[pt] A partir do conceito de intervenção de Robert Smithson criado nos final dos anos 60, em que transforma a própria ideia de sítio utilizada inicialmente nos trabalhos de Land art, ao trabalhar de forma orientada para os sites específicos e permite que sejam escavadas diferentes camadas de significado presentes nesses locais, reafirmando a capacidade da arte em penetrar questões de natureza política, econômica, social e cultural e introduzir um olhar crítico sobre a situação urbana. Tais contribuições de Smithson basearam as intervenções do projeto Arte/Cidade em seus quatro módulos realizados na cidade de São Paulo, no período de 1997 a 1997. As instalações do projeto levaram em consideração a escala urbana assim como aspectos sociais e políticos que insidiam em áreas escolhidas e enfatizaram contradições, perdas de referências e transformações sofridas pela metrópole. Busca-se no presente trabalho avaliar as contribuições do terceiro módulo do projeto, A Cidade e suas Histórias ocorrido na cidade de São Paulo em 1997, e suas articulações com história, patrimônio e utilização do espaço urbano na metrópole. / [en] From the concept of intervention of Robert Smithson created in the late 60s, it transforms the very idea of site initially used in the works of Land Art, while working in a targeted manner to specific sites and allows different layers of meaning are excavated present at these sites, confirming the ability of art to penetrate matters of political, economic, social and cultural nature and introduce a critical eye on the urban situation. Such contributions Smithson based project interventions Art / Town in its four modules conducted in the city of São Paulo, in the period 1997-1997. Facilities project took into consideration the urban scale as well as social and political aspects which threaten areas chosen and emphasized contradictions, loss of referrals and transformation within the metropolis. Search in the present work was to evaluate the contributions of the third module of the project, The City & Histories held in São Paulo in 1997, and its links with history, heritage and use of urban space in the metropolis.

[pt] A pesquisa se volta à filosofia de Martin Heidegger para iluminar obras de arte contemporâneas que dizem respeito à paisagem. Embora Heidegger não tenha abordado diretamente este tema, aparecem inúmeras referências à paisagem ao longo de sua obra, seja por meio de metáforas ou desenvolvimento de tópicos correlatos. Para isso, enfocou-se, especialmente, seus escritos sobre natureza, arte, espaço e o habitar poético. Objetivou-se explorar três questões: a relação entre natureza, arte e paisagem; a elaboração artística da paisagem como uma construção conjunta entre artista e natureza; e, por fim, a construção de uma nova compreensão espacial da paisagem a partir da obra de arte. Assim sendo, por meio de duas obras paradigmáticas: o Parque do Flamengo (1965), de Roberto Burle Marx e a Spiral Jetty (1970), de Robert Smithson, discutiremos, respectivamente, as duas últimas questões colocadas anteriormente. / [en] The research turns to Martin Heidegger s philosophy to illuminate contemporary works of art that relate to the landscape. Although Heidegger has not directly addressed this issue, numerous references to the landscape appears through his work, whether in metaphors or co-related topics. Therefore, we focused especially his writings on nature, art, space and dwelling. This study aimed to explore three issues: the relationship between nature, art and landscape, the construction of a work of art joint between artist and nature, and finally, the construction of a new understanding of the landscape space from the work art. Thus, from two paradigmatic works – Park of Flamengo (1965), Roberto Burle Marx, and the Spiral Jetty (1970), Robert Smithson - will be discussed, respectively, the last two questions.

Stefanie Reinhold befasst sich in ihrem Artikel mit Robert und Clara Schumann und gibt hier auf Grundlage des von beiden geführten Tagebuches Einblicke in das gemeinsame Leben eines Künstlerehepaars am Ende des 19. Jahrhunderts.

For the analysis of changes in educational inequality, several quantitative methods have been developed in educational research. One of them is the school transition model (also known as the Mare model). The school transition model has been criticised on many grounds in recent years. In the following, I introduce the advantages of this model, its analytic conception, its critique and explain why this critique is not such a big problem in empirical analyses as is generally assumed. Finally, I give a summary.:1. Introduction 2. Advantages of the Mare model 3. Statistical conception of the Mare model 4. Critique of the Mare model 5. Summary

(English) is thesis is concerned with the opening section"A Sort of Introduction" of Robert Musil's e Man Without Qualities. It follows the plot developed throughout the evolution of the main character Ulrich, and his gradual realization that he is a "man without qualities" and that he needs to "take a break from life," as the discovery of a starting position for his life experiment. Closer reading is given to the "other condition" that Ulrich discovers in his nightly adventure. e idea of mystical unification touches on the central theme of love and eroticism, which are in various aspects, characterized by both Leona and Bonadea. Broadly understood the concept of unification, as a form of unfulfilled need, transforms into a "projection surface" on which we can see the suppressed inclinations of individuals and society, leading among other things to the rehabilitation of the philosophical construct of "Genius", the search for a type of "strong individual",that will be able to withstand the demands of the"new era;"- reflected in this section by Clarisse and Walter. Along with this "story" level of the text, I follow in a few subchapters what we may call the"imaginative"level,that is,the collection of themes that show the"internal" perspective of storytelling. For example, the motive of a window being...

