Lo studio analizza la relazione tra i diversi prezzi delle droghe illegali, eroina e cocaina, e il livello di violenza sistemica in un territorio. L'ipotesi dello studio è che ad un aumento dei prezzi delle droghe illegali, si registra una maggiore violenza causata dal maggiore ritorno economico derivante dalla commissione della violenza. L'analisi empirica si riferisce agli anni ottanta e novanta negli Stati Uniti d'America. Lo studio di mostra la validità dell'ipotesi e propone nuove ambiti di ricerca. / The study analyzes the relation between the different prices of illegal drugs, heroin and cocaine, and the level of systemic violence recorded in a territory. The hypothesis of the study is that from an increase of the prices of illegal drugs, it is derived a greater level of violence caused by the greater menotary return derived by the commission of violence. The empirical analysis referred to the eighties and nineties in the United States of America. The study demonstrates the hypothesis and proposes new research paths.

Made available in DSpace on 2015-05-14T13:27:13Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2180215 bytes, checksum: 68c957e981f3ab62b7b7280b1eee11e9 (MD5) Previous issue date: 2010-09-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Il presente lavoro ha come obiettivo di verificare l esistenza nelle radio comunitarie di Serra Redonda, Alagoa Grande e Santa Luzia, di programmi realizzati dai quilombolas , individuando quale influenza esercitano questi mezzi e se essi contribuiscono a rafforzare o a disgregare le identità culturali delle comunità nere rurali. Per l analisi di queste problematiche ci si è avvalsi del supporto bibliografico dell opera di Habermas mediata dalla prospettiva ottica di studiosi brasiliani come Siebeneichler con la sua Teoria da Ação Comunicativa (Teoria dell Azione Comunicativa) e Leal che affronta la questione della riconfigurazione della Sfera Pubblica locale. Si è fatto ricorso anche alla ricerca sul campo sotto forma di interviste partecipate secondo il metodo di Peruzzo e codificandone il contenuto secondo la teoria della democratizzazione delle comunicazioni di Vergara e Bardin. La ricerca ripercorre anche il contesto storico delle radio libere in Brasile e nel mondo, evidenziando come le forze sistemiche del Neocorolenismo Elettronico si siano impadronite della comunicazione comunitaria in queste città. La richerca di campo ha rivelato che dove si può osservare un parallelismo di opinioni tra centro urbano e ambiente rurale, e di conseguenza, additare attraverso le testimonianze degli intervistati, i possibili dialoghi e vie per ritrovare la reciproca intesa ormai perduta. / O presente trabalho tem como objetivos verificar a presença nas rádios comunitárias de Serra Redonda, Alagoa Grande e Santa Luzia de programas produzidos pelos quilombolas, identificando o tipo de influência que estas mídias exercem e, se as mesmas fortalecem ou desconstroem as identidades culturais das comunidades negras rurais. Na análise da referida problemática buscou-se suporte bibliográfico na obra de Habermas sob a perspectiva dos olhares de estudiosos brasileiros: Siebeneichler na Teoria da Ação Comunicativa e Leal que aborda a questão da reconfiguração da Esfera Pública local. O material de campo foi elaborado em forma de entrevistas participativas com base em Peruzzo e codificado seu conteúdo de acordo com a temática da democratização das comunicações em Vergara e Bardin. Ainda, nesta pesquisa, traçamos o percurso e contexto histórico das rádios livres no Brasil e no mundo, discorrendo como as forças sistêmicas do novo coronelismo eletrônico se apoderaram da comunicação comunitária nestas cidades. A pesquisa de campo revelou a problemática existente entre os discursos do ser urbano e o rural e, desta perspectiva, os sujeitos falantes apontam os possíveis diálogos e caminhos para o retorno do entendimento mútuo, ora perdido.

El propósito de esta investigación La dramaturgia escénica aplicada desde el método de improvisación de Antonio Fava, basado en la Commedia dell’Arte consiste en la revaloración del hecho interpretativo de la técnica de la improvisación en la Commedia dell’Arte recuperada desde la pedagogía de Antonio Fava, quien maneja un sistema de composición detallada que favorece a la construcción del hecho teatral. De esta manera, se busca demostrar las diferentes técnicas, métodos y recursos que la improvisación ofrece. Además, se propone a la improvisación como fuente principal del proceso creativo y como método dentro de los recursos metodológicos que el actor contemporáneo necesita para fines de estudio, creación, construcción de personaje, composición de la poética y estética interpretativa y la composición de una dramaturgia escénica inimitable. A su vez, expongo los contenidos históricos de los que parto para situar a la improvisación como recurso escénico dentro de nuestro legado teatral, realizando una línea de tiempo de su evolución partiendo desde la aparición en el teatro antiguo y próximo auge y popularidad en el teatro del renacimiento italiano en la Commedia dell’Arte hasta su utilidad para la investigación del sistema de Stanislavski y, finalmente, su reinvención y transgresión de la técnica dentro de la impro y match impro con Viola Spolin y Keith Johnston. Todo ello ha permitido no solo describir la situación de la improvisación dentro de nuestro oficio en la actualidad, sino también conocer su recuperación desde la pedagogía de Antonio Fava, como una técnica comprendida dentro de la naturaleza del actor, la cual solo necesita ser ejecutada y liberada dentro del proceso creativo y así permitir que se ahonde para fines de elaborar presentaciones equipadas con propuestas innovadoras y singulares.

