The new situation of globalisation brings to mind that artistic material generally is a limited repertoire of signs. This material defines the artistic world; it encompasses an interpretation of the world rooted in the artist’s regional culture. This situation therefore requires »possibilities of approaching the Other and the Self for which there are not any patterns yet«, as Kuno Lorenz writes. The alienation of the Self and the full identification with the Other may form intermediate stages of this process. My music theatre work Chief Joseph (2001-2003) is largely based on the theme of a confrontation between Self and Other. This theme is approached from a diversity of angles: its different forms, its conflicts, its creative impulses, its disastrous consequences and the utopia of its success. The example for this confrontion used in my opera – the wars between European settlers and aboriginal Indians in North America – is especially loaded with cliché-like valuations in our collective memory. The music does not reflect the theme »Self and Other« by way of polystylicism or quotations of »exotic« material. Rather, six types of scenes are established, each of which relates to a different concept of musical time – a reflection of the author’s observation that cultural differences often can be perceived less in surface forms, but rather in the ways cultures conceive of or construct time. These scene types, moreover, show parallels with Fritz Mauthner’s attempt to categorise language as three »images of the world«: the »Leerszenen« [empty scenes] which are grounded in silence coincide with Mauthner’s type »adjectival language«, the »Klagen« [laments] which concentrate on single constellations of intervals or pitches parallel Mauthner’s »substantival language«, the instable, floating »Recitative« [recitatives] hint at Mauthner’s »verbal language«, while the other scene types (»Indian Songs« and ensemble scenes including »Councils«) in Mauthner’s system would appear as mixed forms. A key position is taken by the scene-type »Rotationen« [rotations], with one rotation occurring in each of the three acts. They form a system on their own, remaining independent of the dramatic action and try to suggest an exterritorial perspective on the theme »Self and Other«.

O objetivo principal de nosso trabalho é descrever e analisar criticamente o núcleo da teoria da gastrea de Ernst Haeckel. Ele gira em torno de duas noções principais: forma gastrular e metazoário. A teoria da gastrea é um conjunto de formulações que visa estabelecer uma definição de metazoário a partir da noção de forma gastrular. O argumento central da teoria da gastrea articula essas duas noções para organizar a partir de estudos de embriologia comparativa uma visão geral da história evolutiva do reino animal. / The main goal of our work is to describe and critically analyze the core of the gastrea theory of Ernst Haeckel. It centers around two main notions: gastrula form and metazoan. The gastrea theory is a set of formulations designed to establish a definition of metazoan from the notion of gastrula form. The central argument of the gastrea theory articulates these two notions to organize from studies of comparative embryology an overview of evolutionary history of the animal kingdom.

The dissertation is dedicated to the under-researched subject of the official sculpture in the DDR and ČSR in the time-frame 1948-1968. By evaluating the material on a broad background of the art historical, historical, cultural and ideological determinants, the dissertation endeavour to provide an accurate insight into the internal processes of the cultural machinery of the Socialist states with regard to sculpture and sculptors. The comparative character of the dissertation contributes to the understanding of the critical questions of art historical research of the period - such as the (in)authenticity of the local varieties of Socialist Realism and relatedness to the SSSR Socrealism, dates of the Socrealism existence, engagement of modernist sculptors, principles of the state/artist relationship or the second life of the Socrealist sculpture.

O objetivo principal de nosso trabalho é descrever e analisar criticamente o núcleo da teoria da gastrea de Ernst Haeckel. Ele gira em torno de duas noções principais: forma gastrular e metazoário. A teoria da gastrea é um conjunto de formulações que visa estabelecer uma definição de metazoário a partir da noção de forma gastrular. O argumento central da teoria da gastrea articula essas duas noções para organizar a partir de estudos de embriologia comparativa uma visão geral da história evolutiva do reino animal. / The main goal of our work is to describe and critically analyze the core of the gastrea theory of Ernst Haeckel. It centers around two main notions: gastrula form and metazoan. The gastrea theory is a set of formulations designed to establish a definition of metazoan from the notion of gastrula form. The central argument of the gastrea theory articulates these two notions to organize from studies of comparative embryology an overview of evolutionary history of the animal kingdom.

