O presente estudo trata das fotografias resultantes da expedição realizada pelo bávaro Christoph Albert Frisch (1840 1918), na extensão brasileira do rio Solimões a pedido da Casa de Leuzinger, ativa cidade do Rio de Janeiro durante o início da segunda metade do século XIX e interessada na comercialização de imagens do exótico e do longínquo para a venda, principalmente a viajantes estrangeiros. O objetivo deste trabalho foi a investigação de indícios, nas fotografias, de elementos do discurso colonial que enfatizam a inferioridade racial do outro por meio de estereótipos que fixam identidades e legitimam, apoiam-se e contribuem para a manutenção dessa dominação. Além disso, o presente trabalho pretende dimensionar as fotografias analisadas com o imaginário de hipérboles e riquezas que, desde os primeiros relatos de europeus sobre a Amazônia, direcionaram as representações sobre a ela. Tais representações reverberaram na Exposição Universal de Paris, em 1867, onde o Brasil apresentou-se como de fornecedor de matérias primas visando à atração de investimentos estrangeiros. Em nossa investigação, valemo-nos das fotografias como fonte principal, bem como o catálogo produzido pela Casa Leuzinger para acompanhar as fotografias de Frisch. / The present study deals with the photographs resulting from the expedition carried out by the Bavarian Christoph Albert Frisch (1840-1918) in the Brazilian extension of the Solimões River at the request of the Leuzinger House of photographies, an active city of Rio de Janeiro during the beginning of the second half of the 19th century. interested in commercializing images of the exotic and distant for sale, mainly to foreign travelers. The objective of this work was to investigate evidence in the photographs of elements of colonial discourse that emphasize the racial inferiority of the \"other\" through stereotypes that establish identities and legitimize, support and contribute to the maintenance of domination. In addition, the present work intends to scale the analyzed photographs with the imagery of hyperboles and riches that, since the first reports of Europeans about the Amazon, directed the representations about it. Such representations reverberated at the Universal Exhibition in Paris in 1867, where Brazil presented itself as a supplier of raw materials to attract foreign investment. In our investigation, we use the photographs as the main source, as well as the catalog produced by Leuzinger House of photographies to accompany the photographs of Frisch

Doctor of Philosophy / Department of Mechanical and Nuclear Engineering / Douglas S. McGregor / Cadmium Zinc Telluride (CdZnTe) has been used for many applications, such as medical imaging and astrophysics, since its first demonstration as a room temperature operating gamma-ray detector in 1992. The wide band gap, high effective Z-number and high resistivity of CdZnTe make it a good candidate for use as a room temperature operated detector with good absorption efficiency, while maintaining a low bulk leakage current at high electric fields. Nevertheless, the low mobility lifetime products mu tau of holes in CdZnTe makes detectors position sensitive, unless advanced detector designs are employed. Among those designs is the Frisch collar technology which turns the detector into a single carrier device by negating the degrading effects of hole trapping and low mobility. The superiority of the Frisch collar technology over other methods include its inexpensive associated electronics and straight forward fabrication process. The main objective of this research study is to develop a large volume gamma-ray detector with an array of individual CdZnTe Frisch collar gamma-ray spectrometers while still using a single readout. Several goals were to be accomplished prior to the main objective. One goal is to develop a reliable low cost method to fabricate bulk CdZnTe crystals into Frisch collar detectors. Another goal was to investigate the limitations of crystal geometry and the crystal electrical properties to obtain the best spectroscopic performance from CdZnTe Frisch collar detectors. Still another goal was to study all other external parameters such as the collar length, anode to cathode ratio, the insulator thickness and applied voltage on performance of CdZnTe Frisch collar detectors. The final goal was to construct the CdZnTe Frisch collar devices into an array and to show its feasibility of being used for large volume detector.

No description available.