This thesis explores women’s writing and its place in the formation of female film culture in the British silent cinema era. The project focuses upon women’s literary engagement with silent cinema as generative of a female film culture, looking at materials such as fan letters, fan magazines, popular novels, short story papers, novelizations, critical journals and newspaper criticism. Exploring this diverse range of women’s cinema writing, the thesis seeks to make an original contribution to feminist film historiography. Focusing upon the mediations between different kinds of women’s cinema writing, the thesis poses key questions about how the feminist film historian weights original sources in the reclamation of silent female film culture, relative to the varying degrees of cultural authority with which different women commentated upon, reflected upon, and creatively responded to film culture. The thesis moves away from conceptualization of cinema audiences and reception practices based upon textual readings. Instead, the thesis focuses upon evidence of women’s original accounts of their cinemagoing practices (fan letters) and their critical (newspaper and journal criticism) and creative (fiction writers) responses to cinema’s place in women’s everyday lives. Balancing original archival research with multiple overarching methodological frameworks—drawing upon fan theory, feminist reception theory, audience studies, social history and cultural studies—the thesis is attentive to the diversity of women’s experiences of cinema culture, and the literary conduits through which they channeled these experiences. Shifting the recent focus in feminist silent film historiography away from the reclamation of lost filmmaking female pioneers and towards lost female audiences, the thesis thus constructs a nationally specific account of British women’s silent era cinema culture.

Esta dissertação tem como objeto de estudo a elaboração do conceito, \"movimento-imagem-ideia\", desenvolvido no percurso de uma prática de improvisação. Iniciada no teatro, por meio dos aprendizados do jogo teatral, do jogo das máscaras, como a commedia dell\'arte e o palhaço, encontra a dança e as abordagens somáticas, ampliando-se e oferecendo estrutura à autonomia do intérprete improvisacional. As pesquisas cênicas que constituíram caminho e estabelecimento dessa conceituação, analisadas neste trabalho, têm por foco a improvisação e a máscara de A Troupe de Atmosfera Nômade; as improvisações em tempo real, diante do público, da Cia. Nova Dança 4; e a estrutura pré-fixada na dança, em Ladies, da inocência à crueldade, com possibilidades de rupturas improvisacionais. / This dissertation investigates the elaboration of a concept, \"movementimage- idea\", developed during an improvisation practice. When this improvisation - which started in the theatre with the use of theatre games, mask games, such as commedia dell\'arte and clowns - meets dance and somatic approaches, it is amplified, now offering structure to the autonomy of the improvisational actor. Previous research on performing arts that have paved a path to the establishment of the concept analyzed here focus on A Troupe de Atmosfera Nômade\'s use of improvisation and masks; Cia Nova Dança 4\'s real time improvisation in front of an audience; and the structure prefixed on dancing, in Ladies, from innocence to cruelty, with possible improvisational ruptures.

自二十世紀的第三次工業革命(原子能、計算機、與空間技術)以來，由科技帶動全世界半個世紀的進步。在1950至1980年代，企業利用經濟規模提昇產業效率蔚為顯學。90年代以後，人類各項生活基本需求早已被滿足無虞。此時，創新且差異化的營運模式（Business Model）成了企業存在的必要條件。理論上，消費者的需求無所不在，各產業的產品與服務亦無奇不有，而且每個企業更有其賴以生存的特點與優勢，因而適合個別企業發展的營運模式理應也有不少的選項。若果真如此，何以許多企業在一次又一次的競爭中被殘酷地淘汰？而存活的企業中，亦仍有不少在生存與競爭的大海裡掙扎，試圖脫困。 本研究擬由＂策略＂、＂創新＂與＂營運模式＂等三個主題出發，探討國內外學者所提出的觀念與方法，嘗試從中找出其關聯性與一套整合的建構模型，並藉由個人電腦產業中的主要企業的成長歷史來驗證此建構模型。希望能幫助產業找出一個系統性的方法來思考、建構並檢驗其策略與創新營運模式。 本研究將針對個案公司進行次級資料的整理及訪談部份個案公司的中高階經理人。在整理三個國際知名的個人電腦廠商一共四個個案的次級資料的過程以及從個案經理人的訪談中發現，套用本研究的＂策略與創新營運模式＂建構模型，可以用清晰簡單的方式描繪看似複雜的策略及其營運模式，此方法有利於理解企業的策略與執行脈絡。因此，我們也期待企業可以運用這一套完整的建構模型方法來引導、推演、架構、驗證、檢討並修正其未來的策略方向與營運模式。如此，企業將更有機會找到好的營運模式。當時空改變時，也較有機會掌握先機，擬定下一個因應步驟。