Le but de cette thèse est de calculer l'optimum d'un polynôme sur un ensemble semi-algébrique et les points où cet optimum est atteint. Pour atteindre cet objectif, nous combinons des méthodes de base de bord avec la hiérarchie de relaxation convexe de Lasserre afin de réduire la taille des matrices de moments dans les problèmes de programmation semi-définie positive (SDP). Afin de vérifier si le minimum est atteint, nous apportons un nouveau critère pour vérifier l'extension plate de Curto Fialkow utilisant des bases orthogonales. En combinant ces nouveaux résultats, nous fournissons un nouvel algorithme qui calcule l'optimum et les points minimiseurs. Nous décrivons plusieurs expérimentations et des applications dans différents domaines qui prouvent la performance de l'algorithme. Au niveau théorique nous prouvons aussi la convergence finie d'une hiérarchie SDP construite à partir d'un idéal de Karush-Kuhn-Tucker et ses conséquences dans des cas particuliers. Nous étudions aussi le cas particulier où les minimiseurs ne sont pas des points de KKT en utilisant la variété de Fritz-John. / The objective of this thesis is to compute the optimum of a polynomial on a closed basic semialgebraic set and the points where this optimum is reached. To achieve this goal we combine border basis method with Lasserre's hierarchy in order to reduce the size of the moment matrices in the SemiDefinite Programming (SDP) problems. In order to verify if the minimum is reached we describe a new criterion to verify the flat extension condition using border basis. Combining these new results we provide a new algorithm which computes the optimum and the minimizers points. We show several experimentations and some applications in different domains which prove the perfomance of the algorithm. Theorethically we also prove the finite convergence of a SDP hierarchie contructed from a Karush-Kuhn-Tucker ideal and its consequences in particular cases. We also solve the particular case where the minimizers are not KKT points using Fritz-John Variety.

Zugl.: Stuttgart, Univ., Diss., 2009

Over eight hundred years ago anonymous poets set the orally transmitted Nibelungen myth to parchment. This action started a trend of adapting the myth for contemporary audiences, a trend that has lasted since the High Middle Ages. Since then, the Nibelungen myth has become a sustaining element of the self-mythologization of German national identity. The problem, however, with adapting the Nibelungen myth for the purpose of creating a German identity, be it in the medieval epic, the Nibelungenlied, or Fritz Lang's 1924 film, Die Nibelungen, is that this model of identification is flawed – flawed because it consists of systematic binary divisions positing self-other dichotomies. What becomes evident is that in the adaptations of Nibelungen myth, the representations of alterity are contradictory and ambiguous, provoking the question: why is the Nibelungen myth an effective source from which one can project a national identity? / Graduate

Die Problematik der Darstellung eines Serienmörders in der Fiktion, liegt darin, daß es bereits bei der Konstruktion eines realen Serienmörders insofern Schwierigkeiten gibt, als daß er selbst sich als jemand der Realität übergeordnet betrachtet. Damit gestaltet sich die Porträtierung des fiktiven Gegenstückes anders herum und reflektiert die Identität des wahren Mörders. Dieses wird aufgezeigt anhand der fiktiven Figuren Hans Beckert aus Fritz Langs M – Eine Stadt sucht einen Mörder (1931), Jean-Baptiste Grenouille aus Patrick Süskinds Das Parfüm (1985) und Peter und Paul aus Michael Hanekes Film Funny Games (1997). Jeder dieser vier Mörder zeichnet sich dadurch aus willens zu sein sowohl körperliche als auch realitätseinschränkende Grenzen zu überschreiten. Das Morden steht dabei im Zentrum, dem wiederum eine Selbstkonstruktion zu Grunde liegt. Untermalt wird dies durch der Fiktion allein möglichen Ausstattung der Täter mit besonderen Fähigkeiten der Imagination die Realität zu entziehen.

Zugl.: Bielefeld, Universiẗat, Diss.

