O advento da teoria pós-positivista de Robert Alexy teve seus efeitos sentidos no Direito do Trabalho, principalmente por passar a ser constantemente mencionada em decisões trabalhistas. O presente trabalho se propõe, então, a dois objetivos centrais: a partir da análise da principal obra de Robert Alexy, Teoria dos Direitos Fundamentais, em cotejo com a jurisprudência trabalhista, demonstrar que nessas decisões não há, de fato, a aplicação da teoria pós-positivista, tal qual construída pelo jurista alemão e, posteriormente, que, ainda que fosse aplicada corretamente, ela própria é de todo incompatível com o Direito do Trabalho, em virtude da construção histórica deste ramo. / The advent of the post-positivist theory of Robert Alexy had its consequences on Labor Law, especially for being often mentioned on Labor Court decisions. Thus, this dissertation focuses on two main objectives: to demonstrate, based on the analysis of the main work of Robert Alexy Theory of Fundamental Rights in confrontation with some Labour Court decisions, that such decisions do not, in fact, apply the post-positivist theory as it was formulated by the German jurist; and, moreover, even if it were to be applied accordingly, this theory would still be incompatible with Labor Law, due to the historical construction of this area.

From the early 1980s until the late 1990s the genre or sub-genre known as sword-&-sorcery was largely moribund. The Tolkien-derived high fantasy novel, on the other hand, flourished and mutated into six, eight, ten volume, or open-ended series. Even though the terms high fantasy and sword-&-sorcery are sometimes used interchangeably, sword-&-sorcery came to be viewed as an inferior, cruder form: rougher in style, more limited structurally, stunted in terms of character development, even morally questionable (rather than ambiguous). Revivifying the Ur-text aims to investigate if it is possible to subvert the genre, to create a work that realizes the form s potential to exist as literature . In order to do this it attempts to both analyze and re-vision the form by rendering the genre down to its pristine elements - exemplified but not monopolized by the widely-acknowledged creator of the sword-&-sorcery form, Robert E. Howard. The critical areas of the thesis thus concentrate on Howard, but extend backwards to Beowulf as proto-sword-&-sorcery and forwards to contemporary fantasy writers such as Joe Abercrombie and Steve Erikson. It begins by constructing an account of the creation of the form by Howard, hypothesizing that the conditions for its genesis are a result of the writer s internal emotional and thought processes interacting with external circumstances. This is followed by a study of a set of highly influential anthologies published in the sixties edited by Lyon Sprague de Camp, interrogating de Camp s introductions as well as his selections, sub-categorizing these into the variations on the Howardian model which evolved in the wake of his 1920/30s work, work from which other writers developed a commonly perceived genre. From this the thesis proceeds to a consideration of related forms such as epic fantasy, science fantasy, and grimdark, prefaced by a survey and analysis of what sword-&-sorcery was/is perceived to be by commentators such as de Camp, Brian Attebery and Peter Nicholls. These sections are followed and augmented by a refocusing on Robert E. Howard. A consideration of the crucial relationship between violence and the numinous in his fantasy is central to this thesis. This is done both through research into published texts, mainly fictional but also non-fictional, and is discussed both generally and through in-depth case studies of two stories, attempting to identify the particular elements of his writing which contributed to the birth and definition of sword-&-sorcery in order to establish Howard s output as an Ur-text . The creative heart of this research is my sword-&-sorcery fiction, The Shadow Cycles. Here I have attempted to write a narrative in the form which innovates narrative techniques, modifying or abandoning the generic scaffolding of situations, and methods of characterization, and developing a style of language appropriate to my aim of revisioning Howard s Ur-text for the 21st century. This is followed by a concluding afterthesis which draws on all the preceding sections to explicate the relationship between the critical and creative elements of the thesis. As with earlier critical sections, these recruit a synthesis of literary history, influence studies, genre theory, narratology, and practical criticism. By so doing they touch on conceptions of the literary such as those of Bakhtin, Eagleton, Todorov, and Katherine Hume.

Collaborative Poetics: Frank O’Hara and Robert Creeley draws on literary studies, art history, and bibliography to examine the transactions between the visual and verbal arts found in the American poets’ work. Bringing longstanding aesthetic debates about poetry and painting to bear on studies of collaboration, the dissertation counters the field’s prevailing intra-disciplinary focus. Visual-verbal collaborations, it suggests, undo conventional dichotomies between these descriptive systems, rendering insufficient a binary view of the “sister arts” as antagonists or analogues. By examining Creeley’s and O’Hara’s interdisciplinary forms and practices, this study advances a notion of “collaborative poetics” that centrally depends on both inter-artistic and inter-subjective exchange. As two of the most prolific collaborators of the mid-20th century – completing over 50 projects with visual artists between them – O’Hara and Creeley serve as exemplary case studies, situated at the forefront of an era in which reciprocity between the avant-garde arts was increasingly common. Through analyses of O’Hara’s early ekphrastic poems (Chapter 1) and Creeley’s literary self- portraiture (Chapter 3), Collaborative Poetics suggests that poets’ interactions with visual media destabilize lyric authority, creating space for reciprocal attachments between artists, artworks, and audiences. The poets’ artists’ books – Frank O’Hara and Michael Goldberg’s 1960 Odes (Chapter 2) and Robert Creeley and Robert Indiana’s 1968 Numbers (Chapter 4) – further advance a claim for alterity by refusing the conservative demand for “artistic purity” and prompting conversation between different (and traditionally opposed) artistic media. Restoring these little-studied works to their original interdisciplinary contexts, the project reinvigorates their status as material objects and subjects of analysis. Finally, the coda both considers the still-tenuous place of such interdisciplinary projects within many institutional spaces, including the academy and the museum, and reflects on the midcentury poets’ collaborative legacy as it turns to a brief reading of contemporary American poet Mei-mei Berssenbrugge and painter Kiki Smith's 2006 artist’s book Concordance. / 2020-12-11T00:00:00Z

