Recent years were marked by a major transformation in human and social communication, owing to the advances in ICT and thus social media technologies. Social media have introduced new communication practices, provided newfound interaction patterns, created new forms of expressions, stimulated a wide civic participation, and so forth. They are rapidly evolving and their significance is increasing while their role is changing in social and political processes. Moreover, they are increasingly becoming an instrumental approach to, and power for, social change due to their potential in bringing new dynamics to its underlying processes such as public mobilization. Indeed, more recently, they played an important role in what has come to be known as the Arab Spring. Particularly, in the recent Egyptian revolt, social media, such as Facebook, Twitter and YouTube, have been transformed into effective means to fuel revolt and bring about political transformation. This marked a victory for social media and corroborates that they are an enduring resource for the successful mobilization of bottom-up, grassroots movements and leaderless collective actions. This, in turn, has stimulated discussions about their impact on political change, giving rise to a new discourse, what might be identified as ‘social media for social change’. This discourse is gaining an increased attention in the media and the academia: many journalists and authors talk and write about it. Particularly, research and publications by journalists emphasize the fundamental role the online media play in the reproduction of the role of social media in the Egyptian revolution and political change. The aim of this study is to establish, by means of a discourse analysis, how and with what purpose in mind, the online media report on – represent – the relationship between social media and the Egyptian uprising and political transformation, a social relationship that seems to be overstated and constructed in various ways by different journalists. This critical reading reveals what is undervalued, overvalued and excluded, as well as the intersection between the media discourse, subjects and ideology. To achieve this aim, the discourse analysis approach was used to examine the set of selected media texts. The media representation is deterministic as to the role of social media in the Egyptian revolution and political transformation, i.e. it exaggeratedly depicts the power of social media by describing the Egyptian revolution as a Facebook revolution. It also tends to be rhetorical and exclusionary. The event of the revolution and the reality of political change in Egypt are far more complicated than how it is reconstructed by most journalists. Further, it plays a role in constructing a positive image of different corporate players, namely Facebook, Twitter and media companies, as well as in constituting their identities. A great highlight is given to represent these actors. In addition, the media representation does ideological work. It sustains and serves corporate power as well as advances ideological claims. This discursive research enhances the current understanding of the phenomenon of social media in relation to revolution and political change, although the findings may not be generalizable.

The Architecture, Engineering & Construction industry (AEC) is considered one of the largest sectors worldwide and complexed due to the complexity and uniqueness of construction projects. In contradiction to other industries, AEC illustrates high fragmentation, resistance to change, and significantly lower adoption rate of new technology solutions than other industries. The highly disruptive nature of the upcoming technological revolution of the Fourth Industrial Revolution (4IR) in the AEC sector and the need for effective implementation of technological innovations is reified in the concept of Construction 4.0. The technological wave that is expected to arise with the 4IR may subsequently entail both opportunities and threats in technological, organizational, individual, societal and sustainability perspectives. This thesis focuses on two major steps. The first step is the assessment of the AEC industry towards the successful implementation of 4IR in the industry. The second step is dedicated to a horizontal and vertical integration of Construction 4.0 contemplating the social perspective of technology. Qualitative research methods such as literature review and interviews using the PESTELE framework have been applied to gather data that will be analyzed with TOE and Social Construction of Technology Theory (SCOT). This study has realized the necessity to develop a comprehensive approach of the AEC industry based on the societal structure and identified the need for horizontal and vertical assessment of the involved social and professional groups. / Arkitektur, teknik, och byggindustrin (AEC) anses vara en av de största sektorerna världen över och komplexa på grund av byggprojektens komplexitet och unikhet. I motsats till andra industrier illustrerar AEC hög fragmentering, motståndskraft mot förändringar och betydligt lägre antagande av nya teknologilösningar än andra industrier. Den mycket störande karaktären hos den kommande tekniska revolutionen i den fjärde industriella revolutionen (4IR) i AEC sektorn och behovet av ett effektivt genomförande av tekniska innovationer förnyas i begreppet Construction 4.0. Den tekniska vågen som förväntas uppstå med 4IR kan därefter innebära både möjligheter och hot i tekniska, organisatoriska, individuella, samhälleliga och hållbarhetsperspektiv. Denna avhandling fokuserar på två huvudsteg. Det första steget är bedömningen av AEC-industrin mot ett framgångsrikt genomförande av 4IR i branschen. Det andra steget är tillägnad en horisontell och vertikal integration av Construction 4.0 som överväger teknikens sociala perspektiv. Kvalitativa forskningsmetoder som litteraturgranskning och intervjuer med PESTELE ramverket har tillämpats för att samla in data som kommer att analyseras med TOE och Social Construction of Technology Theory (SCOT). Denna studie har insett behovet av att utveckla ett omfattande tillvägagångssätt för AEC-industrin baserat på samhällsstrukturen och identifierat behovet av horisontell och vertikal bedömning av de involverade sociala och yrkesgrupperna.

