In 2008, the Supreme Court announced its decision in the landmark Second Amendment case, D.C. v. Heller. In its decision, the Court construed the scope of the right to bear arms for the first time. To that end, the Court found that the right to arms is an individual right, unconnected with military service. In this essay, I use the opinion of the Court and the dissents thereto as a lens by which to view the history and historiography of the right to bear arms, as well as the Supreme Court's jurisprudence on the subject. In the course of this analysis, I argue that there are numerous problems with the Court's reasoning, as well as that of the dissents. Further, complications and ambiguities in the historical record have contributed to the misunderstanding of the original meaning of the Second Amendment and its appropriate interpretation as part of the Constitutional text. I argue that the proper interpretation of the Second Amendment is one that construes the right as robust and individual, worthy of its place in the Bill of Rights, but certainly subject to reasonable regulation.

Abstract This thesis consists of three independent parts combined by the theory part in the beginning. The aim of the thesis is to bring into focus the connection between Søren Kierkegaard and modernism. Joseph Heller's novel Catch-22 is also interpreted in the light of Kierkegaard's philosophy. The theoretical part deals with the main concepts of the research (movement, irony, repetition). Joseph Heller's Novel Catch-22 is also brought up more closely in this part. Kierkegaard's works The Seducer's Diary, Repetition and The Mozart-essays are interpreted in the second part of the thesis. The third part consists of two Kierkegaard translations from Danish into Finnish: Repetition and The Mozart-essays. [Søren Kierkegaard, Toisto (Gjentagelsen), transl. by Olli Mäkinen, Jyväskylä 2001, Atena; Mozart-esseet (De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske), transl. by Olli Mäkinen, Jyväskylä, 2002)] Joseph Heller's novel Catch-22 is interpreted in the fourth part. The novel is studied in the light of Kierkegaard's paradigmatic examples and compared to them. There are two different contradictory movements in the study: Kierkegaard is studied as a modernist and modernism is also interpreted in the light of Kierkegaard's philosophy. The primary source of this thesis is the classical version of Kierkegaard's Collected Works: (Søren Kierkegards Samlede V?rker I-XV=SV I-XV. (1920-36 (1901-1906). -Udg. af A. D. Drachmann, J. L. Heiberg og H. O. Lange. Kjøbenhavn: Gyldendalske Boghandel, Nordisk Forlag) The more recent versions have however been used as the basis of the translations of texts Repetition and The Mozart-essays (Gjentageksen and De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske, Søren Kierkegaards Forskningscentret, København 1997, Gads Forlag). In conclusion: Kierkegaard can be interpreted also as pre-modernist and the Kierkegaard-interpretation of Joseph Heller's Catch-22 is valid and possible, although the existential influence in this novel can also derive from the post-war existentialism of the World War II. / Tiivistelmä Kyseinen tutkimus koostuu kolmesta itsenäisestä osasta, joita yhdistää alussa oleva (neljäs) teoriaosa. Tutkimuksen tarkoituksena on valottaa Søren Kierkegaardin ja modernismin välistä yhteyttä. Tutkimuksessa tulkitaan myös amerikkalaisen kirjailijan Joseph Hellerin teosta Catch-22 Kierkegaardin filosofian valossa. Tutkimuksen teoriaosassa käsitellään tulkinnan kannalta keskeisiä käsitteitä (liike, ironia, toisto). Siinä otetaan esille myös Joseph Hellerin romaani Catch-22. Toisessa osassa lähiluetaan Viettelijän päiväkirjaa, joka on Kierkegaardin ehkä tunnetuin yksittäinen teos, ja sekä Toistoa että Mozart-esseitä. Kolmannen osan muodostavat kaksi kriittistä ja kommenteilla varustettua Kierkegaard-käännöstä. [Søren Kierkegaard (1843) Toisto (Gjentagelsen), suom. Olli Mäkinen, Jyväskylä 2001, Atena; Mozart-esseet (De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske), suom. Olli Mäkinen, Helsinki 2002, Like.] Tutkimuksen neljäs osa koostuu Joseph Hellerin romaanin Catch-22 tulkinnasta. Kohdetta lähestytään Kierkegaardin paradigmaattisten esimerkkitapausten kautta. Tutkimuksessa ilmenee siis kahdenlaista liikettä. Kierkegaardia tulkitaan modernistina, mutta modernismia luetaan myös Kierkegaardin filosofian valossa. Tutkimuksessa käytetään primäärilähteinä Kierkegaardin koottujen teosten klassista versiota (Søren Kierkegards Samlede V?rker I-XV=SV I-XV. (1920-36) -Udg. af A. D. Drachmann, J. L. Heiberg og H. O. Lange. Kjøbenhavn: Gyldendalske Boghandel, Nordisk Forlag). Gjentageksen- ja De umiddelbare erotiska Stadier eller det Musikalsk-Erotiske -tekstien käännöksien pohjana on kuitenkin käytetty em. uusimpia versioita (Søren Kierkegaards Forskningscentret, København 1997-98, Gads Forlag). Tutkimuksessa päädytään johtopäätökseen, jonka mukaan Kierkegaardia voidaan tulkita myös esimodernistina ja Joseph Hellerin Catch-22 -teoksen Kierkegaard-tulkinta on mahdollinen, vaikka eksistentialistiset vaikutteet kyseisessä romaanissa voivat olla peräisin myös varsinaisesta toisen maailmansodan jälkeisestä eksistentialismista.

