La fragmentation de la politique fiscale de l'Etat s'opère par la démocratisation de la vie publique et de la crise économique marquée par une érosion du monopole étatique et une atomisation du processus décisionnel due à l'internationalité des questions fiscales. Une première partie démontre l'apparente cohésion de la politique fiscale malgré la dispersion institutionnelle issue du jeu entre l'exécutif et le législatif supplantés par l'activisme des forces sociales diffuses. Le « désordre normatif » est issu de l'éclatement des instruments de l'ordre juridique qu'une codification lacunaire n'a pas su restaurer. Le contexte économique inspire aussi les choix fiscaux de sortie de crise et la réflexion s'ouvre pour une politique fiscale de développement. La deuxième partie développe la compétence limitée de l'Etat en raison de la décision fiscale influencée par l'intégration en zone CEMAC et l'entrée en commerce juridique avec d'autres nations et organisations internationales. A la mondialisation, la politique fiscale se définit par la posture offensive ou défensive de l'Etat même si ce dernier continue de tenir le gouvernail de la décision fiscale. C'est un Etat imaginatif recherchant des solutions adéquates, conciliant exigences de la ponction fiscale avec celles de l'atteinte des objectifs macroéconomiques. Le décryptage de la politique fiscale devient une problématique centrée sur le rôle de l'Etat dans l'environnement post-moderne et capable d'assurer l'unité conceptuelle du processus décisionnel fiscal malgré les turbulences interne et internationale. C'est un Etat intelligent fédérant, les acteurs impliqués dans la construction d'un nouvel ordre fiscal. / Against the backdrop of the conceptual uniqueness of the tax policy implemented by the government, lies a genuine fragmentation of fiscal decision-making sources. The State organ ultimately responsible for tax policy choices actually bears the laborious compromise built on trading of choices between public and private stakeholders at national and international levels. The State of Cameroon which, since independence in 1960, has been the keystone of the whole political edifice, and the initiator of tax-related decisions, is witnessing an adjustment in its unique structure national level due to the combined effect of political democratization and economic crisis. Its erstwhile monopoly in the production of fiscal choices is being fragmented due to the increasingly assertive international scope of tax-related issues. In short, the State's tax jurisdiction is shifting from decision-making monopoly to shared decision-making prerogatives integrating national constraints and requirements at international level. Understanding fiscal policy becomes a central issue in the State's new role of implementing the social contract. The new challenge for the State in the post-modern environment is to enhance its ability to continue to ensure the conceptual uniqueness of the fiscal decision-making process despite the turbulence of the internal order and international society. It is the advent of a smart State bringing together stakeholders involved in the construction of a fiscal order.

Franz Liszt composed his Two Episodes from Lenau's Faust between 1856 and 1861. The composer intended to portray two emotionally contrasting scenes from Lenau's Faust in a set for orchestra, the first being The Night Procession and the second The Dance in the Village Inn. Liszt created a duet version of the orchestral set, and also a solo piano version of The Dance in the Village Inn, known as the Mephisto Waltz No. 1. The set was not performed together due to the immense popularity of The Dance in the Village Inn but also due to an unfortunate publication history resulting in the pieces being published separately by Schuberth publishers, published years apart from each other. As a result The Night Procession is largely forgotten today and The Dance in the Village Inn is interpreted as a single work outside of its context in a set. In this dissertation the works are examined from within its context in a set. Background information includes information on Liszt's student Robert Freund (1852-1936), and a solo piano transcription of the orchestral alternative ending to The Dance in the Village Inn. A comparison between Liszt's orchestral, solo and duet versions of the Mephisto Waltz No. 1 and the Liszt-Busoni Mephisto Waltz No. 1 is also made.

