Global ETD Search

451	The Future of American Memory: Media Preservation, Photography, and Digital Archives Murphy, Brian Michael 25 September 2014 (has links) No description available. African American Studies American Studies Ethnic Studies Film Studies History Science History Technology
452	Labor lurking under the surface of glass : Discussion between the visible and invisible Ståhl, Rosita January 2023 (has links) This text is about visibility and invisibility of work and labor through research from history and present time and through my own work, process and thinking. Through these topics I want to raise discussions and make comments in the field of craft and glass. To evoke our senses and feelings through video, sound and perception of the work and installations together with the properties of glass. To discuss that there are underlying layers of a work of glass that we see in a museum or gallery space. Why some information is visible, and some is lost by the presented state. Is the material and finished product that we see more important than the underlying layers and process? Can we change how we present and document our pieces with information better? Together with the labor of my interest, there is also about the loss of an industry and a personal loss of the time I had there coming to an end. Labor labour designer maker craft Installation Materiality senses visibility invisibility glass reflections light shadow interactive performance Humanities and the Arts Humaniora och konst History Historia Ethics Etik Design Design Cultural Studies Kulturstudier History of Ideas Idé- och lärdomshistoria Art History Konstvetenskap Communication Studies Kommunikationsvetenskap Learning Lärande Visual Arts Bildkonst
453	Mörkrets Mästare : En studie i teknik och materialitet av Roj Fribergs bilder / The Master of Darkness : A study in technique and materiality of Roj Fribergs pictures Frykholm, Maja January 2022 (has links) Abstract This study concerns the Swedish artist Roj Friberg (1934–2016). The essay is based on a study of technique and materiality used by Friberg. He is quite marginalized and slightly forgotten in the Swedish art history and when mentioned merely described as a painter from the 1960´s who used graphite mixed with French turpentine, in order to work on the surface with an eraser attached to an electric drill. However, Friberg used other different and more complex painting techniques in his work, something this essay will notice and highlight. The used method is a biographical, dealing with the references to Friberg. To explain why he was considered an “outsider” in Swedish art, the theory of social capital by Pierre Bourdieu is applied. Also, Wolfgang Kemps concept of reception history, which focus on the arts beholder, rather than the artists itself. From the middle of 1970 Friberg also used an ancient painting technique called encaustic, heated beeswax mixed with pigment. Paintings which have received very little attention; therefore, the focus is on his use of encaustic in combination with his other techniques, such as melted graphite, melted wax crayons or drawn with wax crayons and graphite. The work with lasered layers and the typical method of working from darkness to light in Friberg´s pictures shows resemblance with the ancient encaustic portraits from Fayum, in the 50 AD. Art History Roj Friberg Encaustic Beeswax and pigment Technique and Materiality Swedish Modern Art Graphite Art Techniques Fayum Portrait Swedish Artists Pierre Bourdieu Social Capital Wolfgang Kemp Reception History Konstvetenskap Roj Friberg enkaustik bivax och pigment teknik och materialitet svensk modern konst konstnärliga tekniker grafit Fayumporträtten svensk konstnär Pierre Bourdieu socialt kapital Wolfgang Kemp receptionshistoria. Art History Konstvetenskap
454	Atos tridimensionais: manifestações da existência: interfaces entre a arquitetura e a escultura / Three-Dimensional Acts: Manifestations of Existence - Interfaces between Architecture and Sculpture Daniel Corsi da Silva 31 May 2012 (has links) Esta dissertação propõe-se a analisar possíveis interfaces entre a Arquitetura e a Escultura, abordando suas produções realizadas a partir da segunda metade do século XX, período que se caracterizou pelo rompimento de inúmeros paradigmas teóricos e conceituais. Considerando essas manifestações a partir de suas naturezas tridimensionais, busca-se, segundo um enfoque transdisciplinar, apurar significados e novos parâmetros de análise compartilhados por ambas expressões, num processo recíproco de influências conceituais e práticas. A pesquisa divide-se em duas partes. Na primeira delas - Conceitos Tridimensionais - são estudados os fatos históricos e os conceitos filosóficos que influenciaram as concepções teóricas das produções da arquitetura e da escultura desse período. Nesta parte também são estudadas algumas transformações específicas dos universos dessas manifestações, consideradas determinantes para a constituição das obras posteriormente destacadas. Na segunda parte - Processos Tridimensionais - é realizada a leitura de algumas obras arquitetônicas e escultóricas fundamentadas sobre novas organizações produtivas estabelecidas no período estudado. Partindo do repertório transdisciplinar apresentado na primeira parte sobre os conceitos criativos de ambas as manifestações, são definidos parâmetros de análise que abrangem temas fundamentais das interfaces mencionadas. Os conceitos de Paisagem, Tempo, Estrutura, Matéria e Forma são estendidos em definições