[pt] Esta dissertação tem por objetivo investigar a teoria da revolução socialista de William Morris. Nascido em 1834, Morris produziu muitos trabalhos até o ano de 1896, quando morreu com 62 anos. O recorte temporal sob o qual se assenta minha pesquisa está compreendido entre os anos de 1883 e 1890, quando o autor filiou-se a uma organização revolucionária e decidiu dedicar os seus textos à transformação da sociedade inglesa oitocentista. As fontes que nos permitem visualizar a sua teoria apresentam-se em dois discursos diferentes: o panfletário e o ficcional. Em relação ao primeiro, Morris valeu-se de jornais vinculados às organizações revolucionárias para intervir nos debates públicos ingleses e, em meio a essa intervenção, construiu a sua teoria da revolução. Em 1890 a sua teoria estava completa, mas apareceu sob outra roupagem: atravessando o romance utópico Notícias de lugar nenhum. Diante do que foi exposto, é imperativo para esta dissertação compreender os discursos mobilizados pelo cidadão inglês para demonstrar qual foi o papel que eles exerceram nas suas intervenções políticas. Para alcançar esse objetivo, alguns conceitos se fazem importantes, como, por exemplo, o conceito de propaganda porque permitem que as fontes analisadas sejam compreendidas como um meio de atuar na realidade política da Inglaterra vitoriana. / [en] This dissertation aims to investigate the theory of socialist revolution of William Morris. Born in 1834, he produced many works until 1896, when he died at the age of 62. The time frame on which my research is based is between the years 1883 and 1890, when the author joined a revolutionary organization and decided to dedicate his texts to the transformation of the nineteenth century s English society. The sources that allow us to visualize his theory are presented in two different discourses: the pamphleteer and the fictional. Regarding the first, Morris used newspapers linked to revolutionary organizations to act in English public debates and, in the midst of this intervention, built his theory of revolution. In 1890 his theory was complete, but appeared under another guise: traversing the utopian novel News from Nowhere. Based on what was exposed, it is imperative for this dissertation to understand the discourses mobilized by the English citizen to demonstrate what role they played in their political interventions. To achieve this goal, some concepts are important, such as the concept of propaganda because they allow the sources analyzed to be understood as a means of acting in the political reality of Victorian England.

Das vorliegende Dokument benennt die strategischen Grundsätze und Ziele für die umfassende und kontinuierliche Transformation der Sächsischen Staatsverwaltung hin zu einer digital agierenden Organisation. Die Umsetzung der im Jahr 2014 beschlossenen „Strategie für IT und E-Government des Freistaates Sachsen“ (ITEG-Strategie) hat den Weg bereitet für die Entwicklung der vorliegenden Strategie. Mit dieser richtet sich die Sächsische Staatsverwaltung an den zukünftigen Anforderungen der Gesellschaft an eine moderne Verwaltung aus. Redaktionsschluss: 27.11.2023