Unconventional technologies and their continual development brings along new possibilities in the manufacturing process. The submitted project is focused on solving problems in the procession of sheet metals in the manufacture of special parts of roller and conveyor chains. In the assessment of the technology of components, laser cutting was evaluated as the most optimal technology. With this goal, there was a public tender in terms of the purchase of a new machine designed for the manufacturing operations of the company of RETEZY Vamberk. This company ranks among the most major manufacturers of conveyor, roller and special chains in Europe.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Keywords: ars moriendi, castrum doloris, early modern period, epitaphs, funeral essentials, funeral procession, funeral sermons, Prague, sepulcher essentials, tomb stones The thesis introduces a specific part of the cultural history of the early modern period - the funeral culture. Considering the extensiveness of thematter, the scope has been limited to the area of Prague, to the cultural sphere of secular nobility and to the time period between the years 1500 and 1700. Naturally, the timeframe is not and cannot be absolute given the nature of this subject matter, which is culture. In the introductory chapter, the paper seeks to clarify eschatology and religious conditions in the early modern period, depicting death and its grip in the 16th and 17th centuries. Each chapter is devoted to a specific phenomenon of the funeral culture, in the same order in which the succession should logically follow shortly before and after the death of an important person. As such, the thesis specifically discusses the doctrine of "good death" - so called ars moriendi, exhibitions of the body, the funeral procession, construction of the Castrum Doloris, funeral sermons, and provision of funeral monuments. At the conclusion, the thesis ventures into the geographically and religiously distant Duchy of Finland, which...

Orientador: Luciano Migliaccio / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-07T05:50:21Z (GMT). No. of bitstreams: 1 Quites_MariaReginaEmery_D.pdf: 5020637 bytes, checksum: 2d9e3b18cef1bb373af2e29e38f17f29 (MD5) Previous issue date: 2006 / Resumo: A pesquisa enfoca principalmente o estudo das imagens de vestir, dentro do contexto das Ordens Terceiras Franciscanas no Brasil, fazendo um estudo comparativo entre as ordens litorâneas (Salvador, Recife, Rio de Janeiro e São Paulo) e as ordens em Minas Gerais (Ouro Preto, Mariana, São João DeI-Rei e Diamantina). Analisam-se os aspectos históricos, iconográficos, técnicos, entre outTOS, que envolvem as imagens e suas práticas devocionais, cotejando com a documentação primária e secundária das respectivas ordens. É importante enfatizar uma revisão dos conceitos sobre esta relegada categoria escultórica, bem como, o resgate e preservação deste grande acervo, demonstrando a existência de diferenças regionais e sua relevância para a história da arte. Estas imagens são uma particular interpretação da escultura devocional e, principalmente, un1a importante manifestação da cultura brasileira, que deve ser valorizada e preservada / Abstract: The research focuses mainly on the study of the "de vestir" or "to be dressed" images within the context ofthe Third Order Franciscans i11 Brazil, making a comparative study among the coastal orders or fellowships (Salvador, Recife, Rio de Janeiro and São Paulo) and the ones in Minas Gerais (Ouro Preto, Mariana, São João deI-Rei andDiamantina). The historical, iconographical, and technical aspects, among others that involve the images and their devotionals practices, are analyzed in comparison with the primary and secondary documentation ofthe respective orders. It is important to emphasize the need for a revision ofthe concepts ofthis less well known sculptural category, as well as, the rescue and preservation of this important collection, demonstrating the existence of regional differences and their relevance for art history. These images are a particular interpretation of devotional sculpture and, mainly, an important manifestation ofBrazilian culture that should be valued and preserved. / Doutorado / Politica, Memoria e Cidade / Doutor em História

No abstract available / Dissertation (MA (Theology))--University of Pretoria, 2007. / Church History and Church Policy / unrestricted