Mit Freude verkündet die SLUB Dresden den Erwerb der Skizzen zu Robert Schumanns Klaviertrio Nr. 1, op. 63. 25 mit Bleistift und Tinte fein beschriebene Seiten erlauben es, sich dem Werk neu zu nähern.

Im 17. und 18. Jahrhundert ist die Rede der Enzyklopädisten - gemeint sind damit alle, wohl mehrere hundert alphabetisch geordneten und umfangsstarken Wissenswerke vor und nach der französischen 'Encyclopedie' (1751- 1765) - erkennbar darin unterschiedlich, je nachdem, an welches Publikum sie sich richten. Dabei kann man vom Beispiel der französischen Akademie ausgehen und vermutungsweise zwei Haupttypen unterscheiden, nämlich das allgemeine Publikum und die Fachleserschaft. Einen charakteristischen Fall scheinen medizinische Enzyklopädien abzugeben, denn bei medizinischen Artikeln kann man sogar davon sprechen. dass die unterschiedlichen Redeweisen enzyklopädischer Werke zwei Körper konstituieren: den ärztlichen Behandlungsgegenstand und den Körper des Bürgers. Während der eine Objekt von Praktiken ist, akkumuliert der andere anatomische und chirurgische Kenntnisse als theoretisches Wissen. Die therapeutische Wirkung der Lektüre ist entsprechend verschieden. Für den Arzt bedeutet eine fachliche Auskunft immer auch eine mögliche Handlungsanweisung, für den Laien reduziert sich der praktische Anwendungsnutzen auf präventive Maßnahmen oder lediglich auf ein Verständnis ärztlicher Kunst. Der Unterschied ist einfach zu beobachten, wenn man die beiden Textsorten - den Fachartikel und den des allgemeinen Wissens - auseinander hält. Das soll im Folgenden am Beispiel einer medizinischen Enzyklopädie geschehen, deren Artikel die fachsprachlichen Vermittlungs- und Lesetechniken überschreiten und eine allgemeinbildende Wissensartikulation auch im Bereich des medizinischen Wissens durchsetzen wollen. Es handelt sich um das kurz vor der berühmten 'Encyclopedie' von Diderot und d'' Alembert veröffentliche 'Medical Dictionary' von Robert James.

