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Исследование посвящено проблеме определения степени влияния искусства романтизма конца XVIII – первой половины XIX в. на научную картину естественной истории Земли, отразившейся в интеллектуальном наследии Уильяма Баклэнда и его коллег-ученых. Материалы частной естественно-научной коллекции исследователя – окаменелости, образцы геологических пород и минералы – как акторы воплотили в себе многие идеи романтизма, которые посредством публикаций вошли в научный дискурс. Взаимосвязи между наукой и искусством, находящиеся в фокусе данной работы, становятся, таким образом, следами действий рассматриваемых материалов и позволяют представить естественную историю как сложную систему, включающую вещественные источники, научные публикации, отдельных исследователей, научные институции, а также идеи и образы художественной культуры рассматриваемого времени, произведения искусства и коммуникации между этими элементами. / The research is devoted to a problem of identifying the degree of influence the romanticism art of the end of 18th – the first half of 19th century had on scientific understanding of the natural history. This impact had reflected on the intellectual legacy of William Buckland and his fellow scientists. The collectibles from the researcher’s private natural history collection, such as fossils, specimens of rock and minerals, embodied many ideas of romanticism.

Denna uppsats har analyserat gestaltningen av det feminina som skräckinjagande i de två gotik- och skräckromanerna Bunny (2020) av Mona Awad och Cackle (2022) av Rachel Harrison. Den metod som har använts har varit en textnära läsning av novellerna och den teori som analysen har utgått ifrån har huvudsakligen varit Maria Margareta Österholms avhandling Ett flicklaboratorium i valda bitar – Skeva flickor i svenskspråkigprosa från 1980 till 2005 (2012) som behandlar Mary Russos begrepp gurlesken och dess olika former, Sandra M. Gilbert och Susan Gubars teori om den internaliserade manliga blicken i deras bok The madwoman in the attic, The woman writer and the nineteenth-century literary imagination (1979), och Yvonne Lefflers teori om skräckberättelsens förmåga att väcka känslor hos läsaren i hennes bok Horror As Pleasure (2000). Syftet var att undersöka hur romanerna förhåller sig till sammanflätningen av det skräckinjagande och det feminina. Analysen har visat att den internaliserade och objektifierande blicken på kvinnorna är en viktig del i hur de skräckinjagande elementen framställs både groteska och hotfulla – särskilt vid framställningen av det feminina och kvinnomonster. Jag behandlar i den avslutande diskussionen hur det feminint monstruösa i dessa två romaner har förskjutits till ett mittemellanförskap som förhåller sig till förmågan hos publiken att konceptualisera situationerna. / This thesis aims to analyze the figuration of the feminine as something horrifying in the two horror novels Bunny (2020) by Mona Awad and Cackle (2022) by Rachel Harrison. The method is a close reading of the novels and the main theory is based on Maria Margareta Österholms dissertation Ett flicklaboratorium i valda bitar – Skeva flickor i svenskspråkigprosa från 1980 till 2005 (2012), in which she investigates Mary Russo's concept of the gurlesque, Sandra M. Gilbert and Susan Gubar’s theory about the internalized male gaze from their book The madwoman in the attic, The woman writer and the nineteenth-century literary imagination (1979), and Yvonne Leffler’s study Horror As Pleasure (2000), about the aesthetic premises of the horror story and its ability to transform unpleasant feelings into pleasurable horror and aesthetic enjoyment. My thesis aims to investigate how the relationship between the horrifying and the feminine is intertwined in the novels. The analysis has shown that the internalized and objectifying gaze has an important part in the grotesque and threatening aesthetics of the horror story – especially in the depiction of the feminine and female monsters. I argue that the feminine monstrous in these two novels has made a shift into an” in-between-relationship” which behaves differently depending on the audience's ability to conceptualize the situations that arise in the novels.