This MA thesis is a comparative study of the novels of Luigi Pirandello (Agrigento 1867--Rome 1936) and Max Frisch (Zurich 1911--1991). Six texts are discussed: Pirandello's Il fu Mattia Pascal (1904), Quaderni di Serafino Gubbio operatore (1915), and Uno, nessuno e centomila (1925--6); and Frisch's Stiller (1954), Homo faber (1957), and Mein Name sei Gantenbein (1964). The comparison highlights the great similarities between Pirandello's and Frisch's treatment of the theme of identity as well as some important (and mainly structural) differences in their novelistic works. The analysis of the three pairs of novels shows the developments in narrative structure and the characteristic change of attitude towards the question of identity construction that took place from early-modernism to postmodernism.

Zugl.: Heidelberg, Univ., Magisterarbeit

Thesis (doctoral)--Westfälische Wilhelms-Universität zu Münster, 1981. / Vita. Includes bibliographical references (p. 237-244).

Thesis (doctoral)--Westfälische Wilhelms-Universität zu Münster, 1981. / Vita. Includes bibliographical references (p. 237-244).

The writing of Max Frisch and especially Andorra is dealing with compesation with past and attitude, with we are having towards history and deeds that were done. If we are able of selfreflection not just as a nation, but also in personal lifes. Another level of the story is is unconformity and differency of a main character Andri. Frisch is writing about a land called Andorra, but reader cannot avoid similarity with his birthland Switzerland, as I clearly see the resemblance in ,,greatness" of Czech republic. This work is nothing but reflection of todays situation in society and its direction, as well as direction of Theater (the actor and spectator of today, relationship between them, pretending vs. authenticity) and culture in our country as well as in german speaking countries.

Because of his Swiss origin and background, Max Frisch has personally experienced the confinements imposed upon the individual by the expectations and demands of society as well as of a national government. He treats the theme of confinement in many of his works, but especially in his prose. In agreement with the spirit of his generation, Frisch rejects the claim of society upon the individual to conform or to become an integral part of a collective. All human relations which impose upon his way of thinking or acting are rejected and regarded as "claims of imprisonment." Marriage, class consciousness and government are three forms of imprisonment which serve and enforce the good order of society, but which also obstruct and almost prevent the possibility for the individual to develop his potential. This point of view as such is not new in the literature of the twentieth century; however, Frisch does not treat the subject of individualization in an aggressive manner, as do many other contemporary writers. On the contrary, he sees the solution to the problem of confinement in the defensive attitude of the individual who recognizes and accepts reality, whatever this recognition and acceptance may imply. Frisch's three heroes try to escape the threefold prison mentioned above: Stiller denies his own personality and chooses' a new "I"; Homo Faber elevates technique and progress and depends upon the power of cybernetics to guide his actions; Gantenbein tries to escape reality by playacting different roles or fantasized stories and situations: "ich stelle mir vor..... (I imagine....). All three fail in their attempt to escape and return to their imprisonment, only to recognize too late that, "Urn die Welt zu ertragen, um stand zu halten sich selbst, um am Leben zu bleiben" (in order to suffer the world, to suffer oneself, in order to stay alive) one should face reality in a defensive manner. If reality does not measure up to one's ideals or expectations, the responsibility for change rests upon the shoulders of the individual, each at his own place and within his abilities. In this thesis I examine the reasons for the breakdown in the relations of these three heroes with their environment and compare and contrast their behavior with one another. This is preceded by an attempt to establish the reason why Frisch preoccupies himself so intensely with the theme of confinement and the role which his Swiss background plays in his ideology. The following three novels were chosen for this study: Stiller, Roman, Fischer Bucherei, Frankfurt a/Main und Hamburg, 1970; Homo Faber, Ein Bericht, Suhrkamp Verlag, Frankfurt a/Main, 1969; and Mein Name sei Gantenbein, Roman, Fischer Bucherei, Frankfurt a/Main and Hamburg, 1968. Besides these three novels extensive references are made to Frisch's diary, Tagebuch 1946-1949, Suhrkamp Verlag, Frankfurt a/Main, 1965.

No description available.