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En France, l’idée d’un piano-orchestral voit le jour durant la première moitié du XIXe siècle. Dès les premières décennies, de nombreux commentateurs reconnaissent dans l’instrument à clavier la capacité de restituer en son sein l’ensemble symphonique. Les écrits instaurent une relation étroite entre le piano et l’orchestre. Dans l’inconscient collectif, le piano ne tarde pas à devenir un « petit-orchestre complet » comme tend à le prouver le discours qui utilise ce qualificatif en tant que référence commune. Dans l’ombre de cette pensée s’élabore l’idée de la pénétration d’une « figure orchestrale » dans l’œuvre pianistique et naît alors l’idée d’un piano-orchestral. L’enjeu principal de cette thèse sera de tenter de définir le piano-orchestral français à travers un travail lié à la réception. Nous faisons en effet l’hypothèse que certaines œuvres pour piano ou certains éléments de celles-ci invitent l’auditeur à effectuer un transfert d’idées entre le piano et l’orchestre ou à reconnaître l’ensemble symphonique au clavier. Le piano-orchestral serait alors une écoute de l’œuvre pianistique. En tant que phénomène lié à laréception de l’œuvre, le piano-orchestral appartient au domaine de la verbalisation de la musique et nous avons donc choisi de l’étudier à travers le prisme du discours musical. Notre ambition étant de définir le piano-orchestral, nous avons décidéd’interroger son élaboration et ses fondements en nous concentrant sur ses prémices. Notre recherche s’étendra donc de 1835 à 1849 ; une période correspondant à la reconnaissance de l’idée jusqu’au début de sa remise en question. / In France, the idea of an orchestral piano was born during the first half of the 19th century. Since the early decades, many commentators recognized in the keyboard instrument the ability to reproduce the orchestra by itself and the writingsestablished a close relationship between the piano and the orchestra. In the collective unconscious, the piano soon became a "complete small orchestra" as the use of this qualifier as a common reference shows. In the shadow of this thought, the idea of including an “orchestral figure“ into the pianistic work was developed and thus the idea of an orchestral piano. The main challenge of this thesis will be to attempt to define the French orchestral piano through the study of its reception. Indeed, we hypothesise that some works for piano or some parts of them invite the listener to make a transfer of ideas between the piano and the orchestra or to recognize the orchestra on the keyboard. The orchestral piano would then be a listening to the pianistic work. As a phenomenon related to the reception of the work, the orchestral piano belongs to the domain of the verbalization of music and we therefore chose to study it through the prism of musical speech. Our ambition being to define the orchestral piano, we decided to question its elaboration and its foundations by focusing on its infancy. Our research will consequently extend from 1835 to 1849, a period corresponding to the recognition of the idea until the beginning of it being brought into question.

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Thesis (M.A.)--University of North Carolina at Greensboro, 2005. / Title from PDF title page screen. Advisor: Eve Wiederhold; submitted to the Dept. of English. Includes bibliographical references (p. 43-44, p. 96-97).