Es zeichnet sich seit den 1990er-Jahren die Tendenz ab, dass sich viele Künstler/innen verstärkt mit Subjekten statt mit Objekten beschäftigen. Hinzu kommt eine zunehmende „Kollektivierung und Theatralisierung der einst auf Singularität und Präsenz setzenden Performance“. In diesem Zusammenhang sind auch immer mehr künstlerische Arbeiten zu registrieren, die mit Prozessionen und Paraden eine Vielzahl von Menschen auf die Straße bringen und in Bewegung versetzen. Dies spiegelt sich auch in einer immer größer werdenden Zahl thematischer Ausstellungen wider, die sich diesen Arbeiten widmen. Bereits 2004 konstatierte Pablo Lafuente in seinem Essay „Art on Parade“ in Art Monthly: „That ability of the parade to create subjectivity is where the artist’s political aspiration lies.“ Die künstlerisch-ästhetischen Praktiken von Francis Alÿs, Matthew Barney, Mierle Laderman Ukeles und Jeremy Deller, die Gegenstand der vorliegenden Untersuchung sind, könnten unterschiedlicher nicht sein. Ihre Gemeinsamkeit liegt in der performativen Verwendung eines sehr alten traditionellen Handlungsmusters, das den meisten Menschen vertraut ist. Die Prozession ist eine ritualisierte Handlung, die in unseren Breiten zuallererst mit der christlichen beziehungsweise der katholischen Liturgie in Zusammenhang gebracht wird. Die Grundbedeutung des Begriffs (von lat. processio = Zug, Geleit) als ein zielgerichtetes, geordnetes, gemeinsames Gehen, das den Raum gliedert und ihm dabei Bedeutung verleiht, umfasst jedoch den kultischen ebenso wie den profanen Umzug. So begegnen uns Prozessionen in vielen Bereichen des kulturellen Lebens. Dementsprechend beschäftigt sich diese Dissertation mit Prozessionen, Paraden und Karnevalsumzügen, deren Grundmotiv das gemeinsame, öffentliche, oftmals um einen Gegenstand herum organisierte Gehen, also die Prozession in ihrem allgemeinen Sinne ist. / Ever since the 90s, the tendency of many artists increasingly dealing with subjects instead of objects has become apparent. In this context, more and more artistic works that take a multitude of people to the streets or set them in motion as part of a procession or parade can be registered. This is also reflected in a growing number of themed exhibitions exploring these works. The artistic-aesthetic practice of Francis Alÿs, Matthew Barney, Mierle Laderman Ukeles and Jeremy Deller could hardly be more different. Their common ground can be found in the performative use of a very old traditional pattern of action that most people are familiar with. The procession is a ritualised act, which - in this part of the world – is first and foremost implicated in Christian respectively Catholic liturgy. The basic meaning of this term (derived from Latin processio – progression/cortege) as a purposeful, orderly, collective walk structuring and thus giving meaning to a certain space comprises, however, the sacral as well as the profane procession. This is way we can encounter processions in many parts of cultural life (and in almost every culture). This dissertation accordingly explores processions, (carnival) parades and demonstrations which all share the basic motif of a collective, public organised walk, often around an object, i.e. a procession in its general sense.

Feste wie das kultische Opferfest wurden häufig im antiken Griechenland veranstaltet: sie trugen als Rituale grundlegend zur Organisation und Konstruktion der sozialen Gemeinschaft bei. Trotz dieser immensen Bedeutung des Festgeschehens gibt es noch immer Lücken in der altertumswissenschaftlichen Forschung, besonders vom musiksoziologischen Ansatz. Die Betrachtung der musikalischen Elemente im griechischen Kult wie Instrumentalspiel, Gesang einzelner und in Chören, wie auch der Tanz soll einen interdisziplinären Beitrag dazu liefern, die soziale Organisation der antiken griechischen Gesellschaft aus dem Blickwinkel der Musikarchäologie und -soziologie zu verstehen. Die Musik in antiken griechischen Opferritualen ist ein wesentlicher Bestandteil dieses kultischen Ereignisses. Eigens dazu ausgebildete Musiker aber auch Laien musizierten zu den unterschiedlichen Phasen des Ritualkomplexes: während der Prozession, vor und nach der Opferung der Tiere oder der Darbringung anderer Gaben am Altar und zum festlichen Mahl. Diese Arbeit betrachtet die musikalische Begleitung speziell in den kultischen Prozessionen, untersucht mögliche Funktionen und Anwendungen der Musik, betrachtet den sozialen Status der Musiker und zeigt Zusammenhänge zwischen Musik und Kulthandlung. Dabei werden Vasenbilder vom 8. bis zum 5. Jahrhundert v. Chr. analysiert und verglichen mit Aussagen antiker Texte zu Prozessionsmusik und Musikern. / Festivals, such as the cultic sacrifice feast, were often conducted in ancient Greece. These rituals contributed fundamentally to the organization and construction of Greek society. In spite of the important meaning of cultic festivals there are still gaps in classical and ancient knowlege on the subject, notably the music sociological aspects. The treatment of musical elements in Greek cult, such as instrumental playing, soloistic or choir singing, and even dancing will add an interdisciplinary component from the music archaeological and music sociological point of view. This will better inform us of the social organization of Greek communities. Music was an essential element of Greek sacrifice rituals. Both professional educated musicians and amateurs made music during the different parts of the ritual complex: during the procession, before and after the sacrifice ritual—which could constitute the slaughtering of animals or the offering of gifts--and during the festive meal. My thesis analyses the musical role in the ritual, especially in cultic processions. It explores possible functions and applications of music, examines the social status of the musicians, and reveals relations between music and the ritual act. My sources primarily comprise vase depictions from the 8th to the 5th century B.C., which are analysed and compared to the written texts on processional music and musicians.