A ópera combina diferentes artes numa só: canto, teatro e música, o que exige, dos cantores que dela participam, um domínio técnico de sua voz, mas, para além disto, também sua corporeidade. Deste modo, o objetivo do presente trabalho é demonstrar a dificuldade do cantor/ator em expressar-se, corporalmente, no momento de sua encenação, ocasionando, neste atuante, uma desconexão entre o que ele expressa vocalmente e sua gestualidade, o que gera uma defasagem na comunicação cênica deste artista; e também, apresentar como as técnicas corporais puderam despertar estes corpos, tornando-os mais presentes cenicamente. Para tanto, apresentamos de que maneira práticas corporais como yoga, meditação, bioenergética, jogos teatrais e técnica de atuação para a formação artística do cantor/ator possibilitam torná-lo consciente acerca do estado de sua presença corporal em cena. Assim, nos valeremos do uso de técnicas de Marta Graham, o qual a respiração é um dos princípios em sua dança (o release inspiração/expiração), bem como os exercícios de jogos de improvisação e triangulação da Commedia dell\'arte e o Método das Ações Físicas de Stanislavski como atuação para o cantor de ópera. Como resultado, verificamos que estas práticas propiciaram aos atuantes envolvidos no processo um corpo mais vivo, menos estatuário, mais verossímil, e que estes fatores influenciaram na construção corporal da personagem operística. / The opera combines different arts in one: singing, theater and music, which requires, from the singers who participate, a technical domain of his voice, but also his corporeality. In this way, the objective of the present work is to demonstrate the difficulty of the singer / actor in expressing themselves, at the time of their staging, causing, in this actor, a disconnection between what he expresses vocally and his gesture, which generates a lag in the scenic communication of this artist; and also to present how body techniques could awaken these bodies, making them more present in a cenic. In order to do so, we present how corporal practices such as yoga, meditation, bioenergetics, theater plays and acting techniques for the artistic formation of the singer / actor become possible to make him aware about the state of his bodily presence on the scene. Thus, we will use the techniques of Martha Graham, whose breathing is one of the principles in her dance (the release inspiration / expiration), as well as the exercises of improvisation and triangulation games of the Commedia dell\'arte and the Method of Physical Actions of Stanislavski as acting for the opera singer. As a result, we verified that these practices gave the actors involved in the process a more living body, less statuary, more believable, and that these factors influenced the body construction of the operatic character.

A ópera combina diferentes artes numa só: canto, teatro e música, o que exige, dos cantores que dela participam, um domínio técnico de sua voz, mas, para além disto, também sua corporeidade. Deste modo, o objetivo do presente trabalho é demonstrar a dificuldade do cantor/ator em expressar-se, corporalmente, no momento de sua encenação, ocasionando, neste atuante, uma desconexão entre o que ele expressa vocalmente e sua gestualidade, o que gera uma defasagem na comunicação cênica deste artista; e também, apresentar como as técnicas corporais puderam despertar estes corpos, tornando-os mais presentes cenicamente. Para tanto, apresentamos de que maneira práticas corporais como yoga, meditação, bioenergética, jogos teatrais e técnica de atuação para a formação artística do cantor/ator possibilitam torná-lo consciente acerca do estado de sua presença corporal em cena. Assim, nos valeremos do uso de técnicas de Marta Graham, o qual a respiração é um dos princípios em sua dança (o release inspiração/expiração), bem como os exercícios de jogos de improvisação e triangulação da Commedia dell\'arte e o Método das Ações Físicas de Stanislavski como atuação para o cantor de ópera. Como resultado, verificamos que estas práticas propiciaram aos atuantes envolvidos no processo um corpo mais vivo, menos estatuário, mais verossímil, e que estes fatores influenciaram na construção corporal da personagem operística. / The opera combines different arts in one: singing, theater and music, which requires, from the singers who participate, a technical domain of his voice, but also his corporeality. In this way, the objective of the present work is to demonstrate the difficulty of the singer / actor in expressing themselves, at the time of their staging, causing, in this actor, a disconnection between what he expresses vocally and his gesture, which generates a lag in the scenic communication of this artist; and also to present how body techniques could awaken these bodies, making them more present in a cenic. In order to do so, we present how corporal practices such as yoga, meditation, bioenergetics, theater plays and acting techniques for the artistic formation of the singer / actor become possible to make him aware about the state of his bodily presence on the scene. Thus, we will use the techniques of Martha Graham, whose breathing is one of the principles in her dance (the release inspiration / expiration), as well as the exercises of improvisation and triangulation games of the Commedia dell\'arte and the Method of Physical Actions of Stanislavski as acting for the opera singer. As a result, we verified that these practices gave the actors involved in the process a more living body, less statuary, more believable, and that these factors influenced the body construction of the operatic character.