que conduzem a leitura de cada uma das obras selecionadas. Com isso, são estabelecidos novos conceitos cognitivos dessas construções, demonstrando como se influenciam mutuamente, compartilhando ou não suas intenções. Também é revelado o potencial advindo da proximidade entre Arquitetura e Escultura, oferecendo referenciais teóricos e práticos para que possam ser explorados em futuras produções. Sintetizando os procedimentos específicos destes atos tridimensionais e os conceitos filosóficos de leitura, busca-se demonstrar, a partir da densidade das obras escolhidas, atos singulares da existência humana. / This dissertation aims to analyze possible interfaces between Architecture and Sculpture, approaching their productions made from the second half of the twentieth century, a period that was characterized by disruption of numerous theoretical and conceptual paradigms. Considering these manifestations from their three-dimensional nature, according to a transdisciplinary approach, it seeks to establish new meanings and analysis parameters shared by both expressions, in a reciprocal process of conceptual and practical influences. The research is divided into two parts. The first part - Three-Dimensional Concepts - refers to the historical facts and philosophical concepts that have influenced the theoretical concepts of architectural and sculptural production of this period. In this part are also studied some transformations of the specific universes of these manifestations, which are considered crucial to the creation of the works later analyzed. In the second part - Three-Dimensional Processes - it is presented a reading of some architectural and sculptural works based on new productive organizations established in the studied period. From the transdisciplinary repertoire presented in the first part about the creative concepts of both manifestations analysis, parameters are defined to embrace fundamental themes of the mentioned interfaces. The concepts of Landscape, Time, Structure, Matter and Form are extended in definitions that lead to the reading of each of the selected works. Thus, new cognitive concepts of these constructions are established demonstrating how they influence each other, sharing their intentions or not. The potential arising from the proximity of these two expressions is also shown, offering theoretical and practical references so that they can be explored in future productions. Summarizing the specific procedures of these three-dimensional acts and the philosophical reading concepts, it is aimed to show, from the profundity of the chosen works, single acts of human existence. Abstracionismo Arquitetura Arte Criação Escultura Espaço Essência Estética Estética da ação Estrutura Existencialismo Filosofia Forma História Interface Land-art Linguagem Manifestações tridimensionais Materialidade Minimalismo Modernismo Objeto Paisagem Pós-modernismo Processo criativo Tempo Teoria Território Abstractionism Aesthetics aesthetics of action Architecture Art Creation Creative process Essence Existentialism Form History Interface Land-art Landscape Language Materiality Minimalism Modernism Object Philosophy Post-modernism Sculpture Space Sructure Territory Theory Three-dimensional manifestations Time
455	Atos tridimensionais: manifestações da existência: interfaces entre a arquitetura e a escultura / Three-Dimensional Acts: Manifestations of Existence - Interfaces between Architecture and Sculpture Silva, Daniel Corsi da 31 May 2012 (has links) Esta dissertação propõe-se a analisar possíveis interfaces entre a Arquitetura e a Escultura, abordando suas produções realizadas a partir da segunda metade do século XX, período que se caracterizou pelo rompimento de inúmeros paradigmas teóricos e conceituais. Considerando essas manifestações a partir de suas naturezas tridimensionais, busca-se, segundo um enfoque transdisciplinar, apurar significados e novos parâmetros de análise compartilhados por ambas expressões, num processo recíproco de influências conceituais e práticas. A pesquisa divide-se em duas partes. Na primeira delas - Conceitos Tridimensionais - são estudados os fatos históricos e os conceitos filosóficos que influenciaram as concepções teóricas das produções da arquitetura e da escultura desse período. Nesta parte também são estudadas algumas transformações específicas dos universos dessas manifestações, consideradas determinantes para a constituição das obras posteriormente destacadas. Na segunda parte - Processos Tridimensionais - é realizada a leitura de algumas obras arquitetônicas e escultóricas fundamentadas sobre novas organizações produtivas estabelecidas no período estudado. Partindo do repertório transdisciplinar apresentado na primeira parte sobre os conceitos criativos de ambas as manifestações, são definidos parâmetros de análise que abrangem temas fundamentais das interfaces mencionadas. Os conceitos de Paisagem, Tempo, Estrutura, Matéria e Forma são estendidos em definições que conduzem a leitura de cada uma das obras selecionadas. Com isso, são estabelecidos novos conceitos cognitivos dessas construções, demonstrando como se influenciam mutuamente, compartilhando ou não suas intenções. Também é revelado o potencial advindo da proximidade entre Arquitetura e Escultura, oferecendo referenciais teóricos e práticos para que possam ser explorados em futuras produções. Sintetizando os procedimentos específicos destes atos tridimensionais e os conceitos filosóficos de leitura, busca-se demonstrar, a partir da densidade das obras