This thesis acknowledges the presence of a clear note of affirmation in some novels of the mid-Twentieth Century. Finding a similar affirmation in Albert Camus' essays, The Myth of Sisyphus and The Rebel, it attempts to demonstrate a basic agreement between the essays and a limited selection of such novels. It then attempts to support this conclusion by examination of two novels in some detail. It considers that this relationship arises naturally from the artists' mutual perception of man's perilous condition in the modern world, and that it does not imply the necessity of conscious imitation of Camus' thoughts on the absurd. Nevertheless, since this thesis intends to show that the affirmation in the novels arises from an attitude that Camus termed "absurdist" and inheres in a way of life that he termed "absurd," such novels, for the purpose of this study, are called "Absurd." Chapter One attempts to explain man's existential anxiety as a spiritual state germane to his condition as an intelligent being in an obscure universe, and to describe how this natural anxiety, painfully intensified in a godless, materialistic age, has resulted in spiritual sterility and paralysis of creative action. Of this condition, such novelists as Malcolm Lowry, Joseph Heller, William Golding, Lawrence Durrell and William Styron seem acutely aware. In addition, it attempts to define Camus' uses of the term "absurd," and to explain the nature of the absurd life—the life of absurd rebellion—that he advances as the only-positive answer to the challenge of the times. While recognizing that the diversity evident among these novels attests to their nature as independent creations, Chapter One attempts to establish their basic agreement with Camus' ideas of the absurd, and to trace the existence among them of broad similarities. Finally, by examination of values implied, it notes that these authors seem to arrive at Camus' conclusion that "everything is permitted," limited, as Camus limits it, by the necessity of individual responsibility. Chapters two and three, detailed examinations of the absurd in two novels, Malcolm Lowry's Under the Volcano and Joseph Heller's Catch-22, attempt to clarify the nature of the authors' protest by pointing out what forces, both external and internal, are attacked. As this process involves an analysis of the nature and results of destructive escapism, whether individual escape into alcoholism or mass escape into meaningless conformity or excessive rationalism, it suggests also the urgency of the individual struggle for the "lucid awareness" that Camus demands. In particular, these chapters hope to clarify the affirmation implied by the individual liberation from illusion and anxiety to defiant joy in conscious living. The Conclusion restates the fundamental agreement between the controlling themes of these novels and the tenets of the absurd delineated by Camus. Also, it demonstrates the diversity of method and approach by which the two novels deal with common themes and arrive at affirmative conclusions. Finally, it warns against the interpretation of this fiction as the expression of a doctrine for universal salvation. The Absurd Novel is not, therefore, what Camus would call disparagingly a "thesis-novel" ; at most, like The Myth of Sisyphus, it issues a positive challenge to the individual in the modem world. / Arts, Faculty of / English, Department of / Graduate

Hier wird über den objektiven Vergleich der Kurz- und Langzeitergebnisse, die mit der laparoskopischen Heller-Myotomie plus Dor-Fundoplikatio (LHM + Dor) und der per-oralen endoskopischen Myotomie (POEM) an einer einzigen Institution erzielt wurden und über die Entwicklung eines "maßgeschneiderten Ansatzes" berichtet. Die laparosko-pischen Heller Myotomie (LHM) gilt aktuell als das Standardverfahren zur Therapie der Achalasie. Die perorale endoskopische Myotomie (POEM) bietet eine neue Alternative zur Durchführung der Heller-Myotomie auf endoskopischem und natural orifice translu-minal endoscopic surgery (NOTES) Wege. Wir berichten über unsere unselektierte konsekutive Patientenserien (n = 238), die zwi-schen 2009 und 2017 entweder einer LHM + Dor Prozedur (n = 100) oder einer POEM Operation (n = 138) unterzogen wurden. Es gab keine Unterschiede hinsichtlich des Behandlungserfolgs (Eckardt-Score ≤ 3) nach 3 - 6 Monaten (LHM: 90,1% vs. POEM: 90,5%; p = 0,735), 12 Monate (LHM 84,4% vs. POEM 84,0%; p = 0,766 und> 2 Jahre (LHM 81,1% vs. POEM 79,2%; p = 0,432). Die Verbesserung der Lebensqualität (GIQLI-Score) und die