The assumption in economics of a representative agent is often made. However, it is a very rigid assumption. Hall and Jones (2004b) presented an economic model that essentially provided for a representative agent for each age group in determining the group's health level function. Our work seeks to extend their theoretical version of the model by allowing for two representative agents for each age—one for each of “Healthy” and “Sick” risk-factor groups—to allow for additional heterogeneity in the populace. The approach to include even more risk-factor groups is also briefly discussed. While our “extended” theoretical model is not applied directly to relevant data, several techniques that could be applicable were the relevant data to be obtained are demonstrated on other data sets. This includes examples of using linear classification, fitting baseline-category logit models, and running the genetic algorithm.

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Robert Morgan's Nonfiction Books

Hans Robert Jauss is a professor of literary criticism and romance philology at the University of Constance in Germany. Jauss co-founded the University of Constance and the Constance group of literary studies. Hans Robert Jauss's version of reception theory was introduced in the late 1960s, a period of social, political, and intellectual instability in West Germany. Jauss's reception theory focused on the reader rather than the author or text. The original reception of a text was compared to a later reception, revealing different literary receptions and their evolution. Jauss's Rezeptionsgeschichte (history of reception) illustrated the evolution of the reception of texts and the evolving paradigms of literary criticism that they were a part of. However, Jauss's essays proved to be more of a provocation for change in literary criticism than the foundation for the next literary paradigm. The empirical studies discussed in this thesis reveal the.idealism of Jauss's theory by testing main ideas and concepts. The results show the inapplicability of Jauss's theory for practical purposes. The intent of this study is to illustrate the origins, development and impact of Jauss's version of reception theory. The interrelationship between the social environment, the institutional reforms at the University of Constance, and the methodology of reception theory are also discussed. The new social values in West Germany advocated individualism and questioned status quo institutions and their authority. This facilitated the establishment of the University of Constance, which served as the prototype for the democratization of German universities and the introduction of Jauss's reception theory. With the democratization of the university, old autonomous faculties were broken down into interdisciplinary subject areas. The Old Philology and New Philology department were made into the sciences of language and literature and ultimately introduced as the all-encompassing literaturwissenschaft. Five professors from the Slavic, English, German, Classics and Romance language departments gave up direction of these large departments to work together under the Constance reforms in an effort to form a new concept of literary studies. The result was the socalled theories of "reception" and "effect" which they continue to research.

In November 1558, Elizabeth I ascended the throne of England as a single Queen with Protestant tendencies in a male-dominated Catholic world. Her council believed it was imperative that she marry immediately, and the rest of Western Europe agreed. Catholic suitors sought to bring England back under Catholic control. Protestant suitors hoped for an ally in the religious wars that were ravaging Europe. Even Englishmen sought to become king. Ambassadors from the Spanish Empire, the Holy Roman Empire, and the Baltics and Scotland came to negotiate the suits of their monarchs. Ambassadorial correspondences are often used as primary source material for historians, yet few rarely recognize the importance of the ambassador and his role in the court, especially during the marriage negotiations of Elizabeth I. Ambassadors left their home to live in a foreign country, often for long periods of time. The ambassadors were the embodiment of their sovereigns during the negotiations, and often success or failure rested on their abilities. An ambassador was the eyes and ears of the Elizabethan court for his sovereign in a foreign country. They wrote minutely detailed letters that included basic facts and information along with court gossip and personal opinions and recommendations. Their intimate relationship with the Queen and her court made their recommendations invaluable to their monarch. They were far more than mere note takers and should be recognized as such. The focus of this thesis deals primarily with the ambassadorial reports of the Spanish and Hapsburg ambassadors as they participated in the negotiations in one form or another during the time frame discussed, 1558-1560. They also not only wrote about their own negotiations but the negotiations involving Protestant and English suitors. Their reports are full of pertinent information that, without, their monarchs would have been blind to the goings on of the English court. The marriage of Elizabeth I was seen as a priority by all except her. During the first two years of her reign, more than a half dozen suits were pursued, not just by kings and dukes, earls and knights, but, more importantly, by their ambassadors.

"Contested Land" is a senior thesis on the controversy surrounding plans to build on the Bernard Field Station in Claremont, California. The documentary satisfies a dual major in Intercollegiate Media Studies and Joint Sciences Biology.

Because Shakespeare borrowed so many ideas and devices from other writers, we wonder whether he also borrowed the trick of double time from some of his predecessors; therefore one of the purposes of this study is to discover whether or not this device was original with Shakespeare. In this study I have considered the works of John Lyly, Christopher Marlowe, Robert Greene, and George Peele because these four seem to have influenced Shakespeare more than did any of the other of his immediate predecessors. To discover what influence, if any, these men had upon Shakespeare ts treatment of time is not, however, the only purpose of this study; for I am also interested in the characteristics of the works of these men for their own values, independent of any influence which they may have had on the works of Shakespeare.