Orientadora: Profa. Dra. Maria Beatriz Fagundes / Dissertação (mestrado) - Universidade Federal do ABC, Programa De Pós-Graduação em Ensino, História, Filosofia das Ciências e Matemática, 2015. / Um dos problemas decorrentes no ensino de ciências no Brasil, em geral, ainda é a formação de cidadãos com dificuldades em articular os diversos saberes que foram trabalhados durante o longo processo de sua vida escolar. Como consequência os jovens apresentam dificuldades em compreender relações entre a cultura científica e a cultura social, levando-os muitas vezes a não conseguir refletir sobre os significados do conhecimento científico. Diante desse cenário um dos principais objetivos desse trabalho é o de refletir sobre o potencial de situações de ensino que podem ser trabalhadas em aulas de Física que visem a construção de uma cultura científica voltada à valorização de uma formação complexa. Em outras palavras, defendemos uma educação cientifica que promova nos jovens competências e autonomia de associar os saberes escolares, dando-lhes significados dentro de contexto social e cultural. Para alcançar esse objetivo os principais referenciais que fundamentam esse trabalho seguem os pressupostos teóricos do pensamento complexo proposto por Morin (2011) e do vetor epistemológico proposto por Bachelard (1978). A partir desses conceitos, apoiamo-nos nas críticas que ambos os autores fazem à concepção de educação como mera aquisição do conhecimento em um sistema fechado e na defesa de promover uma educação voltada ao desenvolvimento de um pensamento aberto e dinâmico. Para elaborar situações de ensino que contribuam para a educação Crítica, Complexa e Reflexiva (WATANABE, 2012), foi desenvolvida, em parceria com o GrECC ¿ Grupo de Ensino de Ciências e Complexidade - uma proposta de ensino que trata das questões socioambientais por meio dos conteúdos de Física. A partir das aulas originais realizou-se uma releitura da proposta à luz de reflexões sobre a construção do conhecimento científico como um processo marcado pelas incertezas e indeterminações. A releitura dessas aulas foi desenvolvida em uma escola pública com alunos de diferentes turmas do segundo ano do Ensino Médio. A partir dos resultados, nos quais é possível identificar que os estudantes passam a articular diferentes áreas do conhecimento na construção de seus argumentos diante da temática ambiental, observa-se que propostas de ensino visando uma formação voltada à ideia de complexidade na ciência, apresentam um bom resultado acerca de superar o paradigma da fragmentação e desarticulação dos saberes. / One of the problems arising in science teaching in Brazil, in general, is still training people struggling to articulate the diverse knowledge that were worked out during the long process of their school life. As a result young people have difficulties in understanding links between scientific culture and social culture, often failing to reflect on the meanings of scientific knowledge. In this scenery a major goal of this work is to reflect on the potential of teaching situations that can be worked in Physics classes aimed at building a scientific culture dedicated to the appreciation of a complex formation. In other words, we advocate a scientific education that promotes the youth skills and autonomy to associate the school knowledge, giving them meaning within social and cultural context. To achieve this objective the main benchmarks that underlie this work follow the theoretical assumptions of complex thinking proposed by Morin (1991) and epistemological vector proposed by Bachelard (1978). From these concepts, we support you in critical that both authors make the concept of education as simple acquisition of knowledge in closed system and advocacy to promote an education to the development of an open and dynamic thinking. To develop teaching situations that contribute to the formation of critical, reflective and complex, it was developed in partnership with the GrECC - Science Teaching Group and complexity- a proposal for a school that deals with environmental issues by means of Physical contents. From the original class carried out a proposal of reinterpretation in the light of reflections on the construction of scientific knowledge as a process marked by uncertainties and indeterminate. Rereading these classes it was developed in a public school with students from different second-year high school classes. From the results, where it is possible to identify which students spend articulate different areas of knowledge in building their arguments on the environmental theme, it seems that proposals for education aimed at training focused on the idea of complexity in science, have good potential to overcome the paradigm of fragmentation and disarticulation of knowledge.