escolhidas, atos singulares da existência humana. / This dissertation aims to analyze possible interfaces between Architecture and Sculpture, approaching their productions made from the second half of the twentieth century, a period that was characterized by disruption of numerous theoretical and conceptual paradigms. Considering these manifestations from their three-dimensional nature, according to a transdisciplinary approach, it seeks to establish new meanings and analysis parameters shared by both expressions, in a reciprocal process of conceptual and practical influences. The research is divided into two parts. The first part - Three-Dimensional Concepts - refers to the historical facts and philosophical concepts that have influenced the theoretical concepts of architectural and sculptural production of this period. In this part are also studied some transformations of the specific universes of these manifestations, which are considered crucial to the creation of the works later analyzed. In the second part - Three-Dimensional Processes - it is presented a reading of some architectural and sculptural works based on new productive organizations established in the studied period. From the transdisciplinary repertoire presented in the first part about the creative concepts of both manifestations analysis, parameters are defined to embrace fundamental themes of the mentioned interfaces. The concepts of Landscape, Time, Structure, Matter and Form are extended in definitions that lead to the reading of each of the selected works. Thus, new cognitive concepts of these constructions are established demonstrating how they influence each other, sharing their intentions or not. The potential arising from the proximity of these two expressions is also shown, offering theoretical and practical references so that they can be explored in future productions. Summarizing the specific procedures of these three-dimensional acts and the philosophical reading concepts, it is aimed to show, from the profundity of the chosen works, single acts of human existence. Abstracionismo Abstractionism Aesthetics aesthetics of action Architecture Arquitetura Art Arte Creation Creative process Criação Escultura Espaço Essence Essência Estética Estética da ação Estrutura Existencialismo Existentialism Filosofia Form Forma História History Interface Interface Land-art Land-art Landscape Language Linguagem Manifestações tridimensionais Materialidade Materiality Minimalism Minimalismo Modernism Modernismo Object Objeto Paisagem Philosophy Pós-modernismo Post-modernism Processo criativo Sculpture Space Sructure Tempo Teoria Território Territory Theory Three-dimensional manifestations Time
456	Gegen(-) Abwesenheiten Bolte, Rike 18 February 2014 (has links) Während der letzten argentinischen Diktatur (1976-1983) wurden zehntausende Menschen in geheimen Lagern festgehalten, gefoltert und ermordet – dann ''verschwanden'' sie. Die meisten Fälle sind nur schwer rekonstruierbar, viele Täter kamen ungestraft davon. Für diese staatsterroristische Praxis wurde die Bezeichnung erzwungenes Verschwinden eingeführt (spanisch desaparición forzada). Die Untersuchung beschäftigt sich mit medialen und ästhetischen Verfahrensweisen, die in Argentinien in der Auseinandersetzung mit der desaparición forzada entwickelt wurden. Im Vordergrund steht die These, dass die gewaltsame Depräsentation der Opfer zu einem gesellschaftlichen ''Wahrnehmungsmord'' ("percepticidio") geführt hat. Die medialen Strategien und ästhetischen Produktionen, die die Untersuchung analysiert, markieren den gegenwärtigen Stand einer transgenerationellen kulturellen Bearbeitung dieser wahrnehmungsrelevanten sozialen und politischen Erfahrung. Es handelt sich um Produktionen im Bereich Narrativik, Lyrik, Fotografie, Film und Theater, die im Kontext der Memoria-Hochkonjunktur nach 1989 und der digitalen Globalisierung stehen. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni und Lucila Quieto sowie Albertina Carri und Lola Arias haben Kontra(re)präsentationen zum gewaltsamen Verschwinden entworfen, die materiell, meta-medial und kontrainformativ verfahren. Nach diskursanalytischen, repräsentations- und medientheoretischen Einführungen sowie einer Reihe terminologischer Definitionen arbeitet die Untersuchung an diesen Produktionen einer postdiktatorischen Generation, die als "Camada Cadáver" bezeichnet wird, heraus, dass ein ''Phänomen'' wie das erzwungene Verschwinden – das in vielfache Referenzlosigkeit führt – ästhetische Strategien motiviert hat, die als beispielhaft emergent und experimentell einzustufen sind, weil sie neue Erkenntnisse für die noch unabgeschlossene Erforschung eines der vielen Terrorregimes des 20. Jahrhundert liefern. / During the Argentinean dictatorship (1976-1983), tens of thousands of people were kept in secret camps, were tortured, murdered, and ''disappeared''. Most cases are difficult to reconstruct. Many of the offenders have remained unpunished. The term "forced disappearance" (Spanish desaparición forzada) was introduced for this act of state terrorism. This study addresses medial and esthetic processes that were developed in light of the debate on desaparición forzada in Argentina. At the heart of the study is the hypothesis that the violent ''depresentation'' of the victims has led to ''cognitive murder'' ("percepticidio"). The media strategy and esthetic productions analyzed in the study represent the current state of the art of the trans-generational cultural work on cognition relevant social and