Patientenzufriedenheit waren in beiden Gruppen ebenfalls ver-gleichbar gut (~ 90%) und zu jedem Zeitpunkt der Nachbeobachtung. Refluxraten sind ebenfalls ähnlich (Sodbrennen LHM: 32,9% vs. POEM: 30,1%; Ösophagitis LHM: 16,3% vs. POEM: 14,6%; PPI-Aufnahme 21,2% vs. 32,5%, pathologischer pH-Wert -Meter-LHM: 8,8% vs. POEM: 23,3%) ohne Signifikanz der Unterschiede. Die „maßgeschneiderte Verfahrenswahl POEM vs. LHM“ könnte geeignet sein und sollte in weiteren Studien weiter untersucht werden. / This article reports on the objective comparison of the short and long-term results obtained with the laparoscopic Heller myotomy plus Dor fundoplication (LHM + Dor) and per-oral endoscopic myotomy (POEM) at a single institution and on the development of a " tailored approach". The laparoscopic Heller Myotomy (LHM) is currently considered the standard procedure for the treatment of achalasia. Peroral endoscopic myotomy (POEM) offers a new alternative to Heller myotomy by endoscopic and natural orifice transluminal endoscopic surgery (NOTES). We report on our unselected consecutive patient series (n = 238) who underwent either an LHM + Dor procedure (n = 100) or POEM surgery (n = 138) between 2009 and 2017. There were no differences in treatment success (Eckardt-Score ≤ 3) after 3 - 6 months (LHM: 90.1% vs. POEM: 90.5%; p = 0.735), 12 months (LHM 84.4% vs.POEM 84.0%; p = 0.766 and> 2 years (LHM 81.1% vs. POEM 79.2%; p = 0.432). The improvement of quality of life (GIQLI-Score) and patient satisfaction were also comparably good (~ 90%) in both groups and at all times of follow-up. Reflux rates are also similar (heartburn LHM: 32.9% vs. POEM: 30.1%; esophagitis LHM: 16.3% vs. POEM: 14.6%; PPI uptake 21.2% vs. 32.5%, pathological pH meter-LHM: 8.8% vs. POEM: 23.3%) without significance of the differences. The "tailored approach for choosing the procedure POEM vs. LHM" might be appropriate and should be further investigated in further studies.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-21T12:35:00Z No. of bitstreams: 1 Renato Tadeu Veroneze.pdf: 2998041 bytes, checksum: bb21bd29bbc98e93306236ef0e99a59b (MD5) / Made available in DSpace on 2018-06-21T12:35:00Z (GMT). No. of bitstreams: 1 Renato Tadeu Veroneze.pdf: 2998041 bytes, checksum: bb21bd29bbc98e93306236ef0e99a59b (MD5) Previous issue date: 2018-04-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The research aims to analyze "radical needs" in Agnes Heller's view as a contribution to understanding the cyclical and structural crises of capital, in the face of the wave of popular demonstrations and the political-economic crisis of the recent years that has affected Brazil, in particular. The choice of theme stemmed from the contradictions generated by these crises from the recognition of the values of freedom, democracy, equality, equity and social justice, in view of the principles established by its ethical-political-professional project of the Brazilian Social Service. In order to understand the limits and the personal, social and professional contradictions between the subjectivity and the objectivity of the individual and collective social subjects, as well as the social and professional limits and contradictions of the work of Agnes Heller, especially in her everyday life, lack and needs theories, and how to broaden the understanding of freedom and social and human emancipation that mark the emancipatory and revolutionary project of Social Service, having as motto a new sociability "beyond capital". The hypothesis raised here is that "radical needs" provoke the organization of civil society to overcome the status quo of social life tied to the destructive logic of capital, in order to understand the dynamics of social movements and popular manifestations, especially in Brazil, as a mobilization of resistance against the Brazilian political-economic crisis and the macrocorruption scheme that has been established in the country's political and economic system. Through a theoretical-conceptual analysis, based on the Marxian legacy and the Marxist tradition, we start from the thesis that it will only be possible to demolish the existing barriers between working time and non-working time, through the organization of civil society revolutionary subject. Only in this way will revolutionary social changes be realized for the anti-capitalist and anti-imperialist struggles. It is in this direction that Agnes Heller points to a new collective revolutionary subject. The "radical needs" are all those that are born in capitalist society as a consequence of