<p dir="ltr">Historians reconcile events with stories that are told (or not told) about them. How does one narrative dominate while others fade away? This dissertation investigates histories of the colonies for change over time and addresses the differences and similarities between narratives written by colonists, foreigners, revolutionaries (or loyalists), and citizens of the new Republic. It examines the creation of colonial histories across the long revolutionary generation (roughly 1730-1830) to identify the cumulative development of a national narrative.</p><p dir="ltr">In chaotic times, people create a particular version of the past to navigate an uncertain future. When published, this interpretation hardens into history. My project illuminates and explains current gaps between colonial and revolutionary history. The colonial histories published during this time informed and shaped an emerging historical consciousness. These formative narratives reimagined the past to serve needs of the present and to define conclusions about their place in the world. In a time of division in modern American culture, it is imperative to understand this period in American history, as it represents the origin of many competing claims to the "true" goals of the Revolution that continue to reverberate in current times.</p>

A student-based university environment for engineering design and development is much different from a product development environment within the aerospace industry. Therefore, a different approach to systems engineering should be considered. By its very nature, a university product development laboratory thrives on creativity and rejects bureaucracy. Experience shows that continuity and discipline within a project is crucial for success. The practice of systems engineering enables technical project discipline. Systems engineering is the art and science of developing an operable system that meets requirements within imposed constraints. The purpose of this thesis is to describe the systems engineering processes and techniques necessary for a student-based project, and explicitly show how to implement these processes. Although attempts have been made to utilize a few systems engineering techniques in past projects, many students did not properly and consistently apply those techniques to the technical design work. The goal of the thesis is to tailor the NASA systems engineering processes to a student-based design laboratory environment and to apply the methodologies to the mission design of Paradox. The Picosatellite for Autonomous Rendezvous and Docking on-Orbit eXperiment, or Paradox, is the second of four missions to demonstrate autonomous rendezvous and docking with a picosatellite-class satellite. A strong technical contribution highlighted within the thesis involves developing an open architecture rendezvous targeting algorithm for the Paradox mission in the face of large mission architecture uncertainties. The robust targeting algorithm builds from previous work utilizing an optimizer based on the Clohessey-Wiltshire equations and an iterative Lambert targeter. The contribution extends the rendezvous transfer times by including a multi-revolution Lambert targeter. The rendezvous algorithm will perform successfully given any launch vehicle and target spacecraft vehicle supporting the notion of an open architecture to satisfy the mission. The development of the algorithm is embedded within the context of the systems engineering processes to clearly showcase the intimate connection between systems engineering processes and the technical engineering design of a mission. / text

In addition to his renowned musical output, Richard Wagner produced a logorrhoeic prose oeuvre, including a dramatic sketch of the last weeks of the life of Jesus Christ entitled Jesus von Nazareth. Though drafted in 1848-1849, it was published only posthumously, and has therefore been somewhat neglected in the otherwise voluminous Wagnerian literature. This thesis first examines the origins of Jesus von Nazareth amidst the climate of revolution wherein it was conceived, ascertaining its place within Wagner’s own internal development and amongst the radical thinkers who influenced it. While Ludwig Feuerbach has traditionally been seen as the most prominent of these, this thesis examines Wagner’s sources more broadly. The thesis then summarizes and analyzes Jesus von Nazareth itself, particularly in terms of Wagner’s use of biblical scripture. The thesis demonstrates how his not infrequent misuse thereof constitutes one way in which Wagner transmogrifies Jesus as mutable lens through which his own ideology of social revolution is reflected. It also attempts to provide a critical assessment of the relative dramatic merits of Jesus von Nazareth and looks into Wagner’s ultimate decision not to complete the work. The thesis then briefly summarizes the changes that occurred in Wagner’s mature Christological outlook subsequent to his drafting of Jesus von Nazareth, attempting to concisely demonstrate some developments beyond Wagner’s well-known encounter with the philosophy of Arthur Schopenhauer. The thesis concludes with an evaluation of how Jesus von Nazareth informed Wagner’s general religious outlook and the extent to which this worldview is a productive one.

