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The Global ETD Search service is a free service for researchers
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Showing 51 to 60 of 62 (0.057 seconds)Spelling suggestions: "subject:"oskar"" "subject:"askar""
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I väntan på hufvudpersonen : Identitet och identifikation i svensk skämtbild 1870-1900 / Waiting for the main character : Identity and identification in Swedish cartoons 1870–1900Rossholm, Elisa January 2016 (has links)
In the decades around 1900, political and social cartoons flourished in humour and satire magazines in the Swedish capital. The thesis presents a new theoretical start on the nature of humour in cartoons: the idea of the comical is argued as effects of reality notions and bracketing reality notions. The theory is a prerequisite for understanding the mechanisms of the identity play performed in the comic scenes. The thesis pursues a search for the object or the character with whom the intended recipient was expected to identify, referred to as the “the main character”. The analysis is based on a kind of theatrical construction, where the real city, its pleasures, secrets and dangers constitute the material for the image’s scenes. The characters in the scenes act out the dangers and ambiguities that the city’s bourgeois man faced. The material of the study consists of social cartoons from the two Stockholm-based magazines Söndags-Nisse and Kasper between 1870 and 1900. About a hundred of them are reproduced in the thesis. The analysis builds on three theoretical perspectives: theories on images; humour; and identity constructions. By integrating theories on humour with image analysis, the thesis highlights the ambivalence and ambiguity of identity aspects. Relationships and characters explored through the image elements are given as headlines for the chapters: the room; the body; and the act. The study shows how a male and bourgeois hegemony invents image expressions, main characters, and plots that offer the recipient protection against being laughed at and against the danger of mistakes. The analysis shows that four strategies to represent the bourgeois man are frequent: as the “fuzzy man”; as the caricature of the bourgeois man; as the stereotype; and as the “unfettered man”. The various figures offer more or less possibilities of identification versus distancing. The pictures’ expressions of uncertainties – in terms of vague or fuzzy lines; self-irony; or avoiding being singled out – all these means provide distance, in relation to the picture content, the issues that concerned the intended recipient, whether it is about the difficulty of distinguishing the public body from the forbidden, or about general human conditions.
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John Heartfield v Československu / John Heartfield in CzechoslovakiaDonné, Tereza January 2014 (has links)
Introduced diploma thesis John Heartfield's stay in Czechoslovakia 1933-1938 deals with artistic creation and stay of the origin German artist John Heartfield in Prague from 1933 till 1938 which had become his haven after Hitler's after Hitler's takeover of power. This thesis analyses Heartfield's work in Czechoslovakia, from creating photomonages and political caricatures, which he was publishing in workers newspapers, Arbeiter-Illustrierte Zeitung and Volks-Illustrierte, move of berliner publisher The Malik to Prague, participation in the Oskar Kokoschka Bund, to book covers for Czech publishers or his participations in Prague exhibitions like International exhibition caricatures and humour or International exhibition of photography. Provided historical-cultural analysis also examines other Heartfield's activities linked with his Prague stay. These are his relationship to Czechoslovakia formed by artistic, social and working contacts with Czech leftist orientated intellectuals and artists and reflections his works in Czech environment. Heartfields fruitful stay in Czechoslovakia was ended in a hurry thanks to occupation of Czechoslovakia in 1938 and by his moving into exile in London.
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Oskar Morgenstern als wirtschaftspolitischer Berater in den 1930er-JahrenKlausinger, Hansjörg January 2006 (has links) (PDF)
The point of departure of this study is that in the 1930s Oskar Morgenstern, well-known as the co-founder of game theory, was preoccupied by his activities in Austrian economic policy, possibly even more so than with his project to revolutionize economic theory. The main questions to be examined in this regard are, first, to what extent Morgenstern's advice did conform to the teachings of the Austrian school and, second, if he really exerted an influence on economic policy-making in Austria during this period. In order to answer this question the paper draws to a large part on unpublished sources from the Oskar Morgenstern Papers and uses them as a basis for determining Morgenstern's role in a few critical episodes of Austrian economic policy-making. (author's abstract) / Series: Department of Economics Working Paper Series
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Tall Tales : examensarbete tillsammans med Oskar AlexIngberg, Arvid January 2015 (has links)
No description available.