political experiences. The productions in the field of the study of narration, poetry, photography, film, and theater have emerged in context of the post 1989 memory-boom and digital globalization. Félix Bruzzone, Mariana Enríquez und Martín Gambarotta, Virginia Giannoni, and Lucila Quieto as well as Albertina Carri and Lola Arias have conceptualized counter(re)presentations to violent disappearance which proceed materially, meta-medially, and counter-informatively. Following introductions on discourse analysis, representation theory, and media theory as well as a number of terminology definitions, the study analyzes the above mentioned productions created by a post dictatorship generation, which are being referred to as the "Camada Cadáver", and shows that the ''phenomenon'' of forced disappearance, which leads to a repeated lack of reference, has motivated esthetic strategies that are to be classified as exemplarily emergent and experimental, because they have produced new insights for the unfinished research on one of the many terror regimes of the twentieth century. Fotografie Materialität Theater Repräsentation Film Argentinien Literaturwissenschaft Lateinamerikanistik Argentinische Diktatur (1976-1983) erzwungenes Verschwinden gewaltsame Depräsentation Kontra(re)präsentation percepticidio Wahrnehmungsmord Memoria-Generationen Generationenbegriff Erinnerungsforschung postdiktatorische Ästhetik Kinder von Verschwundenen Lyrik Narrativik Félix Bruzzone Mariana Enríquez Martín Gambarotta Virginia Giannoni Lucila Quieto Albertina Carri Lola Arias theatre Argentina Literary Studies Latin American Studies Argentinean dictatorship (1976-1983) forced disappearance violent depresentation counter(re)presentation percepticidio cognitive murder the memory generation generation concept memory research post dictatorial esthetics materiality children of the disappeared poetry narrative prose photography film Félix Bruzzone Mariana Enríquez Martín Gambarotta Virginia Giannoni Lucila Quieto Albertina Carri Lola Arias 460 Spanisch, Portugiesisch IQ 71025 ddc:460
457	Ordlöv och barrbokstäver : Mening och materialitet i fyra bilderböcker från 00- och 10-tal / Word Leaves and Needle Letters : Meaning and Materiality in Four Picture Books from the 00s and 10s Nordgren, Sarah January 2020 (has links) This essay aims to understand how meaning and materiality work in four picture books from the 00s and 10s; Gittan och gråvargarna by Pija Lindenbaum, I skogen by Eva Lindström, Vem ser Dim? by Maria Nilsson Thore and Vi blåste bort ibland by Viveka Sjögren. The essay uses two theoretical works about picture books: Bilderbokens pusselbitar by Maria Nikolajeva and Modernismens bilder – Den moderna bilderboken i Norden by Elina Druker. Questions to lead the analysis are: How can text and picture be understood as materiality? How can meaning be understood as a material-discursive phenomenon? How can reading and meaning be understood as performative processes? The chapter “Diffractions: Differences, Contingencies, and Entanglements That Matter” from Karen Barad’s book Meeting the Universe Halfway – Quantum Physics and the Entanglement of Matter and Meaning provides help to understand diffraction as a metaphor and methodological attitude. Eve Kosofsky Sedgwick’s understanding of knowledge as performative in the book Touching Feeling – Affect, Pedagogy, Performativity is used to understand the picture book as an act of knowledge and meaning, and reading as a performative process where human involvement cannot be overlooked. The essay problematizes the theoretical texts about picture books by taking on different parts of the picture book’s form and drawing examples from the four chosen picture books. Parts that are examined are divisions of signs in semiotics (and in the picture book theory), the picture book’s limits between for instance framework and content, fiction and reality, and book and reader, mimesis and the analytical problems with looking for truth, the impact of the picture book’s size and shape, and lastly illustration techniques and the influence that illustrator, materiality and reader have on the book. The essay shows how different involvements affect the meaning that is created in the picture book, how solid delimitations of different kinds can be problematic, and how words such as picture, text, paratext and content should be treated gently and consciously. Different ways of breaking with methods and thoughts of habit are presented, for instance by using Barad’s concept of diffraction. The essay ends by emphasizing the complexity that follows meaning, materiality and reading, the responsibility it demands of us and how picture book theory sometimes simplifies analysis. This essay stresses the importance of questioning how the methods and words we use affect what is possible to understand, but not in the sense that we should read in a paranoid and closed way, but rather open minded and with room for failures, reconsiderations and other ways forward. / Syftet med denna uppsats är att förstå hur mening och materialitet hänger ihop i fyra bilderböcker från 00- och 10-tal; Gittan och gråvargarna av Pija Lindenbaum, I skogen av Eva Lindström, Vem ser Dim? av Maria Nilsson Thore och Vi blåste bort ibland av Viveka Sjögren. Uppsatsen går i dialog med de bilderboksteoretiska verken Bilderbokens pusselbitar av Maria Nikolajeva och Modernismens bilder – Den moderna bilderboken i Norden av Elina Druker. Frågor för att leda undersökningen är som följer: På vilket sätt är text