On reading the biblical version of the Creation and Fall of Adam and Eve (Genesis ii-iii) we find that the presentation lends itself to two possible interpretations: on the one hand, we may regard the narrative as being a mere history of two lives; or, what is more likely, we may see in the report an attempt to explain the present state of the World through an allegorical account of the entrance of evil into the mind of Man and so into the Macrocosm. [...]

Thesis (Ph.D.)--The University of North Carolina at Greensboro, 2010. / Directed by Denise Baker; submitted to the Dept. of English. Title from PDF t.p. (viewed Jul. 7, 2010). Includes bibliographical references (p. 132-143).

Thesis (Ph. D.)--University of Hawaii at Manoa, 2002. / Includes bibliographical references (leaves 404-410). Also available on microfiche.

"Entrelacs des origines. Tapis jardin et paradis coranique. Poïétique du voyage dans l'art contemporain" m'a permis de conceptualiser ma démarche artistique. Que serait l'impact de la migration sur mon travail plastique ? Que serait le rapport entre l'exil et le contenu de l'œuvre ? Comment s'inspirer des allées et venues entre deux pays pour enrichir son travail plastique ? Les lignes aériennes, comment deviennent-elles entrelacs sur la surface d'un papier de dessin, d'un tissu ? Comment ce qui semble léger, insaisissable, forme un enrichissement? Comment répondre aux appels de l'enfant qui est en nous, l'autre part demeurée sur l'autre continent ? Ma lecture de "Qu'est- ce que le contemporain ?" de G. Agamben. me propulse dans une obscurité étoilée. Je me réfère à G. Bachelard afin de conceptualiser les images rêvées. "Les mille et une nuits" et "Les aventures des trois princes de Serendip" font de mes expériences un voyage, initié par "Pèlerinage d'un artiste amoureux" de A. Khatibi. Sur le chemin labyrinthique de mes recherches, j'ai rencontré l'histoire du prince de Karaman. Cet aïeul est à l'origine du nom Soltana. Son destin est semblable à celui de Hassan El Ouazzan, présenté par A. Maalouf dans "Léon l'africain". Je tisse un tapis des origines, ayant pour noeuds la Turquie, l'Égypte. Malte, la Tunisie et la France. Mes lectures ne sont plus une fiction. Elles me regardent. De l'obscurité étoilée, surgit la sphère de l'intime que développe H. Arendt. / "Interlacing roots. Carpet garden paradise Qur'an. Poetic travel in contemporary art" allowed me to conceptualize my artistic approach. What would be the impact of migration on my plastic work ? What would be the relationship between exile and content of my work? How to learn the comings and goings between the two countries to enrich my plastic work ? How Airlines become tracery on the surface of a drawing paper , tissue? What it seems light , elusive, form an enrichment ? How to respond to the calls of the child in us, the other remained on another continent? I read "Qu 'est-ce que le contemporain ?" G. Agamben, propels me into a starry darkness. I refer to G, Bachelard to conceptualize images dreamed . "The Arabian Nights" and "The Adventures of Three Princes of Serendip" are my experiences traveling, initiated by "Pèlerinage d'un artiste amoureux" of A. Khatibi . The labyrinthine path of my research , I encountered the story of Prince of Karaman . This ancestor is the origin of the name Soltana . His fate is similar to that of Hassan El Ouazzan presented by A. Maalouf in "Leo the African" . I weave a carpet of origins, whose nodes Turkey , Egypt , Malta, Tunisia and France. My readings are no longer fiction. They look at me . The starry darkness arises the sphere of intimacy that develops H. Arendt

Orientador: Lúcia Nagib / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T23:50:51Z (GMT). No. of bitstreams: 1 Coraini_MilenaMesquitaServa_M.pdf: 64416035 bytes, checksum: a4d9a34e4bb0384bb2c800bae2529659 (MD5) Previous issue date: 2004 / Resumo: Ánnus Brasilis trata da temática da mitologia de origem do Brasil e suas ressonâncias no processo histórico e filosófico em que se estabeleceram as utopias humanistas no decorrer dos últimos séculos. A luz da história do cinema nacional narrada a partir de fragmentos e cenas memoráveis nas janelas-telas dos meios de transportes, e da análise de referências diversas na conformação de um possível caráter nacional, resulta um roteiro de referências em forma de storyboard. As locações: uma Nau, um Trem, um Avião. Metáforas da viagem ao Novo Mundo utópico em tempos de transportes e transmissões diversos: Á Renascença quando teria sido cunhado o termo utopia, o melhor lugar que não existe, e que teria nascido a partir de visões e desejos de retomo ao paraíso perdido, fruto de uma crítica ao processo cívilizatório. Á Modernidade, onde o deslumbramento com as luzes e a cinética alucinada nos trilhos que levariam a humanidade a estabelecer novos paradigmas dentro das relações sociais e de produção, resultando em revoluções calcadas em filosofias inspiradas nos relatos dos navegantes acerca de uma certa ilha em formato de meia lua, que segundo Américo Vespúcio, tratar-se-ia da ilha de Fernando de Noronha. Esta ilha, habitada por selvagens naturalmente organizados, teria servido de inspiração a Thomas Moras, que então escreveria a obra Utopia, refletindo o anseio de uma sociedade igualitária livre dos vícios da civilização. O Tempo Presente, redimensionando a partir da evolução tecno-científica, o desdobramento das utopias no tempo-espaço cibernético. A pesquisa revela a importância do cinema na formação da identidade nacional e dos ideais utópicos. / Abstract: Annus Brasilis deals with the mythology of the origins of Brazil and its resonances in the historical and philosophical processes in which humanist Utopias have been established over the centuries. In the light of the national film history, told through fragments and memorable scenes on the window-screens of means of transport, and the analysis of diverse references in the conformation of a possible national character, a screen play, including a storyboard, is constructed. The locations are: a Vessel, a Train, an Airplane. Several metaphors of the voyage to the New Utopian World in a time of circulation and transmissions: Renaissance when the term "utopia" has been coined, meaning the best place that does not exist, born of visions and desires of return to the lost paradise, including a critique to the civilization process. Modernity, when the fascination with light and heady kinetics on the tracks leading humanity to the establishment of new paradigms for social relations and production, resulting in revolutions based on philosophies inspired by the stories of the navigators concerning a certain island with the shape of a half moon, which, according to Americo Vespucci, is the island of Fernando de Noronha. This island, inhabited by naturally well organized savages, was an inspiration for Thomas Morus, who then wrote the book Utopia, which reflects the yearn for an egalitarian society, free from the evils of civilization. Present Time, which, on the basis of techno-scientific evolution, giving a new dimension to the unfolding of the Utopias into the cyber time-space. The research thus stresses the importance of cinema in the formation of the national identity and Utopian ideals. / Mestrado / Mestre em Multimeios

