode of thinking, coupled with affect theory to work towards a pluralistic methodological perspective that avoids simplistic dichotomies stemming from established linguistic constructs and structures of meaning. In doing so, this study offers an alternative mode of intelligibility about precarious and resistant dancing bodies in the context of dissensual flamenco performances. Within the context of flo6x8's protests in Spain (between 2010 and 2019), this study explores how these dance performances affectively destabilized the ways people perceived and understood flamenco as an art form and challenged the physical embodiments and social norms associated with it. By putting the flamenco body at the center of this exploration, the dissertation argues that flo6x8's dissensual dance performances are not only dialectical or antagonistic, in other words, designed to be positioned against relations of economic oppression. Rather, choreographically and affectively, they also unsettle the very categories of historical, social, cultural, and normative understanding and representation of flamenco as an art and of flamenco bodies. / Doctor of Philosophy / This dissertation explores the political potential of dance and dance performances in public protests whereby dancing bodies are capable of performing politics through actions and movements within the boundaries established by existing power structures. Building upon the insights of political theorist Jacques Rancière, dance theorist André Lepecki, and affect theorist Brian Massumi, it reveals the micropolitical value of and subversive intensities in dance performances that are deployed as forms of political protest. This study further suggests that these subversive intensities extend beyond politics as articulated in words to affect non-linguistic modes of perception for the performers and the viewers. It argues that the protest dance performances not only enable dancing bodies to convey their political messages in motion or through movement, but that they also allow bodies to articulate their agency beyond dominant structures of power and authority that seek to represent and control them in certain ways. Drawing on the thought of critical theorists Gilles Deleuze, Brian Massumi, Judith Butler, François Debrix, and Nigel Thrift, this dissertation methodologically challenges the notion of a single, fixed way of understanding the social and political world. By adopting a pluralist methodological perspective, this study moves beyond oversimplified categories and binaries, which often result from established discourses and representations. In doing so, it offers an alternative mode of understanding about precarious and resistant dancing bodies in the context of politically resistant flamenco performances. Specifically, by looking at the protest performances of the flo6x8 flamenco protest collective in Spain (between 2010-2019), this study examines how this group's protest dance performances disrupt conventional perceptions of flamenco as an art form and challenge the social and normative expectations associated with flamenco and flamenco dancing bodies. By putting the body in flamenco at the center of this exploration, this dissertation suggests that flo6x8's performances not only protest current forms of economic oppression, but also affectively confront historical, cultural, and normative representations of flamenco and bodies, thus offering alternative expressions that can transcend the representational boundaries of the flamenco tradition.

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"La conscience spirituelle chrétienne selon le P. Charles André Bernard est ce qui se situe à la racine du projet spirituel chrétien. Parce que l'Esprit Saint l'habite et la vivifie, la conscience spirituelle s'avère l'attitude de l'être connaturalisé par l'Esprit. Et comme attitude spirituelle, elle dynamise la structure anthropologique pour donner plus de vigueur et de clarté à la vie chrétienne. Or, la vie chrétienne, vie du baptême en l'être, devient vie spirituelle par la conscience que nous en prenons et la volonté d'y progresser. Ainsi, la vie spirituelle chrétienne peut devenir objet d'expérience. Car l'expérience spirituelle chrétienne, expérience dans l'Esprit Saint, naît de cette prise de conscience spirituelle. Dans la pensée théologique et spirituelle du P. Charles André Bernard la notion de conscience spirituelle, notion de théologie plutôt présupposée qu'explicitée, connaît une évolution intégrative dans la notion d'expérience spirituelle. Cette dernière étant plus inclusive retient la notion de conscience spirituelle comme base de son élaboration anthropologique, théologique et spirituelle afin de rendre compte du caractère existentiel, historique et expérientiel de toute vie spirituelle."