och bild materialitet? Hur kan mening förstås som materiellt-diskursivt fenomen i bilderböckerna? Hur kan läsning och mening förstås som performativa processer? Avsnittet ”Diffractions: Differences, Contingencies, and Entanglements That Matter” ur Karen Barads verk Meeting the Universe Halfway – Quantum Physics and the Entanglement of Matter and Meaning fungerar som hjälp för att förstå diffraktion som metafor och metodologisk hållning. Eve Kosofsky Sedgwicks förståelse av kunskap som performativ i verket Touching Feeling – Affect, Pedagogy, Performativity används för att förstå bilderboken som ett görande, och läsningen som en performativ process där mänsklig inblandning inte kan förbises. Uppsatsen problematiserar de bilderboksteoretiska verken genom att ta sig an olika aspekter av bilderbokens form samt exemplifiera detta med hjälp av det skönlitterära materialet. Områden som vidrörs är semiotikens (och bilderboksteoretikernas) indelning av tecken, bilderbokens gränser mellan bland annat ramar och innehåll, fiktion och verklighet samt verk och läsare, mimesis och sanningssökandets analytiska problem, bilderbokens påverkan av storlek och format, samt slutligen illustrationstekniker och den inverkan illustratör, materialitet och läsare har på verket. Uppsatsen visar på hur olika inblandningar påverkar den mening som skapas i bilderboken, hur fasta gränsdragningar av olika slag kan anses problematiska, samt hur begrepp som till exempel bild, text, paratext och innehåll bör behandlas varsamt och medvetet. Olika sätt att komma runt upptrampade metodologiska tillvägagångssätt och tankespår presenteras, bland annat med hjälp av Barads diffraktionsbegrepp. Uppsatsen avslutas med att betona den komplexitet som följer med mening, materialitet och läsning, det ansvar detta avkräver oss och hur bilderboksteorin ibland fungerar förenklande i analyser. Denna uppsats lyfter vikten av att ifrågasätta vad de metoder och ord vi använder egentligen gör med vad som är möjligt att förstå, men inte i den mening att vi bör läsa misstänksamt och stängt, utan snarare öppensinnat och med utrymme för misslyckanden, omprövningar och andra vägar vidare. Meaning Materiality Picture books Performativity Eve Kosofsky Sedgwick Karen Barad Maria Nikolajeva Elina Druker Gittan och Gråvargarna I skogen Vem ser Dim? Vi blåste bort ibland Pija Lindenbaum Eva Lindström Maria Nilsson Thore Viveka Sjögren Semiotics Diffraction Picture Text Paratext Mimesis Picture book theory Iconicity Reader Mening Materialitet Bilderböcker Performativitet Eve Kosofsky Sedgwick Karen Barad Maria Nikolajeva Elina Druker Gittan och gråvargarna I skogen Vem ser Dim? Vi blåste bort ibland Pija Lindenbaum Eva Lindström Maria Nilsson Thore Viveka Sjögren Semiotik Diffraktion Bild Text Paratext Mimesis Bilderboksteori Ikonicitet Läsare General Literature Studies Litteraturvetenskap
458	La simulazione negoziale nel processo civile Silvestri, Kevin 07 June 2022 (has links) The thesis aims to reconstruct the procedural rules that apply whenever the simulation of contract becomes an issue within a civil proceeding.To this end, a different method is followed from that commonly used by the courts and in the scholarly literature, which have mostly deduced the content of these rules assuming, as a starting point, a certain solution to the problem of the nature of simulated contracts. The courts, that still adhere to the traditional doctrine of nullity of the simulated contract, state that the rules of the civil code dedicated to the action and the objection of nullity shall also apply to the action and objection of simulation. Part of the scholars, rejecting such premises, uphold interpretative solutions that are at odds with those supported by the courts. On the contrary, in this thesis, the legal notion of simulation is assumed as a starting point. Such a legal notion describes the set of facts that lead to a simulation of a contract and to the legal consequences set forth in articles 1414 and ff of the civil code; these facts are thus material to the process in which the simulation is an issue. Hence, the first part of the thesis (chapters 1 to 4) aims at framing the legal notion of simulation within the main categories of civil procedure, and starts from the definition of the legal notion of simulation by critically assessing the two main conceptions of the simulation phenomenon that emerge from the conspicuous literature on the subject: a “negative” conception, which sees the simulation as the lack of an essential element of the contract, and a “positive” conception, which sees the simulation as an agreement between the parties with the aim of excluding the legal effects of a contract between them (simulation agreement). The arguments in support of this last conception are set forth; after that, the question of the structure of the so-called “concealed contract” and the role of the simulation agreement on its formation and effectiveness is examined. The framing of the simulation in the fundamental categories of the process is then carried out through the observation of the legal effects that the simulation activity produces with regard to third parties, and the procedural classification of the substantial categories referred to in Articles 1415 and 1416 of the Italian Civil Code (in particular, unopposability). Finally, the objective scope of the process in which the ascertainment of the simulation of a contract is requested (action of simulation) is defined by critically examining the prevailing doctrine, according