<p>This project has been design orientated and the focus was to study the possibilities of the glass in a industrial product development process. The goal has been to develop a lighting product with strong character that furthermore has possibilities to rational manufacturing. The inspiration comes from many different elements, like 1700 century Swedish glass, Moulin Rouge and contemporary shapes and expressions.</p>

No description available.

No description available.

Since the introduction of synchronized sound at the end of the 1920s the film musical has had a special place in American film. But even with that special place the interest in the film musical has varied a lot during the 20th century. From the high interest during the  “Golden Age” in the 1930s, 1940s, and 1950s, through low interest in the following decades and then renewed interest in musicals with the animated film musicals from Disney in the 1990s. But what has happened after the millennium? Has there been any development in the American film musical genre or is it just more of the same? This thesis tries to answer the question by analyzing three successful film musicals from the period 2001-2013, Moulin Rouge! (Baz Luhrmann, 2001), The Phantom of the Opera (Joel Schumacher, 2004), and Les Misérables (Tom Hooper, 2012) and comparing them to classical traditional musicals. According to this thesis there is a split answer, some areas of the classical  American film musical have developed while other areas still remains the same.

Alexandre Dumas fils' La Dame aux Camélias has existed in various media for more than 150 years, originating from life events that were mediated through the novel and remediated via theater, opera, and film. I examine in my thesis how this particular narrative has survived the centuries and how each depiction relates the social expectations, desires, and fears of the time period in which the revised story is generated. The relationship between Dumas and the famous courtesan Marie Duplessis and its fictional recreations in Dumas' novel La Dame aux Camélias, his play Camille, Giuseppe Verdi's opera La Traviata, and Baz Luhrmann's film Moulin Rouge! reflects a human compulsion to create narratives in order to grasp daily events and to potentially escape those events or comment upon those which do not fit concisely into their socially expected codes of understanding.

Thesis(M.S.)--Auburn University, 2005. / Abstract. Vita. Includes bibliographic references (p.95-102).

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 1994. / Includes abstract and vita. Includes bibliographical references (leaves 210-213).

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 1994. / Includes abstract and vita. Includes bibliographical references (leaves 231-235).

Th.--Sci.--Toulouse--I.N.P., 1977. N°: 20.

Alors qu'elles n'intervenaient jusqu'ici que marginalement dans l'économie du pèlerinage à La Mecque (hajj), la catastrophe humanitaire constituée par l'épidémie de choléra de 1865-66 a conduit certaines puissances coloniales comme la France et la Grande-Bretagne, bientôt rejointes par l'Italie, à se saisir directement de la question de l'organisation des déplacements et du séjour de leurs sujets musulmans dans les Villes Saintes du Hedjaz. Pour la première fois dans l'histoire de l'Islam, le hajj a ainsi été supervisé par des puissances non-musulmanes. Si l'objectif affiché de l'intrusion européenne dans l'économie du hajj reste la protection sanitaire des pèlerins et partant du continent européen, il n'en cache pas moins des préoccupations plus politiques. L'enjeu est alors de rendre le hajj « gouvernable ». A cet égard, la Grande Guerre et l'annexion du Hedjaz par le gouvernement saoudien en 1925 constituent des étapes importantes en donnant aux puissances coloniales les moyens de construire de véritables « politiques du pèlerinage ». La décennie 1930 marque ainsi l'apogée de l'intrusion des puissances coloniales européennes dans l'organisation du pèlerinage à La Mecque qu'elles ont contribué à transformer en un instrument d'influence diplomatique et coloniale / While they intervened until then only marginally in the hajj affairs, the humanitarian disaster constituted by the epidemic of cholera of 1865-66 led colonial powers, such as France and Great Britain, soon joined by Italy, to deal directly with the question of the organization of the travels and the stay of their Moslem subjects in the Holy Cities of the Hijaz. For the first time in the history of Islam, the hajj was so overseen by not Moslem powers. If the official aim of european intervention remained the sanitary protection of the pilgrims - and, to a certain extent, the protection of the European continent - it hides not less more political concerns from it. Here the stake consists in making the hajj « governable ». In this respect, the Great War and the Hijjaz annexation by Saudi government in 1925 constitute important stages providing colonial powers the means to build of real « pilgrimage policies ». For the european colonial powers, the 1930's represent the peak of their intrusion in pilgrimage to Mecca organization they have contributed to turn into an instrument of diplomatic and colonial influence