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In this thesis the author attempts to answer the questions: What was there in the Egyptian Sudan that rival colonial powers wanted, and why would they consider war as a means of getting it? Under what circumstances did Britain go into Egypt and lay a claim to the Egyptian Sudan? How did France expect to gain and hold territory in the Egyptian Sudan with a mere handful of men under Jean Baptiste Marchand in competition with the much greater force of the British leader, Sir Herbert Kitchener? What happened when these forces met at a Shilook village on the Nile, and what was the reaction in Europe? To what extent was the Fashoda Crisis and its settlement responsible for a treaty of friendship between the two rival powers that was to place them side by side in World War I?

Québec Université Laval, Bibliothèque 2018

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Made available in DSpace on 2010-04-20T20:57:02Z (GMT). No. of bitstreams: 3 AlessandraSFGodoi2006.pdf.jpg: 19061 bytes, checksum: 5263ea29f172cb43b07515b286172b45 (MD5) AlessandraSFGodoi2006.pdf.txt: 614967 bytes, checksum: 24e37083b48ca5557be63aeda5dfcd58 (MD5) AlessandraSFGodoi2006.pdf: 1323544 bytes, checksum: 0f61d5b19c999541c7bf435400b8fed8 (MD5) Previous issue date: 2006-08-09T00:00:00Z / Esta tese oferece uma releitura crítica da influente obra de Herbert A. Simon e alguns de seus seguidores sobre a decisão de modo geral, tendo em vista um problema específico: a decisão de investimento da firma. A partir de um exercício de aplicação teórica, bem como de um conjunto de oito estudos de caso, propõe-se um modelo sintético ou roteiro para a compreensão da decisão de investimento da firma segundo uma perspectiva processual que se baseia na idéia central de construção de uma representação da realidade. Esta estaria sujeita a limitações de caráter cognitivo à coleta e ao processamento de informações (racionalidade limitada), bem como ao condicionamento das possibilidades de ação efetivamente disponíveis ao empreendedor, mediante uma rede de sinergias e escolhas menores cujas conseqüências não foi possível prever ao longo de um amplo leque de dimensões, a decisões passadas (liberdade limitada, conceito original introduzido por esta tese). Com base nessa estrutura, divide-se o processo decisório em três etapas (busca, análise e escolha), discutindo-se em detalhe cada um deles e ressaltando elementos importantes que conferem estrutura e coerência ao processo, dado o pressuposto de que a otimização irrestrita neoclássica não é alcançável, na prática, no caso da decisão de investimento da firma. / This thesis offers an interpretation of the influential work of Herbert A. Simon and some of his followers regarding decision-making as a whole, considering a specific problem: the investment decision by firms. Combining insights obtained from the application of the theory and from the conduct of eight case studies, we propose a synthetic model for the understanding of firm investment decisions according to a processual perspective, based on the central idea of the construction by entrepreneurs of a representation of reality. This representation is subject to cognitive limitations related to difficulties in collecting and processing information (bounded rationality), as well as to the conditioning of possibilities of action truly available to the entrepreneur to past choices, through a net of synergies and smaller decisions, the consequences of which it was not possible to forecast precisely along a large scope of dimensions (bounded liberty, an original concept introduced by this thesis). Based on this structure, the decision process is divided in three stages (search, analysis and choice), each of them discussed in detail with the intention of pointing out the most important elements that confer structure and coherence to the process, assuming that full neoclassical rationality is not attainable in practical complex decisions.

