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Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 71 to 75 of 75 (0.018 seconds)Spelling suggestions: "subject:"halle"" "subject:"valle""
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Intelligence and the Uprising in East Germany 1953: An Example of Political IntelligenceCollins, Steven Morris 08 1900 (has links)
In 1950, the leader of the German Democratic Republic (East Germany), Walter Ulbricht, began a policy of connecting foreign threats with domestic policy failures as if the two were the same, and as if he was not responsible for either. This absolved him of blame for those failures and allowed Ulbricht to define his internal enemies as agents of the western powers. He used the state's secret police force, known as the Stasi, to provide the information that supported his claims of western obstructionism and to intimidate his adversaries. This resulted in a politicization of intelligence whereby Stasi officers slanted information so that it conformed to Ulbricht's doctrine of western interference. Comparisons made of eyewitness' statements to the morale reports filed by Stasi agents show that there was a difference between how the East German worker felt and the way the Stasi portrayed their attitudes to the politburo. Consequently, prior to June 17, 1953, when labor strikes inspired a million East German citizens to rise up against Ulbricht's oppressive government, the politicization of Stasi intelligence caused information over labor unrest to be unreliable at a time of increasing risk to the regime. This study shows the extent of Ulbricht's politicization of Stasi intelligence and its effect on the June 1953 uprising in the German Democratic Republic.
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| 72 |
'n Geskiedenis van die kerklied in die Nederduitse Gereformeerde KerkFourie, Francois Paul. 01 1900 (has links)
Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die
Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en
kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die
"nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing.
Die brandende vraag wat "reg" of
hoegenaamd standpunt ingeneem moet
perspektief (die Woord van God)
"verkeerd" is en of daar
word, word uit 'n Bybelse
beantwoord, gegrond op die
beginsel van die Reformasie: ecclessia reformata semper
reformandum.
Die geskiedenis van die lied van die vroee kerk tot by die
Ref ormasie word kursories behandel. Die lied wat in die
geskiedenis uit die mond van die gelowige, die lidmaat gehaal is
en aan die priesters oorgelaat is, word deur Luther weer
teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn,
tsv die Ref ormasie slagspreuk, in sommige aspekte van sy
beskouing van die kerklied, steeds 'n Roomse standpunt bly
handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs
sgn "heilige" liedere, direk uit die Bybel, musiek sender
instrumentale begeleiding, kon gebruik word.
Saam met ons voorsate, wat van oa Nederland gekom het, het ons
liederebundels gekom. Van Riebeeck het met die Datheense Psalter
(die amptelike Nederlandse kerklied) wat later deur die 1805-
"Evangelische Gezangen" aangevul is, geland. Agv die "cuius
regio eius religio"-beginsel het die Hollandse kerklied voorkeur
bo Lutherse ea kerkliedere gekry.
Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom
is, het gelei tot misnoee in Colesberg en later in Rustenburg,
wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische
Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel
van die Trekkers, kommandolede (Anglo-Boereoorlog) en die
krygsgevangenes in die konsentrasie- en krygsgevangenekampe.
In die kampe was daar baie tyd vir die sing en skep van gewyde
liedere.
Nie-goedgekeurde bundels en die vertaling van die Bybel in
Afrikaans (1933) het aanleiding gegee dat liederebundels hersien
moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die
76/78-Psalmboek en die 1978 Gesangboek was die resultaat.
'n Dualistiese standpunt, dat sekere liedere geskik is vir
kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984-
Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM
en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie'
bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die
Psalm- en Gesangboek gebruik mag word.
Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe
fase van die kerklied in SA in as die Ned Herv Kerk ook begin om
"nuwe" liedere op die proef te stel.
Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare
evaluerings oor die kerklied gedoen.
Die "ou", die "nuwe" en die kontemporere kerklied (veral met
verwysing na die NG Kerk) m6et almal plek kry in die musiekskat
van die 21ste eeu. / The hymn and musical instruments play a cardinal role in
the Bible. The Song of Moses (Ex 15) is used in Psalms
and in Revelation 15:3.
The question with regards to what is acceptable and
unacceptable and whether it is at all imperative to take
a defendant stance, is clarified from a Biblical point of
view. It is based on the Reformation-principle: ecclesia
reformata semper reformandum.
The History of the 'Song' Hymn in the early church up to
the Reformation is shortly mentioned. The "songs"
(Hymns) of the believer were in the course of history
transferred to the priests and were only in the
Reformation once again bestowed on the believer by
Luther. It would appear that Calvin, despite the slogans
of the Reformation continued to postulate a Catholic
point of view with regard to the Hymns and that the
Reformation was restricted to the early church. Only socalled
holy songs, direct from the Bible and songs
without instruments/accompaniment could be usedo
The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was
Van Riebeeck who brought in the ''Datheense Psalter'' .