to which the said action aims at ascertaining the lack of a “contractual relationship”. Another doctrine is then examined, according to which simulation and nullity may be described as authonomous legal effects capable of being ascertained within a judgment having the force of res judicata. The second part (chapters 5 and 6) is dedicated to the discussion of selected issues of “procedural dynamics”, namely: a) the objection of absolute simulation, and the problem wether the judge may decide upon it ex officio in both the processes aimed at enforcing a simulated contract, and in those that aim, on the contrary, at the declaration of nullity, or at the annulment, rescission or termination of the same contract; b) the multiple facets that the issue of absolute simulation presents in the course of a forced expropriation proceeding undertaken against an “apparent owner”; c) the form of the concealed contract and the extent to which the simulants may prove a relative simulation by witnesses, particularly in the event that the relative simulation of the price of a sale contract is alleged as an objection to an avoidance action promoted by the bankruptcy trustee; d) the stading to an action of simulation; e) the objective scope of the res judicata in the same action. / La tesi mira a ricostruire la disciplina processuale della simulazione negoziale, ossia le regole concernenti l'attività compiuta nel processo dalle parti e dal giudice, ogniqualvolta la simulazione di un negozio giuridico sia oggetto di allegazione, prova e decisione (nella forma della mera cognizione o dell'accertamento). Si segue, a tal fine, un metodo diverso da quello comunemente impiegato dalla giurisprudenza e dalla dottrina, le quali hanno perlopiù dedotto il contenuto di tali regole a partire dalla soluzione di volta in volta prescelta al problema della qualificazione del contratto simulato. La giurisprudenza, muovendo dalla tesi della nullità del contratto simulato, conclude per la diretta applicabilità delle norme del codice civile dedicate all'azione e all'eccezione di nullità. Parte della dottrina, discostandosi da quella premessa, propone soluzioni applicative di segno opposto. Al contrario, nel presente lavoro, la centralità solitamente assegnata al contratto simulato, è occupata dalla simulazione, ossia dalla fattispecie degli effetti che gli artt. 1414 e seguenti designano quali “effetti della simulazione”. Detta fattispecie è infatti quanto forma oggetto dell'attività dei soggetti del processo (l'allegazione, la prova, la cognizione e l'accertamento). La ricostruzione della disciplina processuale della simulazione muove pertanto dalla collocazione della fattispecie simulatoria entro le categorie che informano il contenuto di quella disciplina, e cioè la qualificazione della simulazione come tema di prova, come questione di merito oggetto di mera cognizione, nonché, infine, come oggetto del processo e dell'accertamento munito di autorità di cosa giudicata. La prima parte della tesi (capitoli da 1 a 4) si occupa esattamente di tale inquadramento, prendendo le mosse dalla definizione della fattispecie simulatoria e dalla discussione critica delle due opposte concezioni del fenomeno simulatorio che emergono dalla cospicua letteratura sul tema: una concezione “negativa”, che vede nella simulazione una forma qualificata di difetto della fattispecie negoziale, e una concezione “positiva”, che ravvisa la fattispecie simulatoria in un negozio distinto da quello simulato (il c.d. accordo simulatorio). Enunciate le ragioni a sostegno di quest'ultima concezione, si prende in esame la questione della struttura del contratto dissimulato e del ruolo dell'accordo simulatorio sulla formazione e l'efficacia del medesimo. L'inquadramento della simulazione nelle categorie fondamentali del processo prosegue mediante l'osservazione degli effetti giuridici che l'attività simulatoria produce riguardo ai terzi, e l'inquadramento processuale delle categorie sostanziali richiamate negli artt. 1415 e 1416 c.c. (segnatamente, l'inopponibilità). Infine, si definisce l'oggetto dell'azione di simulazione, mettendo di fronte la prevalente tesi che detto oggetto fa coincidere con il rapporto fondamentale contrattuale, e quella minoritaria che addita le azioni di simulazione e nullità quali esempi di processi di accertamento di situazioni giuridiche preliminari. Si sottopone quindi a critica la tesi del rapporto fondamentale. La seconda parte (capitoli 5 e 6) è dedicata alla discussione di profili scelti di dinamica processuale, segnatamente: l'eccezione di simulazione assoluta, e il problema della sua rilevabilità d'ufficio nei processi diretti all'esecuzione del contratto simulato, nonché in quelli che mirano, al contrario, alla dichiarazione della nullità, ovvero all'annullamento, alla rescissione o alla risoluzione dello stesso contratto; le molteplici sfaccettature che presenta la cognizione della simulazione assoluta nel corso (o a lato) dell'espropriazione forzata intrapresa contro il titolare apparente; la forma del contratto dissimulato e l'ampiezza dei poteri istruttori dei simulanti che intendano dar prova della simulazione relativa, e per suo tramite del contratto dissimulato, particolarmente nel caso in cui la simulazione relativa del prezzo venga addotta per contrastare l'azione revocatoria promossa dal curatore fallimentare contro una compravendita immobiliare “a prezzo vile”; la legittimazione ad agire nell'azione di simulazione; i limiti oggettivi del giudicato di accertamento della simulazione.