Cette étude s’appuie sur un fonds d’enregistrements sonores, effectués au Gabon entre 1954 et 1966 par Herbert Pepper, chercheur de l’Orstom. En parcourant l’ensemble du pays, l’ethnomusicologue et son équipe ont collecté une grande variété de musiques, de contes, et autres expressions orales, et ont créé le Musée des Arts et Traditions de Libreville pour conserver, répertorier et valoriser le fruit de ces recherches de manière durable. Ces enregistrements peuvent être considérés comme étant des éléments représentatifs du « patrimoine culturel immatériel » gabonais, tel que le concept a pu être défini par la convention de l’Unesco en 2003. De nombreux pays comme le Gabon, dont les traditions se transmettent de manière orale, étaient jusqu’alors rarement représentés sur la liste du patrimoine mondial. Il est donc intéressant de retracer l’évolution et l’élargissement de la notion de patrimoine depuis le début du XIXe siècle, moment clé qui a vu se développer en Europe l’intérêt pour les vestiges du passé, tant sur le plan de la collecte des traditions orales que de la mise en musée des traces matérielles. Aujourd’hui, l’avènement des médias numériques a considérablement modifié les pratiques et conceptions dans le domaine de la conservation et de la valorisation du patrimoine. Grâce à la numérisation, les traditions orales bénéficient désormais d’outils adaptés à leur diffusion et il est possible de poursuivre le travail amorcé par Herbert Pepper lorsqu’il souhaitait conserver le caractère total des expressions culturelles gabonaises. / This study draws on a fund of sound recordings, made in Gabon between 1954 and 1966 by Herbert Pepper, Orstom's researcher. Going through the whole country, the ethnomusicologist and his colleague collected a wide variety of music, tales and other oral expressions, and created the Arts and Traditions’ Museum of Libreville to preserve, catalog and enhance the results of this research in a sustainable way.These records may be considered as representative components of “intangible cultural heritage” of Gabon, a concept which was defined by the Unesco Convention in 2003. Many countries such as Gabon, whose traditions are orally transmitted, were previously rarely represented on the World Heritage List. It’s therefore interesting to trace the evolution and expansion of the concept of heritage since the early nineteenth century, significant moment in Europe which has seen development of interest in the past’s relics, both of collecting oral traditions and conserving material traces in Museum. Today, the advent of digital media has significantly changed practices and conceptions in the area of conservation and heritage development. Through digitization, oral traditions now have suitable tools for their diffusion and it’s possible to continue the work begun by Herbert Pepper when he wished the character « total » to retain for gabonese cultural expressions.

Mit der Ausstellung „800 Jahre Kreuzchor? Fragen an die älteste Musikinstitution Dresdens“ lud die SLUB in den letzten Monaten ein, die Geschichte und die Geschichtsbilder des renommierten Dresdner Knabenchors zu hinterfragen. Am Ende des Jubiläumsjahres gelang es nun, den Nachlass des langjährigen Kreuzorganisten Herbert Collum zu erwerben, der für eine weitere künstlerische und wissenschaftliche Auseinandersetzung mit dem Dresdner Musikleben zahlreiche neue Impulse geben wird.

(in English): The presented PhD thesis deals with two artists, Emanuel Hegenbarth (1868-1923) and Richard Müller (1874-1954). Both were Czech Germans, i.e. of German nationality, using German as their vernacular language, born in the second half of the 19th century in Bohemia the territory of the former Austro-Hungarian Empire (nowday's Czech Republic) and later have been working for a long time in Dresden. This initial reality represented a different starting point for each of them and played a different role in their later life and artistic trajectory. Richard Müller did not lose contact with his bohemian homeland during his lifetime, but he did not have strong ties to it and considered Dresden his home and background. He was particularly influential as a professor at the Dresden Academy, a position he held for more than thirty years. His artistic principles and creative activity shaped the emerging generation of artists, which included representatives of German-speaking artists from Bohemia, Moravia and Silesia who passed through his studio. The thesis includes an excursus devoted to Herbert Seemann (1900-1945), in whose work Müller's influence is most evident. A different approach can be found in Emanuel Hegenbarth, who, despite his professorship at the Dresden Academy, maintained intensive and...