Later, the 1805 - "Evangelishe Gezangen" were added to
it. Owing to the cuius regio eius religio-principle, the
Dutch Church Hymn was given preverance.
Although heartily welcomed, the "1805-Evangelische
Gezangen" lead to a split in the Church. The
"Evangelische Gezangen" (Hymns), and the Psalmbook were
used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer
war) and in the Consentration and prisoners of war camps.
In the camps was ample time for singing and composing new
sacred songs.
'Non-approved' song books and the translation of the
Bible in Afrikaans (1933) gave rise to the birth of
various Hymn and Psalter books. Youth Praise and Worship
books were also published.
The Dutch Reformed Church
opinion that certain songs
in the formal Church
inappropriate and should
gatherings.
struggles with the dualistic
are suitable for worshipping
service while other are
only be used at informal / Theology / D.Th. (Theology)
|
| 73 |
'n Geskiedenis van die kerklied in die Nederduitse Gereformeerde KerkFourie, Francois Paul 01 1900 (has links)
Text in Afrikaans / Die lied en musiekinstrumente speel 'n baie belangrike rol in die
Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en
kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die
"nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing.
Die brandende vraag wat "reg" of
hoegenaamd standpunt ingeneem moet
perspektief (die Woord van God)
"verkeerd" is en of daar
word, word uit 'n Bybelse
beantwoord, gegrond op die
beginsel van die Reformasie: ecclessia reformata semper
reformandum.
Die geskiedenis van die lied van die vroee kerk tot by die
Ref ormasie word kursories behandel. Die lied wat in die
geskiedenis uit die mond van die gelowige, die lidmaat gehaal is
en aan die priesters oorgelaat is, word deur Luther weer
teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn,
tsv die Ref ormasie slagspreuk, in sommige aspekte van sy
beskouing van die kerklied, steeds 'n Roomse standpunt bly
handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs
sgn "heilige" liedere, direk uit die Bybel, musiek sender
instrumentale begeleiding, kon gebruik word.
Saam met ons voorsate, wat van oa Nederland gekom het, het ons
liederebundels gekom. Van Riebeeck het met die Datheense Psalter
(die amptelike Nederlandse kerklied) wat later deur die 1805-
"Evangelische Gezangen" aangevul is, geland. Agv die "cuius
regio eius religio"-beginsel het die Hollandse kerklied voorkeur
bo Lutherse ea kerkliedere gekry.
Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom
is, het gelei tot misnoee in Colesberg en later in Rustenburg,
wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische
Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel
van die Trekkers, kommandolede (Anglo-Boereoorlog) en die
krygsgevangenes in die konsentrasie- en krygsgevangenekampe.
In die kampe was daar baie tyd vir die sing en skep van gewyde
liedere.
Nie-goedgekeurde bundels en die vertaling van die Bybel in
Afrikaans (1933) het aanleiding gegee dat liederebundels hersien
moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die
76/78-Psalmboek en die 1978 Gesangboek was die resultaat.
'n Dualistiese standpunt, dat sekere liedere geskik is vir
kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984-
Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM
en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie'
bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die
Psalm- en Gesangboek gebruik mag word.
Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe
fase van die kerklied in SA in as die Ned Herv Kerk ook begin om
"nuwe" liedere op die proef te stel.
Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare
evaluerings oor die kerklied gedoen.
Die "ou", die "nuwe" en die kontemporere kerklied (veral met
verwysing na die NG Kerk) m6et almal plek kry in die musiekskat
van die 21ste eeu. / The hymn and musical instruments play a cardinal role in
the Bible. The Song of Moses (Ex 15) is used in Psalms
and in Revelation 15:3.
The question with regards to what is acceptable and
unacceptable and whether it is at all imperative to take
a defendant stance, is clarified from a Biblical point of
view. It is based on the Reformation-principle: ecclesia
reformata semper reformandum.
The History of the 'Song' Hymn in the early church up to
the Reformation is shortly mentioned. The "songs"
(Hymns) of the believer were in the course of history
transferred to the priests and were only in the
Reformation once again bestowed on the believer by
Luther. It would appear that Calvin, despite the slogans
of the Reformation continued to postulate a Catholic
point of view with regard to the Hymns and that the
Reformation was restricted to the early church. Only socalled
holy songs, direct from the Bible and songs
without instruments/accompaniment could be usedo
The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was
Van Riebeeck who brought in the ''Datheense Psalter'' .
Later, the 1805 - "Evangelishe Gezangen" were added to
it. Owing to the cuius regio eius religio-principle, the
Dutch Church Hymn was given preverance.