The thesis is focused on the history of human rights, and their evolution since the time of ancient Greece and Rome to the Universal Declaration of Human Rights of 1948. The aim of the work is to make reader acknowledged with major events which influenced the development of human rights. Described are the thoughts of philosophers and significant events that changed the course of development of human rights. There is depicted a situation in ancient Rome and Greece, the period of development of the Christian faith and the Middle Ages and significant modern milestones including French revolution and the emergence of Declaration of Human rights, the reign of Maria Theresa and her son Joseph II. who made o lots of reforms, or revolution of 1848 and finally the emergence of Universal Declaration of Human Rights of 1948.

Avec l'émergence de la révolution industrielle, les populations rurales se dirigèrent vers les centres industriels nouveaux. S'y constitua un nouveau peuple, le peuple ouvrier, s’entassant dans les villes et dans les banlieues autour des usines. Surgirent de terre autour des manufactures industrielles des habitations destinées à minimiser la distance entre les logements et les lieux de travail. S'y Avec l'émergence de la révolution industrielle, les populations rurales se dirigèrent vers les centres industriels tissèrent des structures sociales simples, aboutissant à une nouvelle forme de ville : la ville industrielle, dont la caractéristique la plus importante, avant la présence du milieu ouvrier, réside dans celle d’une usine ou d’une mine, pleine d'objets et d'inventions mécaniques et techniques. La présente recherche se propose pour but de présenter cette ville industrielle en tant que produit le plus typique du XIXe siècle, avec ses composants techniques et ses habitants ouvriers. La ville s'y envisage comme l'un des berceaux les plus importants des romans, ceux-ci allant jusqu'à la prendre comme support de leur intrigue. Sans négliger l’importance considérable de la machine dans le bouleversement de la vie quotidienne ni oublier que la révolution technique est portée et manifestée par elle, la thèse analyse à travers ces romans le rôle de ces objets bruyants et imposants, ses machines, dans la formation de la ville industrielle, aussi bien que dans la vie de ses habitants. L'étude se complète par un portrait des ouvriers, ces utilisateurs des machines et ces incarnations de la technique et de l’industrie, dans leur vie, leur travail et leurs habitudes. Avec la littérature du XIXe siècle et surtout le mouvement naturaliste, ce peuple se trouve pour la première fois considéré dans la monotonie quotidienne de son existence, dans ses petits drames, ses mœurs, sa mentalité. Apparaissent de la sorte les effets néfastes de l’industrialisation et du machinisme sur la vie de ces personnes, auxquels certains auteurs remédient par la création d'utopies. / With the emergence of the industrial revolution, country people moved to the new industrial centers. Through this movement appeared a new social class, the working class, crowding in the cities and also in the suburbs around the factories. To minimize the distance between the places of work and the residences, a lot habitations appear suddenly out of earth around industrial factories. In those areas, simple social structures were created leading to a new city shape: the industrial city whose main characteristic, before the setting of the working class, is the factory or the mine, places full of industrial items, mechanical inventions and techniques. The present research aims at introducing this industrial city as the most typical product of the nineteenth century through its technical components and its working class. The city is considered as one of the main element in the novel as far as becoming the basic and strong support of their intrigue. Without neglecting the substancial and amazing effect and the consequences of the machine in the daily life and without forgetting that the technical revolution is supported and materialized by the machine itself, the thesis analyses, through the studied novels, the role of those machines in the emergence of the industrial city as well as its effects in the daily life of the working class. The study is developed by a portrait of the working class, main users of the machines and a description of the technical and industrial incarnations in their lifes, their work and their habits. With the nineteenth century's literature and especially through the naturalist movement, this social class is for the first time analysed by considering its monotonous daily life, its little dramas, its manners and its mentality. Therefore the negative effects of the industrialization and of the mechanization on the working class appear in the literature, and some writers try to solve the problem by creating utopia.