Avec l’avènement du numérique, nous étions à même de penser que ces avancées technologiques sans précédent assureraient la pérennité archivistique et concrétiseraient le triomphe de la connaissance. Or, force est de constater que rien n’a jamais été autant perdu, oublié. La migration des archives – d’un support vers un autre toujours plus performant – entraine leur effacement, leur perte. L’obsession pour la conservation à outrance fait partie de ces phénomènes d’hypermnésie amnésiante actuels qui conduisent inéluctablement les sociétés vers la disparition de leur historicité. Le spectacle solo 887 (créé à Québec, en 2015) de Robert Lepage repose sur les traces du passé – mémoire à la fois intime et collective ancrée dans les années 1960 et 1970. Le titre fait référence à l’adresse où l’artiste a vécu son enfance : au 887 de l’avenue Murray, dans le quartier Montcalm, à Québec. La pièce met en lumière un aspect paradoxal de l’oubli soit qu’on doit, par les différentes modalités mémorielles, faire l’effort de ne pas oublier et en même temps qu’on doit oublier pour se souvenir. En effet, de récentes études, au sein des neurosciences, démontrent que l’oubli est non seulement indissociable de la mémoire – étant son corollaire et non un adversaire – mais qu’il est vital. Le solo 887 lutte inlassablement contre les surgissements amnésiques et en ce sens, nous avançons qu’il est une œuvre de résistance contre l’oubli trouvant sa régulation en se remémorant autant qu’il oublie. C’est sur ce paradoxe que cette recherche portera. Elle interroge l’autobiographie lepagienne révélant que l’authenticité du discours mémoriel nécessite l’adhésion du public et exige sa coprésence pour reconstruire les fragments du passé. Les traces mnésiques jaillissent, dans 887, à travers l’architecture de la scène par les images, les écrans – des surfaces d’inscription s’il en est – les objets et les personnages. Les personnages façonnés par l’artiste s’imposent tels des lieux de mémoire et les interactions qui s’opèrent entre les différentes composantes du plateau scénique – incluant l’acteur – sont des médiations du passé. Ce mémoire s’appuie sur des considérations diamétralement opposées. D’une part, sur les travaux d’Henri Bergson et de Paul Ricœur pour qui l’oubli est l’anéantissement de toute vie et d’autre part, sur ceux de Friedrich Nietzsche qui le perçoit comme l’une des conditions essentielles de toute action. Au terme de cette étude, c’est une vision renouvelée de l’oubli que nous tentons d’apporter. / With the advent of digital technology, we were in a position to think that these unprecedented technological advances would ensure archival sustainability and make the triumph of knowledge a reality. However, it is clear that nothing has ever been so lost and forgotten. The migration of archives - from one medium to another ever more powerful - leads to their deletion, their loss. The obsession for excessive preservation is part of the current phenomena of “amnesing hypermagnesia,” which inexorably leads societies towards the disappearance of their historicity. Robert Lepage’s solo show 887 (premiered in Quebec City in 2015) is based on the traces of the past - a memory that is both intimate and collective, rooted in the 1960s and 1970s. The title refers to the address where the artist spent his childhood : 887 Murray Avenue, in the Montcalm district of Quebec City. The piece brings to light a paradoxical aspect of forgetting, namely that one must, through the various modalities of memory, make the effort not to forget and at the same time, one must forget in order to remember. Indeed, recent studies in neuroscience show that forgetting is not only inseparable from memory - being its corollary and not an adversary - but that it is vital. Solo 887 fights tirelessly against amnesic surges. In this sense we argue that it is a work of resistance against forgetting, finding its regulation by remembering as much as it forgets. It is on this paradox that this research will focus. It questions the Lepagian autobiography revealing that the authenticity of the memorial discourse requires the adhesion of the audience and demands its copresence to reconstruct the fragments of the past. In 887, the mnemonic traces spring up, through the architecture of the scene by the images, the screens - surfaces of inscription if any - the objects and the characters. The characters shaped by the artist stand as places of memory, and the interactions that take place between the different components of the stage - including the actor - are mediations of the past. This memory is based on opposed considerations. On the one hand, on Henri Bergson and Paul Ricœur’s, for whom forgetting is the destruction of all life, and on the other hand, on the work of Friedrich Nietzsche, who sees it as one of the essential conditions of all action. At the end of this study, it is a renewed vision of oblivion that we are trying to bring about.

This study recounts the events surrounding the Federal Radio Commision's (FRC) 1931 decision to remove radio station KGEF. Robert Shuler, minister of Los Angeles' Trinity Methodist Church, South, used KGEF to attack city officials and organizations whom he felt were corrupt. Chapters explore Shuler's background and acquisition of KGEF, his use of KGEF, and FRC and Court hearings and appeals. The study concludes that the action against Shuler, resulting in deletion of KGEF, may have resulted from political pressures. In spite of the "landmark" status of the Shuler case, his First Amendment rights may have been violated.

Studies of sexual dimorphism of the sacrum have generally been conducted as part of broader population research or on living persons and cadavers, making the anthropological literature sparse. The greater sciatic notch and the preauricular sulcus of the ilium have both been found to show sexual dimorphism, although studies of these traits often have ambiguous definitions of characteristics and lack the standardization of measurements. This research was designed to reexamine and test the accuracy of standard scoring systems and measurements of the posterior pelvis used to determine sex and to establish new formulae combining traits and measurements to accurately determine sex using logistic regression analysis. A series of metric measurements and morphological scores were recorded for 104 males and 106 females of both European- and African-American ancestry from the William M. Bass and Terry Collections. In order to reexamine previous research conducted on the posterior pelvis, standard ratios of metric measurements were analyzed to determine ranges and cut-off values for males and females in this sample. The ratio of ala width to the maximum transverse diameter of the sacral base and the ratio of the length and width of the sciatic notch have proven to be the most useful ratios in sex determination, though not as accurate as the formulae created using logistic regression. These data were also analyzed in SPSS using logistic regression to assess the usefulness of metric measurements and morphological scores of the posterior pelvis in sex determination. Using stepwise logistic regression, a combination of traits for both the sacrum and posterior ilium that are the most reliable and accurate for sex determination have been determined. The values for these selected traits can be incorporated into the log odds formulas which will classify an individual as male or female. The ultimate goal of this research was to provide physical anthropologists with iii logistic regression equations that can be used to estimate the sex of the posterior ilium and sacrum. Two equations ranging in accuracy from 79-84% were developed to determine sex of the posterior pelvis.