Die Komposition „ros pikata ros“ basiert auf einem Text des deutsch-rumänischen Schriftstellers Oskar Pastior (1927-2006) und ist seinem Werk „o du roher iasmin, 43 intonationen zu ‚harmonie du soir‘ von charles baudelaire“ entnommen. Der verwendete Ausschnitt ist das erste Anagramm des Buches über den Schriftstellernamen: baude laïre. Die Uraufführung von „ros pikata ros“ fand 2006 anlässlich der abgeschlossenen Restaurierung der Eule-Orgel in der Nikolaikirche zu Leipzig statt. Die Orgel spielte Reimund Böhmig.

The tenorhorn and baryton (euphonium), as members of the valved conical brass family, were highly regarded by Oskar Böhme (1870-1938) and Victor Ewald (1860-1935). This study examines the role the tenorhorn and baryton played in selected works by these two composers of the Russian Chamber Brass School. A chronology of the research leading to the discovery and naming of the Russian Chamber Brass School is included as well as a discussion on brass chamber music performance practice both then and now.

This thesis discusses how the hymen is described historically in Swedish sex manuals between 1889-1904, along with descriptions of defloration and chastity. The analysis is based on the assumption that science and gender are social and cultural constructions.  The purpose of this thesis is to examine late nineteenth-early twentieth century’s conceptions of women, sexuality and chastity by discussing this period's descriptions of the hymen in a historical context. This study is concluded by reading and contextualizing sex manuals published in Sweden around the turn of the century. The conclusion of this thesis is that the hymen is not necessarily viewed as a membrane, although every sex manual writer believe that there is some sort of fold, referred to as the hymen, in virgin females' genitals. However, the hymen is not seen as evidence of women's chastity by the authors because of the assumed occurrence of irregularities in this "fold". Under "normal" circumstances, the hymen is believed to break during a woman's first intercourse which is described as painful (and bloody) by the authors of the sex manuals.

RNA recognition motifs (RRMs) are a ubiquitous class of proteins which bind RNA in a sequence-specific fashion, often with high affinity. The mechanisms through which this single protein domain recognizes diverse RNA sequences is not fully understood. High-resolution three-dimensional structures are particularly important in understanding the structural features required for RNA recognition and binding. This work presents the structure of an expanded RRM domain from the Drosophila melanogaster Bruno protein. The Bruno protein is involved in establishing proper body patterning during development. This is accomplished through the translational repression of several mRNAs, in particular, the oskar mRNA. Previous work has identified an expanded RRM domain within the Bruno protein. This RRM requires an additional forty amino acids prior to the start of the canonical RRM domain for high affinity RNA binding. The protein was found to contain a canonical RRM domain comprised of four anti-parallel [beta] strands and two [alpha] helices. The RRM is preceded by a ten amino acid loop that interacts with [alpha]₁ and [beta]₂, while the remaining amino acids are flexible in solution. Interestingly, the deletion of these residues does not alter the fold or stability of the RRM domain. Thus, these additional residues must be involved in RNA binding, as they are not required for structure. From these studies, the Bruno RRM represents a new example of protein features required for recognition and high affinity binding of RNA. / text

No description available.

Thesis deals with the personality of Oskar Nedbal and his lifework. It points to his contribution as composer, viola player of Czech quartet, world-famous dirigent and promoter of czech music.

Oskar Nedbal patří mezi nejvýznamnější české hudební osobnosti konce 19. a počátku 20. století. Jeho přínos lze spatřovat nejen v oblasti interpretačního umění a hudebně organizačního úsilí, ale rovněž na poli skladatelském, především díky operetě Polská krev (Polenblut). Disertační práce se kromě nezbytného přehledu pramenů a literatury a nástinu života a díla Oskara Nedbala soustředí na otázku postavení operety Polská krev jak v rámci skladatelovy ostatní tvorby, tak i v širším kontextu vídeňské operety. Zároveň přináší doposud nepublikované informace o nedbalianech z depozitáře divadelního oddělení Národního muzea v Terezíně a ve světle průzkumu těchto pramenů se pokouší definovat základní atributy Nedbalova způsobu práce při kompozici operety Polská krev i dalších významných děl. Nedbalova vrcholná operetní tvorba je ukázkovým příkladem populární hudby vysoké umělecké úrovně, ve které se odráží skladatelův vysoce seriózní kompoziční přístup. Zejména opereta Polská krev dokumentuje Nedbalův záměr klást na tento žánr vyšší umělecký nárok, než jaký byl běžný zejména ve Vídni počátkem 20. století. Abstract: Oskar Nedbal is one of the most important Czech music personalities of the end of 19th and the beginning of 20th century. His contribution can be seen not only in the fields of interpretive art...