Although heartily welcomed, the "1805-Evangelische
Gezangen" lead to a split in the Church. The
"Evangelische Gezangen" (Hymns), and the Psalmbook were
used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer
war) and in the Consentration and prisoners of war camps.
In the camps was ample time for singing and composing new
sacred songs.
'Non-approved' song books and the translation of the
Bible in Afrikaans (1933) gave rise to the birth of
various Hymn and Psalter books. Youth Praise and Worship
books were also published.
The Dutch Reformed Church
opinion that certain songs
in the formal Church
inappropriate and should
gatherings.
struggles with the dualistic
are suitable for worshipping
service while other are
only be used at informal / Theology / D.Th. (Theology)
|
| 74 |
Nine Lives: A History of Cat Women, Subversive Femininity, and Transgressive Archetypes in FilmBarnett, Katrina 08 1900 (has links)
The intention of this thesis is to identify and analyze the cat woman archetype as a contemporary extension of the transgressive witch archetype, which rampantly appears over the course of cinema history, working as a signifier of a patriarchal society's fear of autonomous and subversive women. The character of Catwoman is the ultimate representation for this archetype on grounds of her visibility, longevity, and ability to return again and again. More importantly, Catwoman and her sisterhood of cat women work against male creators as a means of female empowerment through trickery. Within this thesis, key films of varying genres are drawn from throughout cinema history and analyzed in order to demonstrate the intertextual network of characters that make up the cat woman archetype, and the importance of the Catwoman character in her many forms.
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| 75 |
L’auteur au temps du recueil : repenser l’autorité et la singularité poétiques dans les premiers manuscrits à collections auctoriales de langue d’oïl (1100-1340).Stout, Julien 04 1900 (has links)
Cette thèse entend proposer une analyse originale du phénomène connu mais polémique que constitue l’introduction de la notion d’auteur dans la littérature de langue française au Moyen Âge. Il s’agira d’essayer de contribuer à repenser la signification poétique, culturelle et historique de ce moment particulier où l’auteur – c’est-à-dire l’attribution d’un texte ou d’une série de textes à un nom propre donné – s’est imposé pour la première fois comme un critère structurant et primordial dans la production et surtout la transmission des textes de langue française dans les manuscrits médiévaux. Usant du concept foucaldien de fonction-auteur, des théories de la réception et du paratexte, ainsi que de la « Nouvelle Codicologie », l’approche déployée ici aborde l’auteur en tant que construction textuelle et éditoriale signifiante au sein d’un corpus de recueils littéraires de langue d’oïl où la volonté de construire des figures d’auteurs par les éditeurs de ces ouvrages est à la fois claire et indiscutable. Partie à l’origine d’un examen systématique de la tradition manuscrite d’environ 320 noms de poètes de langue d’oïl actifs entre 1100 et 1340, l’analyse se concentre principalement sur 25 manuscrits contenant des collections auctoriales dédiées à 17 poètes, dont le nom est associé avec insistance à une série de textes copiés les uns à la suite des autres. Parmi ces auteurs, on trouve les célèbres Chrétien de Troyes, Rutebeuf et Adam de la Halle, mais aussi Philippe de Thaon, frère Angier, Guillaume le clerc de Normandie, Pierre de Beauvais, Philippe de Remi, Gautier le Leu, Jacques de Baisieux, Geoffroi de Paris, Jean de l’Escurel, Baudouin de Condé, Jean de Condé, Watriquet de Couvin et Nicole Bozon.
