The purpose of this study is to examine what temple vision the jewish temple activist Gershon Salomon, the unchallenged leader who founded the first ever jewish organization to focus on the significance of the Temple Mount and the rebuilding of the jewish temple, had about the Temple in Jerusalem in Jewish tradition. The study will apply whether Salomons temple vision was a religious/ritual in which the rebuilding of the Jewish temple in Jerusalem was the main goal, a nationalistic/zionist where the significance of the Temple Mount was political, cultural and spiritual rather than religious, or a worldwide temple vision. This will be investigated by using the psychiatric phenomenon of the Jerusalem syndrome as well as Maria Läppekaris (2004/5) definition of apocalyptic representations of the Temple Mount. This study will examine the material which consists of two interviews with Gershon Salomon through a qualitative text method. The results of this thesis found that Gershon Salomons representation of the rebuilding of the temple was nationalistic/zionist.

This thesis argues that the twin concept of separate personality and limited liability from its historical beginnings, has entrenched corporate irresponsibility. It assesses the role that these concepts have played in tackling corporate irresponsibility from their historical origins to the present day, commenting on the lessons learnt. Whilst the institution of the company as a legal person is unquestionably the bedrock of modern company law,1 this thesis examines these concepts not necessarily from the position of disputing the philosophical, economic, or political imperatives, all of which are incredibly important – but from the viewpoint that historically, the principle of separate personality and limited liability entrenches corporate irresponsibility. As such, this thesis suggests a partial abandonment of the separate personality principle because it provides a mechanism for dishonest directors to escape liability for their fraudulent conduct. It also argues that the existing judicial evasion and concealment2 principles and the statutory fraudulent and wrongful trading provisions under the Insolvency Act 19863 are too restrictive, and ambiguous in combating corporate abuse. It is concluded that the existing common law and statutory rules geared towards combating abuse of limited liability provides no coherent format upon which the courts and legislature may effectively curb abuse of the corporate form. As such, these laws in light of their inability to make dishonest directors personally liable for their fraudulent conducts ought to be challenged. There is a need to challenge the existing rules in order to show the effect abuse of limited liability has on creditors, the public and the economy. This research indicates that there ought to be an adequate and effective alternative law which provides balance and support for genuine enterprise whilst providing a robust system whereby those who abuse the corporate form can be easily made liable for corporate debts.

This dissertation explores how literary descriptions of visual artworks affect the narrative and descriptive fabric of a text. The novels I examine operate on three textual levels: the painter's creative struggles, his amorous entanglements with his model and/or the painted women of his canvas, and his aesthetic claims to revolutionize painting. My project argues that ekphrasis is a translational mode that takes two forms: the traditional, "contained" description of a visual artwork; and a mode of writing that pervades the entire text and emulates the characteristics of painting. For example, Balzac's "Le Chef d'oeuvre inconnu" and the Goncourts' Manette Salomon successfully adopt the ekphrastic mode of writing, transforming the narrative into a canvas where the boundaries between the media are blurred. On the other hand, Zola's L'oeuvre exploits ekphrasis in order to advance the superiority of literature over painting. At the heart of these Realist and Naturalist texts, the fundamental adherence to the mimetic principle of art is confronted with the nonfigurative experiments of their fictional painters. The female body, as the embodiment of Art and the manifestation of the artist's desire, becomes the symptom of his incursion into abstract painting and the site of the resistance to ekphrasis.

No description available.

No description available.

Thesis (Ph. D.)--Københavns universitet, 1988. / Summary in Danish. Part 2 consists of Rennellese texts with parallel English translations. Some geneal. tables on folded leaves of plates in pt. 1. Includes indexes. Includes bibliographical references (pt. 1, p. 269-276).