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An explorative study of the technology transfer coach as a preliminary for the design of a computer aidJönsson, Oscar January 2014 (has links)
The university technology transfer coach has an important role in supporting the commercialization of research results. This thesis has studied the technology transfer coach and their needs in the coaching process. The goal has been to investigate information needs of the technology transfer coach as a preliminary for the design of computer aids.Using a grounded theory approach, we interviewed 17 coaches working in the Swedish technology transfer environment. Extracted quotes from interviews were openly coded and categorized. The analysis show three main problem areas related to the information needs of the technology transfer coach; awareness, communication, and resources. Moreover, 20 features for future computer aids were extracted from the interview data and scenarios and personas where developed to exemplify the future use of computer aids.We conclude that there is a need for computer support in the coaching process. Such systems should aid the coach in; awareness, aiding the coach to focus on meetings; communication, aid the coach to transfer commercialisation knowledge; and resources, aid the coach in accessing and delivering of resources to the coachee. However, it is imperative that the computer aids do not interfere with the coach current process; and that the computer aid is not seen as the sole solution.
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Vizualizace hudby v animovaném filmu / Vizualization of music in animation filmIshida, Kaoru January 2012 (has links)
Purpose of this work in to find possibilities of vizualization of music, analyze masterpiece of vizual music. There are written about relationships between arts and five senses ? mostly sight and hearing, to make clear how pictures and music work differently, several experiments of visual music on history, animation films as vizual music, composer inspirated by pictures, and writer inspirated by music. Finally there is mention about meaning of expression of art works in different forms.
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Texte für das Theaterspiel von Kindern und Jugendlichen im ‚Dritten Reich‘ / Eine exemplarische Untersuchung verschiedener Spielreihen / Stage plays for children and adolescents in the 'Third Reich' / An exemplary study of several series of playsKorte, Barbara 10 April 2017 (has links)
No description available.
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訴訟條件之研究--以刑事訴訟為範圍鄭華合 Unknown Date (has links)
「訴訟條件（Prozesvoraussetzung）」，乃德國民事訴訟法學者Oskar Bulow於一八六八年，在所謂「訴訟法律關係說」之相關論題下所提倡之訴訟法概念，嗣經德國Von Kries於一八八五年將其引入刑事訴訟法理論中，如今已然被廣泛地承認為民、刑事訴訟法學之共通財產。
自從Bulow於一八六八年創立「訴訟條件」後，訴訟條件在德國刑事法學界，隨著對「訴訟」本身性質之論爭，先後有「訴訟法律關係成立條件說」、「實體裁判條件說」、「實體審判條件說」、「全訴訟的許容性條件說」之出現，其發展可認為針對訴訟條件之「訴訟」要素，作了精密之考察與界定。該等理論先後引入日本後，與日本實定法上原先沿襲自法國之形式裁判立法發展（即有關公訴權消滅、免訴事由、公訴駁回事由以及管轄錯誤之立法，該等條文與事由之沿革與修訂，可認為在是訴訟條件之「條件」因素上進行類型化之工作）產生了一連串的交會、碰撞，進而導致密切之結合。表現此結合，最具代表性的是團藤博士之「公訴權理論否認論」、免訴裁判之「實體關係的形式裁判說」以及「形式訴訟條件與實體訴訟條件」之區分，「公訴權理論否認論」解釋了「公訴權消滅」相關條文之刪除，並使公訴權理論成為訴訟條件理論之一個面向；後二者，則使「免訴」與「不受理」判決之區別獲得理論基礎，並將法定形式裁判之事由，內化為訴訟條件之事由。在這樣的訴訟條件蓬勃氣象下，日本因戰敗，刑事訴訟法在承繼前開法、德大陸法之下，又強迫性地繼受了美國之當事人進行主義。在當事人進行主義之下，「當事人」凸顯為訴訟法之焦點，影響之下，檢察官之公訴權重獲重視（但重點在於抑制公訴而非強化公訴），被告之保障成為首要之考量，訴訟條件乃朝向「『起訴』條件說」發展，其表現則有「公訴權理論之復活」（引發「公訴權濫用論」之出現）、「訴訟條件之實質化與擴大化」（包括將訴訟條件之「訴訟」概念擴及「起訴」，「條件」概念則擴大成「超法規」）。我國由於刑事訴訟法主要繼受日本之大正刑事訴訟法，目前又有朝向當事人進行主義修法之種種提議與動向，有關訴訟條件之相關見解可認為是站在日本舊法發展之高點上（此所以學者多採團藤教授之見解），觀望日本新法之新動向（此所以平野、高田、青柳、松尾、田宮等教授之見解，日漸受到重視）。
本篇論文主要係以刑事訴訟上「訴訟條件」之相關課題作為研究對象與範圍。因此，方法上在確定相關問題點之後，即先嘗試回顧「訴訟條件」之理論構成與沿革，藉以重現訴訟條件之原始意涵與變革脈絡，期能有效掌握訴訟條件之理論基礎，以作為訴訟條件概念之思考基準；隨後則分析學者對訴訟條件之定義、分類以及類似概念之比較，並就訴訟條件之本質、機能及範圍加以檢討，以便界定訴訟條件之概念與地位，俾供往後相關課題討論之所本。此即【第二章 訴訟條件理論之歷史沿革】與【第三章 訴訟條件概念之掌握與界定】。至於【第四章 法定的訴訟條件】、【第五章 超法規的訴訟條件】，則透過分析訴訟條件與「判決」、「起訴」之關係，藉以釐清實定法上免訴、不受理、管轄錯誤以及絕對不起訴處分之事由與訴訟條件之關連，並進而明瞭超法規的訴訟條件事由之生成、內涵及發展動向。【第六章 訴訟條件在訴訟上之處理】則依據第二章、第三章之基準與前提，針對訴訟條件事由在刑事訴訟適用上所面臨之種種問題作個別之討論；至於【第七章 結論】，則為本論文報告之研究所得整理。
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Uralt, ewig neuHennewig, Lena 13 November 2020 (has links)
Ausgehend von Oskar Schlemmers (1888-1943) Bauhaus-Signet aus dem Jahr 1923 analysiert diese Arbeit den Zusammenhang zwischen Mensch und Raum im Œuvre des Bauhaus-Meisters. Die bei Betrachtung des Signets aufkommende These, Mensch und Raum – die zwei tradierten Pole des Schaffens Schlemmers – bedingten sich gegenseitig, wird untersucht, hinterfragt und um die Kategorie der Kunstfigur erweitert.