I Dune: Messiah (1969) sker en förändring av klimatet, en terraformning som människan initierar. Vatten introduceras i rikliga mängder på planeten Arrakis och detta påverkar planetens ekologi såväl som människans kultur. Uppsatsen granskar Frank Herberts roman genom att teoretiskt utgå ifrån ett ekokritiskt perspektiv och tematiskt ifrån vatten, dess varande och relation till människan samt planeten. Människans medvetenhet av sig själv som en art på planeten och sin kulturella koppling till både planeten och vatten är centralt i analysen. Klimatförändringen som sker när människan terraformar planeten och hur detta påverkar människan behandlas också. Även postkolonialism väger in i analysen.  I Dune: Messiah är vattnet, människan och planeten starkt kopplade till varandra. Människan utgår från sin antropocentriska världssyn och betraktar planeten som en plats vilken kan förbättras till människans fördel. Eftersom fremenfolkets kultur är djupt grundad i naturen skapar terraformningen av planeten en identitetskris. Kulturen blir kopplingen som får människan att vilja bevara planeten som den är. Vattnets värde kulturellt men även som valuta gör den till en maktskapande vara. För människan är terraformningen en strävan mot förbättring, vilket speglar de teman av stora strukturer som finns genomgående i Dune-serien. Den här långsiktiga visionen som Frank Herbert målar upp, avbildar människan med en större medvetenhet, en möjlighet att tänka stort. Jag menar (likt andra inom ekokritiken) att detta större tänkande är en väg framåt som ger mänskligheten ett större perspektiv – därmed förståelse av – ekologiska förhållanden. / In Dune: Messiah (1969) the climate changes due to terraforming caused by humans. Water is introduced on the planet Arrakis, and this affects the planet’s ecology as well as the people’s culture. This paper is an exploration of Frank Herbert’s novel, theoretically anchored in ecocriticism and thematically in water, its nature of existence, relationship to humankind and the planet. Humanity’s awareness of themselves as a species on the planet, and their cultural connection to both the planet and water is central to the analysis. The climate-change which occurs when humanity terraforms the planet and how this affects humankind is also touched upon. Post-colonialism also plays a role in the analysis. Water, people, and the planet are strongly connected to each other in Dune: Messiah. Humans see the planet as a place which can be improved to their own benefit due to their anthropocentric worldview. Because the Fremen culture is deeply rooted in nature, an identity-crisis occurs when the planet is terraformed. It is culture that enables humans to want to preserve the planet as it is. Water is a resource that creates power due to its cultural and economical value. The terraforming is humanity aiming for improvement, which mirrors the themes  of larger structures that can be found continuously in the Dune-series. This long-term vision which Herbert paints, pictures humans with a broader consciousness, a capability to think in a larger magnitude. This I (as others within ecocriticism), consider to be a path forwards which offers a broader perspective – therefore an understanding of – ecological conditions.

<p>Doktorska teza Dru&scaron;tvena uslovljenost psiholo&scaron;kog profila književnog lika u viktorijanskom i modernističkom romanu, ima za cilj, pojednostavljeno rečeno, otkrivanje bliske povezanosti socioistorijskih prilika, složenih dru&scaron;tvenih konvencija i krutih klasnih odnosa, sa privatnim i javnim bićem književnih likova u romanima iz pomenutih perioda. Kada kažemo &bdquo;privatno&ldquo; i &bdquo;javno&ldquo; biće, mislimo, pre svega, na najče&scaron;će presudne razlike među njima, te na lomove koje književni likovi trpe u nezaustavljivom procesu, u kojem bi jedno ili drugo trebalo da preovlada. Upravo ta stalna unutra&scaron;nja borba, izazvana spolja&scaron;njim sukobima, u ovom istraživanju obezbeđuje rezultate, iako se za same protagoniste ona gotovo nikad ne zavr&scaron;ava. Opisujući dru&scaron;tvene prilike i sistem vrednosti viktorijanskog doba, njihovo uru&scaron;avanje do potpunog sloma, potom uzročno &ndash; posledične veze takvog sloma i moderne misli, te krize svih vrsta koje neminovno prate ovakve dru&scaron;tvene procese, pokazaćemo svu ranjivost pojedinca, na primerima književnih likova iz romana Orkanski visovi, Neslavni Džud, Zaljubljene žene i Džejkobova soba. Orkanski visovi i Neslavni Džud povezuju se na planu borbe na život i smrt, borbe čiji ishod jeste i fizička smrt i smrt du&scaron;e, ali i lekovitost te&scaron;kih iskustava koja uče pra&scaron;tanju, kompromisu i stvaralačkoj ljubavi. Džejkobova soba povezuje se sa Zaljubljenim ženama na nivou simbola, najočiglednija veza je sveprisutna smrt, ali i priroda koja deluje nezavisno od ljudi u oba romana, i sugeri&scaron;e otklon koji su ljudi mehaničkog sveta napravili prema njoj. Mehanika ljudskog bivstvovanja uzrokovana i dru&scaron;tvenim uslovima, dove&scaron;će do ratnog sukoba koji se kod Lorensa ne pominje eksplicitno, ali je prisutan u teskobnom osećanju kraja i uni&scaron;tenja, dok se na kraju Džejkobove sobe ova prigu&scaron;enost i razobličava u smrti glavnog lika i zvucima oružane paljbe. U krajnjem ishodu, ova disertacija pokazuje da dru&scaron;tveni uslovi, konvencije, predodređenosti, deluju unisono, zahtevi su im jednaki, a da obrađeni književni likovi reaguju slično, uprkos različitim miljeima u koje su sme&scaron;teni, te da različite sudbine, pa i različite reakcije, upravo pojačavaju sličnosti, čak i istovetnosti ishoda.</p>