Dr. Robert A. Pape utgav sin bok Bombing to win: Air power and coercion in wars år 1996. Det är en kvantitativ analys där Pape’s målsättning är att presentera en teori som beskriver hur luftmakt skall användas för att lyckas och testa den mot alla strategiska luftoperationer under 1900-talet. Han analyserar användandet av tvångsmakt historiskt för att sedan dra vissa slutsatser och se samband mellan då tvångsmakt fungerade och inte i syfte att kunna förutse när tvångsmakten kommer fungera i framtiden. Pape förespråkar att tvångsmakt ska användas för att slå mot motståndarens militära svagheter. Slutsatsen blir att det är hotet om militärt misslyckande som Pape kallar för nekande som avgör och därför bör luftstridskrafterna användas för att neka fiendens styrkor framgång på slagfältet. I augusti 2008 utspelade sig ett kort men intensivt krig mellan Ryssland och Georgien. Det var första gången Ryssland invaderade ett land sedan Afghanistan 1979. Efter kriget står det klart att Rysslands användande av sina luftstridskrafter spelade en stor roll i det snabba avgörandet. Syftet med denna uppsats är att undersöka om Pape’s teorier passar in på Rysslands användande av sina luftstridskrafter under konflikten med Georgien 2008. Slutsatsen är att Rysslands agerande i många avseenden var helt i linje med det som Pape förespråkar. / Dr. Robert A. Pape published his book Bombing to win: Air power and coercion in wars in 1996. It is a quantitative analysis where Pape’s goal is to present a theory that describes how air power should be used in order to succeed, and test it against all strategic air operations during the 1900s. He analyzes the use of coercive power historically and then draw some conclusions and make connections between when coercive power worked and not in order to be able to predict when coercive power will work in the future. Pape advocates coercive power should be used to strike against the opponent's military weaknesses. The conclusion is that it is the threat of military failure, which Pape calls denial that determines whether or not you will be successful and therefore air power should be used to deny enemy forces success on the battlefield. In August 2008, a short but intense war took place between Russia and Georgia. It was the first time Russia invaded a country since 1979, when they invaded Afghanistan. After the war, it is clear that Russia's use of its air power played a major role in the quick decision. The purpose of this paper is to examine whether Papes theories fit into Russia's use of its air power during the conflict with Georgia in 2008. The conclusion is that Russia's actions in many respects was entirely in line with what Pape advocates.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Uppsatsens övergripande syfte är att undersöka författarens hypotes om att Warden och Papes teorier om luftmakt utgår från ett stormaktsperspektiv vilket minskar deras överförbarhet för mindre stater. I uppsatsens redogörs och blottläggs Wardens och Papes luftmaktsteorier för att förstå deras bakomliggande resonemang och krav. Ett urval av teoretikernas texter har analyserats enligt Fabers analysmodell vilket genererat en fragmenterad men analyserbar bild över respektive teori. Underlaget möjliggjorde för författaren att besvara uppsatsens två frågor: Vilka är huvuddragen i respektive teori? Vilka grundläggande förmågor är framträdande i respektive teori? Huvuddragen i Wardens teori kan sammanfattas med samhällets sårbarhet, parallell attack samt systemkollaps. Huvuddragen i Papes teori kan sammanfattas med att orsaka förluster, gemensam operation samt vinna territorium. Undersökningen visade att underrättelser, rörlighet samt skydd är framträdande förmågor i Wardens teori samt att uthållighet är framträdande i Papes teori. Avslutningsvis anser författaren att undersökningens resultat verifierar uppsatsens hypotes om luftmaksteoriernas stormaktsperspektiv minskar dess överförbarhet för mindre stater.

During the Six-day war, Israel unexpectedly defeated four enemies and emerged victorious in only six days. This study attempts to examine how this was accomplished and the extent to which Sweden, also a small state, might be able to apply the lessons learned from Israel’s use of air power. To this end, the present study’s analysis draws on the theoretical perspectives of two widely known and acknowledged air power scholars, Robert A. Pape and John A. Warden. Their respective theories ”Coercion by Denial” and ”The Enemy as a System” on the use of air power seem in important ways to be in opposition to one another. However, study findings indicate that Israel combined elements from both approaches and neither theory can alone provide sufficient guidance for a small state. Therefore, the two theoretical perspectives were found to be complementary, where drawing on certain key dimensions of each could be the most favourable for a small state such as Sweden. In particular, the results of the analysis underline the importance of achieving air superiority. This study concludes that the uniqueness of each nation’s strategic context indicates the potential need for new theoretical insights, better tailored for small states.