the development of civil society, and that can not be satisfied within the limits of the same, which implies in factors that can lead to the overcoming of capitalism, the wage relationship, the concentration of private property, the class struggle and the loss of the bourgeois state. Only on these bases, of a totally new sociability, we do believe that social individuals can fully develop themselves ("wholly and entirely"), in which work, sociability, consciousness, freedom, ethics, art, philosophy, truly free time and idleness are in conformity with the most authentic aspirations raised within the everyday life and in the valuation of the feeling of community as an ontological-social value. We start from these assumptions because, with the precarization and flexibilization of labor relations, outsourcing, globalization, robotics, new technologies, the increase of the service sector, among other vectors, have caused significant changes in the social body of the working class and in their leadership. Thus, in Agnes Heller's view, it is only with the organization of civil society that it will be possible to destroy the overwhelming and destructive wave of capitalism / A pesquisa trata de analisar as “necessidades radicais”, na visão de Agnes Heller enquanto contribuição para entender as crises cíclicas e a estrutural do capital, frente à onda de manifestações populares e a crise político-econômica dos últimos anos que tem afetado, sobretudo, o Brasil. A escolha do tema partiu das contradições geradas por estas crises a partir do reconhecimento dos valores de liberdade, democracia, igualdade, equidade e justiça social, tendo em vista os princípios estabelecidos pelo projeto ético-políticoprofissional do Serviço Social brasileiro. Buscando aprofundar na obra de Agnes Heller, sobretudo, em sua teoria do cotidiano, dos carecimentos e necessidades, de modo a entender os limites e as contradições pessoais, sociais e profissionais entre a subjetividade e a objetividade dos sujeitos sociais, individuais e coletivos, bem como ampliar o entendimento sobre a liberdade e a emancipação social e humana que balizam o projeto emancipatório e revolucionário do Serviço Social, tendo como mote uma nova sociabilidade “para além do capital”. A hipótese aqui levantada é que as “necessidades radicais” provocam a organização da sociedade civil para a superação do status quo da vida social atrelada à lógica destrutiva do capital, de modo a entender a dinâmica dos movimentos sociais e das manifestações populares, sobretudo no Brasil, enquanto mobilização de resistência frente a crise político-econômica brasileira e o esquema de macrocorrupção que tem se firmado no sistema político e econômico do país. Através de uma análise teóricoconceitual, embasada pelo legado marxiano e pela tradição marxista, partimos da tese de que só será possível a demolição das barreiras existentes entre o tempo de trabalho e o tempo de não-trabalho, através da organização da sociedade civil enquanto sujeito revolucionário. Só assim é que se realizará as mudanças sociais revolucionárias para as lutas anticapitalistas e anti-imperialistas. É nessa direção que Agnes Heller aponta para um novo sujeito coletivo revolucionário. As “necessidades radicais” são todas aquelas que nascem na sociedade capitalista como consequência do desenvolvimento da sociedade civil, e que não podem ser satisfeitas dentro dos limites da mesma, o que implica em fatores que possam levar a superação do capitalismo, da relação de assalariamento, da concentração da propriedade privada, da luta de classes e ao definhamento do Estado burguês. Somente sobre essas bases, de uma sociabilidade inteiramente nova, é que acreditamos que os indivíduos sociais possam se desenvolver plenamente (“por inteiro e inteiramente”), na qual trabalho, sociabilidade, consciência, liberdade, ética, arte, filosofia, tempo verdadeiramente livre e ócio estejam em conformidade com as aspirações mais autênticas suscitadas no interior da vida cotidiana e na valoração do sentimento de comunidade enquanto valor ontológico-social. Partimos desses pressupostos porque com a precarização e flexibilização das relações de trabalho, a terceirização, a globalização, a robótica, as novas tecnologias, o aumento do setor de serviços, entre outros vetores, tem provocado alterações significativas no corpo social da classe operária e em suas lideranças. Assim, na visão de Agnes Heller, somente com a organização da sociedade civil é que será possível destruir a onda avassaladora e de destrutibilidade do capitalismo