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This dissertation presents an interdisciplinary investigation into the construction of gender-transgressive supernatural voices in Gothic media, drawing on works in queer and feminist theory, voice studies, and performance studies. Spanning two centuries and case studies including Gian Carlo Menotti’s The Medium, art and popular song including Franz Schubert’s “Erlkönig” and Kate Bush’s “Leave It Open,” literary works by Charles Brockden Brown and Vernon Lee, and the Spiritualist séances of Louisa Ann Meurig Morris and Jesse Shepard, I argue that these gender-transgressive voices offer a striking alternative theorization of the “disembodied voice” that, in direct contrast to techno-determinist narratives, is created in performance through unsettling the voice-body-gender relationship. I locate the origins of the connection between gender-transgressive and supernatural or disembodied voices in the early nineteenth century, where rapidly changing ideas about of gender and the body collided with a parallel retheorization of voice as both an important locus for understanding social difference and a site of identity formation. The Gothic became an important mode to explore and destabilize the relationship between voice, body, and gender, particularly for voices that did not conform to increasingly rigid gender expectations; high male and low female voices are consistently used to mark alterity in Gothic media across genres, as are other queer-coded vocal acts. This context sets the stage for what I term performed disembodiment; moments in which a voice is understood as being disembodied, despite the visible presence of the vocalizer. My work argues that some forms disembodiment can be produced not by making a performer’s body absent, but precisely through marking the body’s presence and setting the performing body at odds with the voice through gender-transgressive techniques. One of the primary methods of effecting this performed disembodiment is through “cross-gender vocalization,” wherein pitch, timbre, and articulation are manipulated resulting in, for example, female bodies that appear to produce “male” voices. My dissertation thus argues that “disembodiment” can be produced not only via technologies but through contextual strategies of performance, involving both performers and audiences in the creation of the disembodied voice

Approved for public release; distribution in unlimited. / In a world in which the use of violence continues to be viewed as an acceptable method to pursue political goals, the use of terrorism as a political method will also continue. And within that world, in the coming years, hostage rescues and other direct actions to combat terrorism are likely to be the most frequent type of missions conducted by state special operations forces, including those of Romania. This thesis explores the importance of integrating three types of decisions-informational, structural, and operational-for the successful outcome of special operations. The thesis analyzes four operations, conducted by American, Belgian, and Israeli forces, and the circumstances of their positive or negative outcomes. The historical cases show that, if any one of the three types of decisions was not integrated with the other two, the operation was doomed. The analysis also reveals that the integration of decision-making can best be realized by using interagency coordination mechanisms and a collocation of decision-makers, especially for situations in which command arrangements are highly complicated or unclear. In light of the findings in the four case studies, an analysis of the Romanian Special Operations Forces reveals that its overall structure does not favor either immediate-response or high-complexity missions. The thesis concludes with a number of recommendations for short- and long-term mitigation of current command and control problems faced by Romanian Special Operations Forces. / Captain, Romanian Army

The ambitious late Gothic vaults created in the 15th and 16th centuries with their complex shape and complicated meshes of ribs soaring along spatial curves, were extremely demanding in their geometric design. This regards both the design of the whole structure, as also the design specifications for the single stone elements which were prefabricated and fit together on the building site with astonishing precision. In consequence, the particular character of these structures and their geometric features are intrinsically linked to the design routines and the geometric concepts used by the Master Builders. At present, these procedures and methods are not well understood, because they are not documented in original drawings, and because they differ in principle from the modern practice. In consequence, necessary works of repairing and restoring cannot recur to any information related to the original design. Moreover, understanding the characteristics of information transfer from the design to the execution, would cast a light on the information society in which these constructions were created. In several case studies, the geometric concepts of the intricate spatial curve systems of late Gothic vaults have been clarified on the basis of detailed surveys and geometrical analyses carried out on the built objects. On this background, also the existing sources such as historical design treatises could be re-interpreted. In a collaboration between the research group working on the design principles of late Gothic vaults at the Technische Universität Dresden, and expert stone masons specialized on historical working techniques and practical stereotomy at the Cathedral Workshop Œuvre Notre-Dame de Strasbourg, the phases of the design process, such as full-scale drawings on the tracing floor and the production of full-scale models and samples of ribs and keystones, are currently investigated in practical experiments. As result, we propose a complete picture of the design process from the general concept to the setting-out of the single stone elements. Further, we are able to drive general considerations on the Late Medieval and Early Modern design practice for stone structures and trace a new interpretation of the early treatises of stereotomy.

This thesis looks into the analysis of iconography of the northern lateral portal of the Church of Our Lady before Týn. For this purpose this thesis summarizes the most important historiographical, Artististic Science and source literature related to this relic. Based on researched iconographic analysis this thesis aids to propose all possible solutions iconographic programme which could have been intended for this thesis. Based on the evaluation of literature, sources and on the formal analysis principal the objective of this thesis is to specify significantly problematic dating range (approximately from mid. 13th century up to late 1450) to shorter period of possible origin of the artwork there are also evaluated all available restauration reports and construction historical surveys related to the inspected relic.