O presente trabalho lança luz sobre a trajetória de Lygia Pape (1927-2004), artista experimental que atuou em diversas linguagens e suportes. Pautando a análise de sua produção pela relação com o contexto urbano no qual se inseria, enfocamos três momentos e conjuntos de obras: o primeiro, parte do amplo \"projeto cultural moderno\", inclui as obras concretas e neoconcretas, como as xilogravuras \"Tecelares\" (1955-1959), o roteiro para um filme sobre Brasília (1959), o \"Livro da criação\" (1959) e \"Balés neoconcretos\" (1958-1959); o segundo, de crise do anterior conceito de projeto, contempla as obras participativas como \"Ovo\" (1968), \"Divisor\" (1968) e \"Roda dos prazeres\" (1968) e o terceiro, cronologicamente mais recente, no qual Lygia, menos propositora e mais crítica, evidencia características de uma cidade já permeada por outros discursos e práticas culturais, analisa obras como o projeto \"Eat me: a gula ou a luxúria?\" (1976) e os filmes \"Wampirou\" (1974) e \"Carnival in Rio\" (1974). / This work analyses the trajectory of Lygia Pape (1927-2004), experimental artist who worked in several languages and media. By the analysis of her production in relation with the urban context she was inserted, we focus three moments and piece sets: the first, part of the wide \"modern cultural project\" includes concrete and neoconcrete pieces, like the wood cut \"Tecelares\" (1955-1959), the script for a movie about Brasília (1959), the \"Livro da criação\" (1959) e \"Balés neoconcretos\" (1958-1959); the second, on the crisis of the previous project concept, embraces the participative pieces like \"Ovo\" (1968), \"Divisor\" (1968) and \"Roda dos prazeres\" (1968) and the third, chronologically most recent, in which Lygia, in a more critical way, brings to evidence characteristics of a city relating it to other discourses and cultural practices, analyses pieces like her project \"Eat me: a gula ou a luxúria?\" (1976) and the movies \"Wampirou\" (1974) and \"Carnival in Rio\" (1974).

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2018-02-01T20:50:50Z No. of bitstreams: 1 DISS_2013_Caroline Soares de Souza.pdf: 10051218 bytes, checksum: f5d3517fbb0be0cb1dfc4d00cfb445d3 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2018-02-02T14:21:38Z (GMT) No. of bitstreams: 1 DISS_2013_Caroline Soares de Souza.pdf: 10051218 bytes, checksum: f5d3517fbb0be0cb1dfc4d00cfb445d3 (MD5) / Made available in DSpace on 2018-02-02T14:21:38Z (GMT). No. of bitstreams: 1 DISS_2013_Caroline Soares de Souza.pdf: 10051218 bytes, checksum: f5d3517fbb0be0cb1dfc4d00cfb445d3 (MD5) Previous issue date: 2013-08-26 / Tendo como referencial as contribuições da arte moderna na arte contemporânea, investigamos e analisamos a trajetória da produção artística de Lygia Pape, artista fluminense que viveu nessa transição, reunindo a bibliografia sobre ela escrita por Denise Mattar, Vanessa Machado e Lucia Carneiro e Ileana Pradilla. Evidenciamos as relações entre o Divisor (1968) e a póetica e conceitos que perpassam a vida e a obra de Lygia, elegendo-o como síntese de sua produção. / Taking as reference the contributions of modern art in contemporary art, we investigate and analyze the trajectory of artistic production from Lygia Pape, brasilian artist who lived in this transition, bringing the bibliography about the her written by Denise Mattar, Vanessa Machado and Lucia Carneiro and Ileana Pradilla. We show the relationship between the artwork Divisor (1968) and the poetic and concepts that underlie the life and work of Lygia Pape, electing him as a synthesis of her production.

O presente trabalho lança luz sobre a trajetória de Lygia Pape (1927-2004), artista experimental que atuou em diversas linguagens e suportes. Pautando a análise de sua produção pela relação com o contexto urbano no qual se inseria, enfocamos três momentos e conjuntos de obras: o primeiro, parte do amplo \"projeto cultural moderno\", inclui as obras concretas e neoconcretas, como as xilogravuras \"Tecelares\" (1955-1959), o roteiro para um filme sobre Brasília (1959), o \"Livro da criação\" (1959) e \"Balés neoconcretos\" (1958-1959); o segundo, de crise do anterior conceito de projeto, contempla as obras participativas como \"Ovo\" (1968), \"Divisor\" (1968) e \"Roda dos prazeres\" (1968) e o terceiro, cronologicamente mais recente, no qual Lygia, menos propositora e mais crítica, evidencia características de uma cidade já permeada por outros discursos e práticas culturais, analisa obras como o projeto \"Eat me: a gula ou a luxúria?\" (1976) e os filmes \"Wampirou\" (1974) e \"Carnival in Rio\" (1974). / This work analyses the trajectory of Lygia Pape (1927-2004), experimental artist who worked in several languages and media. By the analysis of her production in relation with the urban context she was inserted, we focus three moments and piece sets: the first, part of the wide \"modern cultural project\" includes concrete and neoconcrete pieces, like the wood cut \"Tecelares\" (1955-1959), the script for a movie about Brasília (1959), the \"Livro da criação\" (1959) e \"Balés neoconcretos\" (1958-1959); the second, on the crisis of the previous project concept, embraces the participative pieces like \"Ovo\" (1968), \"Divisor\" (1968) and \"Roda dos prazeres\" (1968) and the third, chronologically most recent, in which Lygia, in a more critical way, brings to evidence characteristics of a city relating it to other discourses and cultural practices, analyses pieces like her project \"Eat me: a gula ou a luxúria?\" (1976) and the movies \"Wampirou\" (1974) and \"Carnival in Rio\" (1974).