The thesis affirms the relevance of "Theatre for Young Audiences" as a valid and distinctive genre; a performance genre that should entertain, educate and provide meaning in terms of its creative interaction with personal, social, artistic and cultural issues. The practice of playwrighting is removed from the assumption that it relies exclusively on inspiration, intuition and spontaneity; it is placed within a creative, experiential and discursive mode in which dramatic, theatrical, performance and structural issues can be researched, analysed and evaluated culminating in the crafting, making and presentation of innovative and challenging theatre. The research component of the thesis attempts to identify the social and moral responsibility of the playwright writing for young audiences. It is asserted that knowledge about the maturation of young people is crucial in the creative processes of writing plays and making theatre. The second chapter in Part One of the thesis, asserts that knowledge about the physical, emotional and intellectual maturation of the intended audience should clearly impact on the delineation of plot, action, character, language, audience participation, ethics and morality. The thesis clearly identifies the importance of this knowledge for the Arts Educator. However, "Theatre for Young Audiences" does not function solely in the realm of education. The thesis distinguishes this genre from those of "Theatre-in-Education" and "Drama-in-Education". The thesis firmly supports this distinction and affirms the status of "Theatre for Young Audiences" as a performing art. This argument is given further credence by the creative interaction of original scripts with the "living tradition" of the Commedia dell' Arte. The Commedia dell' Arte is examined from an historical perspective; pertinent features are addressed, selected, utilised and transformed into a dynamic theatrical experience for young audiences in contemporary South Africa. The Commedia dell' Arte serves as a theatrical model and becomes a creative device for further and renewed innovation. The inclusion of three original plays in Appendices 1, 2 and 3, plus numerous references to selected, original texts and performances provide an illustration of the concept that playwrighting for young people can effectively and imaginatively transpose theoretical inquiry into imaginative and challenging theatre experience. The thesis attempts to utilise a clear conceptual basis for the development of argument - the educational and psychological perspectives provide a foundation for ideas and critical writing. The theatre heritage becomes a catalyst for innovative and pertinent theatre that affirms the status, purpose and nature of "Theatre for Young Audiences" in contemporary South Africa. / Thesis (Ph.D.)-University of Natal, Durban, 1992.

En juillet 2007, la Cour suprême du Canada s’est prononcée pour la première fois sur un litige lié au commerce électronique et dont les faits sont nés au Québec. L’affaire est d’une grande banalité : un contrat de consommation conclu par la voie de l’internet donna lieu à un litige car le prix proposé par le commerçant était erroné. Dans ce jugement historique, la Cour suprême a renversé les décisions des cours inférieures et est allée dans la direction contraire d’une modification législative adoptée le lendemain des auditions à la Cour, qui ne s’appliquait pas au cas en l’espèce. Ce jugement a causé des débats non seulement sur ce que la Cour a dit, mais aussi quant à l’opportunité qui lui était offerte de clarifier plusieurs questions d’importance. Ce mémoire utilise l’affaire Dell comme fil conducteur de l’étude du contrat de cyberconsommation et traite aussi de certaines questions incidentes sur ce droit en constant changement. En premier lieu, nous étudions le contrat de cyberconsommation et ensuite nous examinons le fond de l’affaire, une question qui n’a d’ailleurs pas encore reçu une analyse judiciaire. Dans la dernière partie, nous faisons une analyse critique des questions juridiques traitées par la Cour suprême. Nous concluons en remarquant que la Cour a perdu une occasion unique de clarifier certaines incongruïtés du droit de la cyberconsommation. / In July 2007, the Supreme Court of Canada ruled for the first time in an electronic commerce dispute in Quebec. The case is very ordinary: a consumer contract concluded by means of the Internet gave rise to a dispute because of a pricing error. In this landmark decision, the Supreme Court overturned the decisions of lower courts and went in the opposite direction of a legislative amendment adopted in the wake of the Court hearings, which did not apply in this case. This ruling has caused debate not only on what the Court said, but also the opportunities it had to clarify several important issues. This thesis uses the Dell case as a backdrop for the study of cyberconsumer contract and also covers certain incidental questions on this constantly changing law. First, we study the law applicable to consumer contracts. Secondly, we look to the merits of the case, a question which has indeed not yet received legal analysis. In the third part, we address a critical analysis of legal issues dealt with by the Supreme Court. We conclude by noting that the Court has lost a unique opportunity to clarify some inconsistencies in the law of cybercommerce.

Thesis (M.T.S.C.)--Miami University, Dept. of English, 2003. / Title from first page of PDF document. Includes bibliographical references (p. 105).

Made available in DSpace on 2010-04-20T20:20:19Z (GMT). No. of bitstreams: 1 59969.pdf: 1274743 bytes, checksum: f4be6ad02364c82dc24fb23cd5199c58 (MD5) Previous issue date: 2006-09-21T00:00:00Z / O propósito principal deste trabalho foi avaliar como as competências centrais de Dell Inc., que formam a base de sua vantagem competitiva, contribuem ou não para a iniciativa da empresa de ingressar no segmento de prestação de serviços, na indústria da Tecnologia da Informação. Para identificar as competências centrais da Dell Inc. foram utilizados os critérios propostos na teoria Resource Based Model.