Das erste Kapitel beleuchtet den Menschen als Maß aller Dinge. Der angestrebte Typus entsteht einerseits über Schlemmers Analyse des menschlichen Körpers mittels tradierter Proportionsstudien und Geometrisierung, die zu einer zumindest scheinbaren Berechenbarkeit führen. Betrachtet werden hierbei die Ausführungen Leonardo da Vincis, Albrecht Dürers und Adolf Zeisings. Andererseits nutzt Schlemmer die physiognomischen Überlegungen Richarda Huchs und Carl Gustav Carus‘ für seine Zwecke der Darstellung einer Entindividualisierung des Menschen.
Hierauf aufbauend befasst sich das zweite Kapitel mit dem Raum. Es zeigt, dass Schlemmers Überlegungen zu theoretischem und gebautem Raum ihren Ursprung in Albert Einsteins Relativitätstheorie nehmen und von Debatten am Bauhaus genährt werden: Schlemmer betrachtet den Raum als wandelbar und abhängig vom Menschen, was unter anderem durch eigene Schriften und den einzig überlieferten Architekturentwurf Schlemmers gefestigt wird.
Zur Untersuchung einer umgekehrten Einflussnahme des Raumes auf den menschlichen Körper erweitert das dritte Kapitel die zwei tradierten Pole des Schlemmer’schen Œuvres um einen weiteren: die Kunstfigur. Diese, so belegt das Kapitel, generiert ihre eigene Körperlichkeit über den Einfluss des veränderlichen Raumes, darüber hinaus aber auch durch die Abstrahierung des zugrundeliegenden menschlichen Körpers mittels des Kostüms und der Maske. Über diese beiden wiederum vollzieht sich auch eine Wandlung des Menschen. / Taking the Bauhaus signet, designed by Oskar Schlemmer in 1923, as a starting point, the present thesis examines the relationship between man and space – the two consistently named poles of Schlemmer’s work – within the œuvre of the Bauhaus master. It analyzes, questions and expands the assumption, at first glance suggested by the signet, that space and man are mutually dependent:
The first chapter deals with man as the measure of all things. The type pursued by Schlemmer results, on the one hand, from his analysis of man via proportion and geometric studies by Leonardo da Vinci, Albrecht Dürer and Adolf Zeising that lead to a certain calculability. On the other hand, Schlemmer uses physiognomic ideas of Richarda Huch and Carl Gustav Carus to depict a certain de-individualization.
Based on the results of the first chapter, the second chapter deals with questions of space. It shows that Schlemmer’s considerations of theoretical space and architecture stem from Albert Einstein’s theory of relativity and are fed by Bauhaus debates on that same topic: Schlemmer regards space and architecture as subject to change and dependent on man; this theory is also strengthened by his writings and his only surviving architectural design.
To examine the reverse influence of space on the human body, the third chapter adds the Kunstfigur (art figure) as another category to the established two poles of Schlemmer’s œuvre discussed in the literature: man and space. The chapter proves that the Kunstfigur generates its own corporeality through the influence of space, which is modifiable by movement. Besides that, said corporeality is also determined by an abstraction, in turn caused by costumes and masks. These items also influence the outer appearance of man.
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Perspective vol. 18 no. 1 (Feb 1984)Vos, Jack, Zylstra, Bernard, Wolters, Albert M., Gousmett, Chris, VanderVennen, Robert E., Vanderkloet, Kathy 28 February 1984 (has links)
No description available.
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