459	Hörgeräte Papenburg, Jens Gerrit 21 March 2012 (has links) Die Geräte, durch die Musik im Zeitalter der technischen (Re-)Produktion gehört wird, haben sich immer wieder gewandelt. Solche Geräte müssen überhört werden. Nur so kann Musik gehört werden. Trotzdem – so die These der Arbeit – organisieren diese Geräte das Hören und sind Agenturen einer Bewirtschaftung und Technisierung der Wahrnehmung. In der Arbeit wird anhand von zwei Fallstudien aus der Geschichte der Rock- und Popmusik gezeigt, wie solche Geräte sowohl den Hörer als auch die gehörte Musik formieren. Durch Hörtechnologien bilden sich neue Hörpraktiken heraus und die Körperlichkeit des Hörers wird neu bestimmt. Die Anpassung von Klanggeschehen an spezifische Hörtechnologien wird im Mastering – dem letzten Schritt der technischen Musikproduktion – untersuchbar. Die Geräte, durch die Musik gehört wird, sind also weder schlichte Wiedergabetechnologien noch bloße elektrotechnische Artefakte. Vielmehr sind sie Gefüge aus Klanglichkeit, Körperlichkeit und Technologie. Diese werden in der Arbeit als Hörgeräte auf den Begriff gebracht. Die Hörgeräte der Rock- und Popmusik zielen – wie ihre medizintechnischen Verwandten – auf die Materialität der Wahrnehmung. Im Gegensatz zu diesen funktionieren sie jedoch nicht als Prothesen, die an einer gattungsweit postulierten Norm ausgerichtet sind. Statt Normen bergen sie Exzesse – an Serialität und Wiederholung – sowie Eskalationen – von Lautstärke und von hohen und tiefen Frequenzen. Die Arbeit ist in drei Kapiteln gegliedert. Im ersten Kapitel wird die These der Arbeit in Bezug auf theoretische Diskurse der Musik-, Kultur- und Medienwissenschaft verortet und eine begriffliche Systematik entwickelt. Kapitel zwei und drei sind Fallstudien gewidmet. In der ersten wird das Jukeboxhören der Rock’n’Roll-Kultur der 1950er Jahre untersucht, in der zweiten das Soundsystemhören der Disco- und Clubkultur der 1970er bis 1990er Jahre. Die im ersten Kapitel entwickelte begriffliche Systematik macht die Fallstudien vergleichbar. / The devices by which music is listened to in the age of technological (re-)production have changed over and over again. These devices must be imperceptible to the ear. Only then can music be heard. Nonetheless – this is the claim of the thesis – these devices organize hearing and are agents of a cultivation and technization of perception. Based on two case studies from the history of rock and pop music, this thesis reveals how such devices constitute not only the listener but also the music which is listened to. Through listening technologies new listening practices emerge and the corporality of the listener is newly defined. The adaptation of sound to specific listening technologies can be analysed during the mastering process, the last step in technological music production. The devices by which music is listened to are thus neither simple technologies of reproduction nor mere electrotechnical artefacts. Rather, they are assemblages of sound, corporality, and technology. In this thesis these assemblages are called “Hörgeräte” (listening devices). The listening devices of rock and pop music target – like medical-technical “Hörgeräte” (hearing aids) – the materiality of perception. Contrary to medical technologies, however, listening devices do not function as prostheses, which are calibrated according to medical industry standards. Instead, they contain excesses – of seriality and repetition – and escalations – of amplitude and high and low frequencies. The thesis is arranged in three chapters. In the first chapter I situate the main argument of the thesis within discourses of musicology, media and cultural studies, and develop my own terminology. Chapters two and three deal with case studies. In chapter two I investigate jukebox listening in 1950s rock’n’roll culture, whilst in chapter three I explore sound system listening in disco and club culture from the 1970s to the 1990s. The terminology developed in chapter one enables a comparison of the case studies. Kulturwissenschaft Geschichte des (Musik-)Hörens Geschichte des Nicht-Hörens auditive Wahrnehmung Technisierung des Hörens Bewirtschaftung des Hörens Hörgerät Materialität der Wahrnehmung Materialitäten der Musikkultur technisierte Organe Organ gewordene Technik eskalierte Organe Körperlichkeit des Hörens Hörpraxis Mastering Veröffentlichung von Musik technisierter Klang das Vorgehörte das Unhörbare das Ungehörte Mittler vs. Zwischenglieder Musikbegriff Klangkonzept Jukebox Soundsystem Single-Schallplatte Maxisingle Technologieentwicklung Rock’n’Roll Disco House Techno Musikwissenschaft Medientheorie