Zugl.: Berlin, Freie Univ., Diss., 2003

Toe die Rebel1ie in 1914 uitbreek, was Salomon Gerhardus (Manie) Maritz op 38-jarige ouderdorn die jongste van alle eertydse Boere-generaals uit die Anglo-Boereoorlog (1899- 1902). Irnmer rusteloos van geaardheid, daarby voortvarend en impulsief, sou die daaropvolgende gebeure hom opnuut, soos 14 jaar te vore, in die vuurproef plaas. Na die Vrede van Vereeniging het Maritz geweier om Britse onderdaan te word en wyk uit na Angola en Europa. In 1912, ses jaar na sy terugkeer, word hy rnajoor in die pasgestigte Unie-Verdedigingsmag. Tydens sy militêre op1eiding in Bloemfontein besluit hy en mede-wapenbroer Jan Kemp om die eerste die beste geleentheid te benut om die republikeinse onafhanklikheid te herwin. In 1913 kontak hy die Duitse owerheid om vas te stel of hulle ingeval van 'n opstand hom van wapens en ammunisie sou voorsien maar dit was nie 'n forrnele ooreenkorns nie. Tydens 'n offisiersvergadering te Pretoria (14 Augustus 1914) lê hy sy beplande staatsgreep vir 15 September 1915 aan Beyers voor en versoek hom om aan die hoof daarvan te staan. Oortuig dat Beyers hom ondersteun, kom hy met die Duitsers tot 'n vergelyk en reel vir Beyers op 15 September 'n afspraak met dr. T. Seitz, die Duitse goewerneur, om finale reëlings te tref. Die bedanking van Beyrs (14 september) en die dood van de la Rey (15 September) wat self met rnedewete van Kemp 'n staatsgreep beplan het, dwing Maritz om ander planne te beraam. Omdat hy hierna kontak met die leiers van die protesbeweging in Transvaal verloor het, was Maritz op homself aangewys. Sy voortdurende briefwisseling met genl. Smuts, met majoor B. Enslin as tussenganger het horn oortuig dat Smuts hom oor die grens wou dwing. Op 23 September 1914 het hy van Smuts opdrag ontvang om Duits-Suidwes-Afrika binne te val maar hy weier en vra sy ontslag. Smuts vertraag die ontslag en stuur ondertussen troepe-versterkings na Upington Hierop het Maritz 'n finale ooreenkoms waarin die onafhanklikheid van Suid-Afrika geproklarneer is, met die Duitsers gesluit en op 9 Oktober 1914 te Van Rooisvlei gerebelleer. Omdat die regering nie op sy versoek om met genls. Beyers, Hertzog, de Wet, Kemp en Muller te onderhandel, reageer het nie, beset hy Keimoes en Kakamas. Na vergeefse onderhandelings met genls. Smuts en Brits om bloedvergieting te voorkom, trek hy sy troepe op Kakamas saam, proklameer die "" Republi.ek van Suid-Afrika", trek die swaard en val Keimoes (22 Oktober) aan. Omring deur reqeringstroepe onttrek hy hom na Jerusalem in Duitswes-Afrika; terwyl 'n deel van sy mag op Kakamas (24 Oktober) deur regeringstroepe aangeval is. Op 29 November sluit genl. Kemp by hom aan en na finale onderhandelings met die Duitsers te Keetmanshoop (6 Desember 1914) val hulle Kaapland binne. Tydens die gevegte van Nous (22 Desember), Langklip (14 Januarie 1915), Lutzputs (18 Januarie 1915) verslaan hulle die regeringstroepe maar word self te Upington (24 Januarie 1915) verslaan en na uitgerekte onderhandelings tot oorgawe gedwing. Maritz self het nie oorgegee nie maar weer eens uitqewyk na Duits-Suidwes-Afrika, Angola, Portugal, Spanje en Duitsland. In 1923 bet hy na Suid-Afrika teruggekeer en hom vrywilliglik oorgegee. In 1924 is hy aan hoogverraad skuldig bevind en tot drie jaar tronkstraf sender hardepad gevonnis, maar is na drie maande losgelaat nadat die Naionale Party onder leiding van genl. Hertzog 'n verkiesingsoorwinning oar die Suid-Afrikaanse Party van genl. Smuts behaal het. / Dissertation (MA)--University of Pretoria, 1979. / gm2014 / Historical and Heritage Studies / Unrestricted

Charlotte Salomon's Life? or Theater? is a complex compilation of painting, musical notations, autobiography, cinematic layouts, and literary text. Salomon scholars have neglected a crucial element of Life? or Theater?, which is the significant influence of Salomon's friend, Alfred Wolfsohn. This thesis fills this void by examining the correlation between stylistic influences in Salomon's work and by exploring Wolfsohn's theoretical practices. Using a framework informed by Jungian psychology and Wolfsohn's extensive music theory, this thesis argues that Salomon portrayed her own story via Wolfsohn's philosophy of catharsis. As trauma became a reoccurring theme in Salomon's life, painting and creation became her purification and the means by which she recovered her own sanity. To expound the importance of Salomon's emotional expulsion in Life? or Theater?, this thesis considers her biography, traumatic life events, and her formal art training at the Vereinigte Staatsschulen für Freie und Angewandte Kunst. The combination of her chaotic life events, her training as a visual artist, and her inclusion of musical and theatrical elements emphasize her ability to efficiently call upon the most effective and expressive artistic style for her catharsis. In its synthesis, Salomon's Life? or Theater? becomes a Gesamtkunstwerk that is the pinnacle of German Expressionism. Lastly, this thesis will look to the relationship and influence of Wolfsohn. Arguing that Wolfsohn's influence was more than encouraging Salomon to paint, this thesis will draw connections between Wolfsohn's theories and Salomon's approach to Life? or Theater?. In arguing for the importance of Wolfsohn's theories, and by understanding her work as catharsis via Gesamtkunstwerk, this thesis has contributed new ways of understanding Salomon's complex work, Life? or Theater?, as more than an illustrated autobiography.

No description available.