Made available in DSpace on 2016-06-02T20:12:12Z (GMT). No. of bitstreams: 1 1842.pdf: 1928890 bytes, checksum: afa219bf6dace21b41cd4900404eb7fd (MD5) Previous issue date: 2007-08-20 / Financiadora de Estudos e Projetos / The goal of this thesis is to establish a comparison between the concepts of bourgeois public sphere and of proletarian public sphere developed, respectively, by Jürgen Habermas and by Oskar Negt and Alexander Kluge. In this sense, the study intends to demonstrate that, on contrary to Habermas eminently abstract perspective, the perspective suggested by Negt and Kluge is based on a non-deformed interpretation of marxist dialectics, allowing for the potential for emancipation present in the original critical theory. / O objetivo desta tese é estabelecer uma comparação entre os conceitos de esfera pública burguesa e de esfera pública proletária, desenvolvidos, respectivamente, por Jürgen Habermas e por Oskar Negt e Alexander Kluge. Neste sentido, o estudo pretende demonstrar que, ao contrário da concepção habermasiana, vinculada a uma perspectiva cujos traços são eminentemente abstratos, o conceito sugerido por Negt e Kluge fundamenta-se numa interpretação não deformada da dialética marxiana, recuperando o potencial de emancipação presente na teoria crítica original.

Syftet med denna rapport är att beskriva arbetet kring utvecklingen av en webbapplikation för försäljning av t-shirts - Shrt - och utreda möjligheterna för att lansera varumärket på marknaden. Projektet utgick ifrån visionen ”att ge våra kunder verktygen som behövs för att uttrycka sin personlighet, genom mode som kunden själv designar, via webben”. Under projektet har utvecklingsmetodiken scrum använts tillsammans med andra verktyg som är vanliga vid agila projekt. Vid konkretisering av varumärket Shrt och dess produkt genomfördes brainwriting. För att skapa en produktbacklogg använde sig utvecklingsgruppen av arbetsmetoderna funktionsanalys, konceptdivergens, konceptutvärdering och prototyping. Funktionerna i produktbackloggen delades sedan in i kategorierna nödvändiga, önskvärda samt onödiga funktioner. Produktbackloggen låg sedan till grund för hur arbetet delades upp i tre olika sprintar med separata mål och redovisningar. Den första sprinten fokuserade på funktion, den andra på upplevelse för användaren och den tredje på underhåll samt förbättring av kod – refaktorering. Under slutet av utvecklingen genomfördes användartester utifrån Task-based scenarios där användaren får försöka utföra en uppgift utan instruktioner på hur den ska utföras.   Resultatet av projektet blev en webbapplikation med all funktionalitet som klassificerades som nödvändig och önskvärd. Detta var något som utvecklingsgruppen ansåg vara ett acceptabelt resultat. Om tiden för utveckling hade varit längre är det möjligt att ytterligare funktionalitet hade kunnat implementeras. Det hade säkerligen varit positivt för varumärket Shrt, som hade kunnat ge ett mer professionellt intryck för slutanvändaren.

The points of departure in this thesis are the reciprocal relationship between the memories of human rights violations, the application of the relevant law and the understanding of what is criminal, as well as the recent trend in German courts to belatedly try low-profile Nazi-criminals. To explore these phenomena further, a critical discourse analysis incorporating historical elements is conducted on the 2015 trial of “the bookkeeper of Auschwitz” Oskar Gröning and the related media-reports. By identifying and investigating the expression of collective memory therein, a shift is revealed in that low-level participation in the Holocaust is no longer remembered as a moral infringement exclusively, but accepted as a criminal act for which a perpetrator ought to be held liable. Alongside Holocaust-focused collective memory, there are further tendencies toward a distinct memory of the prolonged failure of the German judiciary. It was thus found that long-term societal change can prevail against a deeply ingrained culture of impunity.