Cette thèse porte sur les représentations filmiques de la guerre de Libération(1964-1974) et de la Révolution mozambicaine (1975-1987) et vise à analyser les enjeux esthétiques et politiques du cinéma révolutionnaire de ce pays. La compréhension de cette problématique passe dans un premier temps par un examen des différentes logiques qui ont présidé aux positionnements de la théorie anticoloniale à l’égard de la culture pour ensuite interroger la politique du cinéma d’État et ses contradictions. Les représentations filmiques de es deux processus historiques furent un instrument essentiel pour la formation de l’identité nationale, à l’intérieur d’un dispositif épistémique historiographique. En reconstituant les principes d’une culture de libération transnationale, cette thèse envisage de considérer les conditions politiques, idéologiques et technologiques qui conduisirent à la fondation de l’Institut national de cinéma mozambicain (INC) en mars 1976 et l’orientation que le Front de libération du Mozambique (FRELIMO) tenta d’imprimer au cinéma.La délimitation des trois phases du cinéma révolutionnaire mozambicain mettra en exergue les déséquilibres entre la coexistence d’un projet de production cinématographique collective, l’expérimentation formelle et les postulats du programme étatique. La notion de «forme-événement » nous permettra de concilier deux dimensions de la production esthétique :celle qui envisage l’art comme reflet ; celle qui le considère à partir de ses effets. À travers l’analyse esthétique formelle et historique d’un ensemble de films singuliers réalisés entre 1966et 1987, nous chercherons à mettre en évidence les positions prises par les cinéastes, les résistances et les rapports successifs et contradictoires entre le cinéma collectif, d’auteur et d’État. De l’étude approfondie du film Mueda, Memória e Massacre (1979-1980) de Ruy Guerraet de son histoire matérielle émergera une connaissance archéologique et critique du programme politique et culturel mozambicain.Cette thèse envisage également une insertion du cinéma révolutionnaire mozambicain dans son contexte historique et culturel en élaborant une cartographie du cinéma de Libération en relation avec la conjoncture politique des années 1960 et 1970. La notion de « cinéma de Libération » se trouve dans un cadre historique, géographique et catégoriel par rapport à l’histoire du cinéma politique, d’avant-garde et expérimental et de l’histoire du cinéma en général. L’étude d’une série d’oeuvres filmiques nous permettra d’établir une cartographie extensible du cinéma de Libération, englobant le cinéma révolutionnaire portugais (1974-1982)et l’« état de la forme » de ce cinéma. / The dissertation focuses on the filmic representations of the War of Liberation(1964-1974) and of the revolution (1975-1987) in Mozambique, and aims to analyse the aesthetic and political issues of Mozambican revolutionary cinema. To understand this question,the various logics that guided the positions of anti-colonial theory with regard to culture are examined in the first instance, while the State cinema policy and its contradictions are reassessed in the second instance. The filmic representations of these two historical processes were an essential instrument for the construction of national identity, within an epistemic historiographical apparatus. By reconstructing the principles of a culture of transnational liberation, the dissertation intends to consider the political, ideological, and technological conditions which led to the foundation of Mozambique’s National Institute of Cinema (INC) inMarch of 1976, and the orientation that the Mozambique Liberation Front (FRELIMO) attempted to ascribe to cinema.The identification of three phases of Mozambican revolutionary cinema will highlight the discrepancy between the coexistence of a project for the collectivisation of film production,formal experimentation and the premises of the State programme. The notion of ‘form-event’will allow us to reconcile two dimensions of the aesthetic production: one, which considers art as a reflection; another, which considers it in terms of its outcomes. Through the formal aestheticand historical analysis of a set of singular films produced between 1966 and 1987, we will seekto problematize the positions adopted by the filmmakers, the points of resistance, as well as the succession of contradictory forms of relation between collective, auteur and State cinema. Anarchaeological and critical knowledge of the Mozambican political and cultural programme will emerge from the comprehensive analysis of Ruy Guerra’s Mueda, Memória e Massacre(1979-1980).The dissertation purports to replace Mozambican revolutionary cinema in its historicaland cultural context by drawing a cartography of the Cinema of Liberation in relation to the political situation of the 1960s and 1970s. The concept of ‘Cinema of Liberation’ is sited in a historical, geographical and categorial framework with respect to the history of political, avantgarde,and experimental cinema, and to the history of cinema in general. The analysis of a selection of films will allow us to extensively map the Cinema of Liberation, including the cinema of the Portuguese Revolution (1974-1982) and the ‘state of the form’ of this cinema.