La présente analyse tente de nuancer et de dépasser la lecture répandue selon laquelle ces manuscrits à collections auctoriales individuelles constitueraient, de concert avec les fameuses biographies de troubadours et les chansonniers de trouvères, souvent présentés comme leurs « ancêtres », les débuts balbutiants d’une vaste épopée de l’avènement de l’« auteur moderne », annonciateur tout à la fois d’une « subjectivité littéraire », d’une « esthétique autobiographique » et d’un contrôle accru des auteurs historiques, réels, sur la transmission manuscrite de leurs propres œuvres. Tout en offrant une mise à jour contextuelle et matérielle – données originales à l’appui – concernant la dimension collaborative de la genèse de ces recueils et le caractère modulaire de leur transmission, on montrera qu’ils sont le fruit d’un dialogue nourri avec le modèle livresque latin et pluriséculaire de l’auctor – qui est à la fois un auteur, un garant de la vérité (auctoritas) et un ambassadeur prestigieux de la grammaire –, ainsi qu’avec l’antique exemple d’œuvres dites « biobibliographiques », qui décrivent la vie et l’œuvre d’auteurs illustres et exemplaires, comme le fait le De viris illustribus de saint Jérôme. Les manuscrits étudiés usent à répétition de ce modèle ancestral de la biobibliographie (« la vie et l’œuvre ») pour mettre en scène un face-à-face entre auteurs de langue d’oïl et auctores. Or cette mise en regard s’avère d’autant plus intéressante que, contrairement à ce qu’on observe pour les troubadours, considérés très tôt comme de nouveaux auctores illustres en langue vulgaire, dignes de cautionner l’excellence de la poésie et de la grammaire d’oc, elle ne prend pas uniquement, en français, la forme d’une imitation ou d’une adaptation de modèles anciens. En fait, l’analogie avec les auctores donne lieu à des exercices savants, autoréflexifs et parfois ironiques sur la fabrique éditoriale, poétique et épistémologique du type d’auteur et d’auctoritas qui peuvent (ou non) être bâtis dans des recueils en langue d’oïl, idiome qui était encore dépourvu à l’époque (1100-1340) de véritable grammaire, et où fleurissaient en revanche les genres littéraires de divertissement comme le roman, où l’on explorait la porosité des frontières entre le vrai et le faux, entre le bien et le mal. Plus qu’un pas pris dans la direction d’un sacre inéluctable, l’« invention de l’auteur français » à laquelle procèdent les recueils étudiés est un geste pétri des incertitudes et des interrogations de ceux qui le posaient, et qui en mesuraient la profonde vanité au regard de Dieu et de la mort. / This thesis aims to provide an original analysis on an often studied yet controversial issue: the introduction of the notion of authorship in French language medieval literature. The objective here is to reconsider the poetic, cultural, and historical signification of the particular moment when the author – understood here as the attribution of a text or of a series of texts to a proper noun – first became an essential structuring criteria in the production, and more importantly, in the transmission of French-language texts through medieval manuscripts. Using Michel Foucault’s concept of fonction-auteur, theories of reception and of the paratext, as well as New Codicology, this thesis will consider the author as a signifying textual and editorial construction within several literary collections written in langue d’oïl, in which the editors clearly and undeniably sought to construct figures of the author. Based on the systematic examination of the manuscript tradition of approximately 320 names of langue d’oïl poets, who were active between 1100 and 1340, this analysis will focus primarily on 25 manuscripts containing authorial collections dedicated to 17 poets, whose names are strongly associated with a series of texts that are copied one after the other. Among these authors are the famous Chrétien de Troyes, Rutebeuf and Adam de la Halle, as well as Philippe de Thaon, frère Angier, Guillaume le clerc de Normandie, Pierre de Beauvais, Philippe de Remi, Gautier le Leu, Jacques de Baisieux, Geoffroi de Paris, Jean de l’Escurel, Baudouin de Condé, Jean de Condé, Watriquet de Couvin and Nicole Bozon.
This thesis attempts to question and ultimately discard the common conception according to which the manuscripts containing individual authorial collections constituted – along with the famous biographies of the troubadours and the chansonniers of the trouvères, often considered as their « ancestors » – the timid beginnings of the rise of the « modern author », himself a prequel to « literary subjectivity », « autobiographical aesthetics » and an ever stronger control exerted by actual empirical authors over the manuscript transmission of their own works. While offering contextual and material updates – supported by original data – regarding the collaborative process that went into the creation of these collections, as well as the modular aspect of their reception, this thesis will show that these collections were formed through a rich dialogue with the centuries-old latin model of the auctor – who is at once an author, a guardian of truth (auctoritas) and a prestigious ambassador of grammar –, as well as with the antique tradition of « biobibliographical » texts, dealing with the life and works of famous and exemplary authors, such as De viris illustribus, by saint Jerome. The manuscripts studied here repeatedly used this ancient model of biobibliography (« the life and works ») in order to stage a competition between authors writing in langue d’oïl and auctores. This confrontation is particularly interesting when one considers that – contrary to what may be observed in the case of the troubadours, who were quickly seen as the new illustrious vernacular auctores, worthy of vouching for the excellency of langue d’oc poetry and grammar – , we are not simply dealing here with a form of imitation or adaptation in French of ancient models. In fact, the analogy with auctores allows for autoreflexive and sometimes ironic learned exercises, dealing with the editorial, poetic and epistemological creation of the type of author and auctoritas in manuscript collections in langue d’oïl, an idiom which at the time (1100-1340) lacked a true grammar, yet was used in various literary genres meant for entertainment, such as romance, which explored the evanescent barriers between truth and lies, good and evil. Rather than a small step in the long path towards an inevitable coronation, the « invention of the French author » undertaken by these collections constitutes an action that reflects all the uncertainty and interrogations of those who undertook it, while being fully convinced of its utter vanity in the eyes of God and death.
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