Dvořák, A. Determination of impact of tax evasion on economy and public budgets of Czech Republic. Diploma thesis. Mendel university Brno, 2019. This diploma thesis deals with the impact of tax leaks into tax havens on the economy and public budgets of Czech Republic. The first part summarizes the theoretical knowledge of this issue. In the second part is conducted analysis of companies with connection to tax havens and is created an estimation of tax gap created by these elaborated companies. The second part consist also from analysis of differences between different tax havens groups.

No description available.

The Paradise Papers represent one of the largest public data leaks comprising 13.4 million con_dential electronic documents. A dominant theory presented by Neal (2014) and Gri_th, Miller and O'Connell (2014) concerns the use of these offshore services in the relocation of intellectual property for the purposes of compliance, privacy and tax avoidance. Building on the work of Fernandez (2011), Billio et al. (2016) and Kou, Peng and Zhong (2018) in Spatial Arbitrage Pricing Theory (s-APT) and work by Kelly, Lustig and Van Nieuwerburgh (2013), Ahern (2013), Herskovic (2018) and Proch_azkov_a (2020) on the impacts of network centrality on _rm pricing, we use market response, discussed in O'Donovan, Wagner and Zeume (2019), to characterise the role of offshore services in securities pricing and the transmission of price risk. Following the spatial modelling selection procedure proposed in Mur and Angulo (2009), we identify Pro_t Margin and Price-to-Research as firm-characteristics describing market response over this event window. Using a social network lag explanatory model, we provide evidence for social exogenous effects, as described in Manski (1993), which may characterise the licensing or exchange of intellectual property between connected firms found in the Paradise Papers. From these findings, we hope to provide insight to policymakers on the role and impact of offshore services on securities pricing.

The development of Sacropodus opercularis Linnaeus, (Perciformes: Anabantidae), is described from cleavage to five days post hatching. For the most part M. opercularis follows the pattern of typical teleostean development except as noted below: 1. The heart develops under the left eye along the anterior margin of the yolk sac. This is similar to that reported by Ingesoll (1951) for the Blue Gourami, Trichogaster trichopterus. 2. The ear develps from the head mesenchyme alongside the brain rather than from a placode. 3. The gut develops first in the posterior region then differentiates cephalad. It was also learned that: 1. No true bone exists in the skeletal system up to five days of development post hatching at 80°F. 2. The hatching time was 35-37 (36) hours after fertilization at 80°F.

The purpose of this paper is to critically study and analyze all species belonging to the genus Pantosteus and to determine tbe validity of the characteristics that were used to separate the genus Notolepidomyzon from the genus Pantoateus. Special reference was made to the morphology of the fontanelle and the weberian ossicles. In order to more thoroughly comprehend the reasons for Cope describing Pantosteus as a new genus and Fowler describing Notolepidomyzon as a new sub-genus and then Snyder elevating it to the status of a genus as complete a historical sketch as possible was made using all literature known and available. A description has been made of the genus, the sub-genera, and all species concerned in this study. The two critical factors which separate the genus Notolepidomyzon from the genus Pantosteus received special attention. Illustrations showing the structure of the cranium have been made of representative specimens of all species except P. generosus. The fontanelle remained constant in some species, but in others it varied greatly. The weberian ossicles vere studied and illustrations made or species within both genera. No definite critical factor could be found with the ossicles that could be used to separate the genera. It is the proposal of the writer that since the characteristics that were used to distinguish these two genera are not consistent nor completely reliable, the genus Notolepidomyzon not be recognized as separate genus, but retained as a sub-genus distinguished from the sub-genus Pantosteus primarily on the thickness of the cranium and the open or obliterated fontanelle. The material and evidence needed to support this proposal is contained in this paper.