Sound Studies Historische Anthropologie der Sinne Musikalische Vermittlungstheorie History of listening history of non-listening auditory perception technization of listening cultivation of listening listening device materiality of perception materialities of music culture organs and technology corporality of listening listening practice mastering practices of releasing music sound and technology mediator vs. intermediary concept of music concept of sound juke box sound system 7-inch single 12-inch single development of technology rock’n’roll disco house techno musicology media theory cultural studies sound studies anthropology of the senses theories of mediation 780 Musik 48 Musik AP 14900 ddc:780
460	From the "rising tide" to solidarity: disrupting dominant crisis discourses in dementia social policy in neoliberal times MacLeod, Suzanne 26 March 2014 (has links) As a social worker practising in long-term residential care for people living with dementia, I am alarmed by discourses in the media and health policy that construct persons living with dementia and their health care needs as a threatening “rising tide” or crisis. I am particularly concerned about the material effects such dominant discourses, and the values they uphold, might have on the collective provision of care and support for our elderly citizens in the present neoliberal economic and political context of health care. To better understand how dominant discourses about dementia work at this time when Canada’s population is aging and the number of persons living with dementia is anticipated to increase, I have rooted my thesis in poststructural methodology. My research method is a discourse analysis, which draws on Foucault’s archaeological and genealogical concepts, to examine two contemporary health policy documents related to dementia care – one national and one provincial. I also incorporate some poetic representation – or found poetry – to write up my findings. While deconstructing and disrupting taken for granted dominant crisis discourses on dementia in health policy, my research also makes space for alternative constructions to support discursive and health policy possibilities in solidarity with persons living with dementia so that they may thrive. / Graduate / 0452 / 0680 / 0351 / macsuz@shaw.ca social determinants of health social exclusion crisis discourse Alzheimer's Alzheimer Society of Canada Suzanne MacLeod Susan Strega Donna Jeffery poststructural poststructuralism admission to long-term care funding for long-term care acute care aging demographic BC Psychogeriatric Association biomedical British Columbia Canada Health Act collective social responsibility competition corporate profit corporatization deresponsibilization elder friendly elderly citizens family caregivers Foucault found poetry genealogy of power knowledge incompetent Ministry of Health moral economics pharmaceutical bed blocker stigmatized tsunami absent-person action plan aging population alternative discourse apocalyptic demography appropriate archaeology archaeology of knowledge archaeological British Columbia burden Canada caregiver charity charitable collective collective car community community care condition of possibility conditions of possibility corporate counter-discourse dementia dementia care dementia policy dementia social policy dependent depoliticize discourse discourse analysis disruptive discourse economic burden economics economy elder emergency epidemic exclusion fear-monger Foucauldian found poem genealogy genealogical health authority health care health care staff health care system health policy document healthy lifestyle home and community care homogenization homogenize hospital imaginaries imaginary incapable individual responsibility individualism knowledge long-term care material effect materiality of discourse media moral panic national strategy neoliberal neoliberalism neoliberal rationality not prepared object objectification other person-centered people living with dementia person living with dementia persons living with dementia person with dementia poem poetic representation poetry policy policies political politics power power knowledge power relations private privatize privatization productivity of dominant discourse public health care residential care resistance responsibility responsibilization rising tide safety net shift costs to caregivers responsibility social policy imaginary social well-being social work social worker solidarity specialized stakeholder state stigma subject matter expert taxpayer threat unprepared unproductive voluntary volunteer wait time wave social policy

Search results