The 2011 military intervention in Libya relied solely on air and naval assets and is considered a great success. In some contexts the intervention is even seen as a model for future military interventions, despite some studies highlighting circumstances that makes the conflict in Libya unique. This thesis analyses the underlying dynamics that might be able to explain the NATO-coalition’s success in Libya. More specifically this thesis investigates whether the domestic legitimacy of the Gaddafi regime might have affected the Libyan armed forces’ ability to withstand aerial denial. This in turn, may have made the regime vulnerable to coercion. Using a case study-approach and a qualitative method, the purpose of this thesis is to give military decision-makers further basis for decision-making in terms of when a similar concept might be effective in the future.  Conclusions drawn from the analysis show that the Libyan armed forces might have been a weakened organisation even before the conflict began, due to elements relating to domestic legitimacy. Further conclusions show that despite the intervention being a coercive failure, the use of aerial denial might have enabled the rebel victory on the ground.

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / Este trabalho visa examinar as obras: o ovo, divisor, roda dos prazeres, tecelares, tteia n 1, caixa de baratas, caixa de formigas, caixa brasil, ballets neoconcretos, new houses e os filmes e vídeos experimentais de Lygia Pape, em conexões poéticas com os parangolés, penetráveis, bilaterais, relevos espaciais, metaesquemas, núcleos, bólides, cosmococas e a tropicália de Hélio Oiticica. A análise é feita a partir do interesse antropológico dos citados artistas, do seu comprometimento com a formação de uma linguagem-Brasil e do forte experimentalismo de suas proposições; enfoca o movimento, a questão cromática, a construção de mundos, o papel do espectador em seus trabalhos, além da presença da adversidade brasileira como estímulo para as suas produções. Sendo assim, obras como o divisor, as tecelares, a tteia n 1, os parangolés e penetráveis são referidas em diferentes momentos do texto, uma vez que lidam com várias das questões propostas, enquanto trabalhos como os metaesquemas, as bilaterais e os relevos espaciais, aparecem somente em um capítulo, sendo analisadas por apenas um viés, embora existam outras possibilidades. Para embasar as leituras visuais, são utilizadas como fontes bibliográficas os textos e entrevistas dos artistas, além de escritos dos teóricos Aby Warburg, Georges Didi-Huberman, Stanley Cavell, Vilém Flusser, Ronaldo Brito, Guy Brett, Rodrigo Naves, Paola Berenstein Jacques, Michel Collot, entre outros. / This work objects to exam Lygia Papes pieces: ovo, divisor, roda dos prazeres, tecelares, tteia n 1, caixa de baratas, caixa de formigas, caixa brasil, ballets neoconcretos, new houses, films and experimental vídeos, in poetic connections with Hélio Oiticicas parangolés, penetráveis, bilaterais, relevos espaciais, metaesquemas, núcleos, bólides, cosmococas and tropicália. The analysis is made from the anthropological interest of those artists, their engagement with the formation for a Brazil-language and the strong experimentalism in their proposals; it focus the movement, the chromatic question, the construction of worlds, the spectators role in their works and the presence of Brazilians adversity as a incentive for their productions. Therefore, pieces like divisor, tecelares, tteia n 1, parangolés and penetráveis are referred in different moments of the text, since they deal with many of the questions proposed, while works like the metaesquemas, the bilaterais and the relevos espaciais appear only in one chapter, being analyzed only by one perspective, although there are other possibilities. To support the visual readings, are used bibliographic sources, as well as writings of theoreticians like Aby Warburg, Georges Didi-Huberman, Stanley Cavell, Vilém Flusser, Ronaldo Brito, Guy Brett, Rodrigo Naves, Paola Berenstein Jacques, Michel Collot, among others.

Thesis--School of Advanced Airpower Studies, Maxwell Air Force Base, Ala., 1993-94. / Title from title screen (viewed Nov. 7, 2003). "April 1995." Includes bibliographical references.