The study examines to what extent weak labor unions and an abundance of labor have a negative effect on less developed countries terms of trade, as hypothesized by Hans Singer (1950) and Rául Prebisch (1950). Using a sample from panel data for 74 less developed countries during the period 1980 – 2010 in OLS-regressions with fixed effects, I find some evidence that weak labor unions and abundance of labor is negatively correlated with the terms of trade, which could be interpreted in favor of the Prebisch-Singer hypothesis. The marginal effect of an abundance of labor also appears to have less negative impact on the terms of trade as labor unions grow stronger.

Syftet med den här uppsatsen är att analysera den gränsdragning som görs mellen människa och djur ifråga om hur man räknas moraliskt. Det finns en gemenskap som kallas "den moraliska gemenskapen" och som består av de individer man anser förtjänar moralisk hänsyn. Eftersom den vanligaste synen på den moraliska gemenskapen är att den består av människor, medan djur står utanför, vill jag undersöka anledningen till detta. Jag går därmed igenom hur man kan värdera liv och vad som förväntas av en individ för att hon ska få räknas in i den moraliska gemenskapen. Jag granskar särskilt förmågors betydelse och får fram att dessa inte räcker till som kriterium för att någon ska få räknas moraliskt. Istället kommer jag fram till att man måste respektera allt liv. Jag har också undersökt vem det är som ska ta denna moraliska hänsyn och funnit att det är den som har förmågan att skilja på rätt och fel, den moraliska agenten , som ska göra det. Jag går också igenom vad den moraliska agenten har för ansvar. Iden andra delen av uppsatsen tillämpar jag det jag kommit fram till på den svenska vargen och det aktuella problemet med licensjakt. Utifrån det jag kommit fram till i min tidigare analys av djurens moraliska ställning, menar jag att det inte finns någon godtagbar etisk grund för licensjakt på den svenska vargen. Jag tror heller inte att jakten får den avsedda effekten att öka viljan bland vargmotståndarna att leva sida vid sida med vargen.

This dissertation clarifies a challenge present in Peter Singer's famine-relief argument and offers a new account of our moral duties of rescue. The challenge, in essence, is to differentiate two classes of idealized rescue scenarios where one faces the opportunity to rescue someone from serious peril, and to differentiate them in way that both avoids a shockingly demanding conclusion and effectively counteracts the suspicion that one is maintaining and merely rationalizing a self-serving position. To meet this challenge I provide an account whereby both the extent and the limits of our rescue duties are determined in ways that are plausibly continuous with moral and practical norms more generally. / Philosophy

The following thesis focuses on the medieval kabbalistic legend of R. Joseph della Reina who, using traditions of esoteric magic, conjured Satan in order to slaughter him in an unsuccessful bid to force the Redemption of Israel. A translation of a version from eighteenth century Amsterdam is presented. Influenced by the heretical ideas of Sabbatianism, this version carries two opposing significations: that of a cautionary tale on one hand, that of a tragic tale of mystical heroism on the other. Based on evidence from the fiction of Isaac Bashevis Singer, the case is made that the modern author, in line with his philosophy of political passivism and historical pessimism, makes full use of the Faustian fascination of R. Joseph della Reina's fearsome story while repeatedly presenting the legend in such a way as to purge it of traditional ambiguity, undermine its tragic character, and leave behind only the aspect of caution or warning.

No description available.

Denna uppsats handlar om att skriva låtar utifrån tre förutbestämda strategier. Jag valde att skriva med utgångspunkt från strategierna skriva texten först, utgå ifrån en trumloop och utgå ifrån textmässig hook i låtformen AADA.Förhoppningen med de givna förutsättningarna var att främja skapandeprocessen, korta startfasen, minska självkritiken, utveckla textskrivandet, bredda typen av karaktär på låtar och till sist variera den typ av form som låtarna vanligtvis utmynnar i. Under mitt arbete har jag kommit fram till att tydliga ramar underlättar och för arbetet framåt. / <p>Bilaga: 1 CD</p>

The international human rights instruments recognise the inherent dignity and inalienable rights of all members of the human family and that these rights derive from the inherent dignity of the human person. The thesis explores the use of the phrase “inherent dignity” in the context of the catalogue of rights said to be derived from it. (For complete abstract open document)

Thesis (Ph.D.)--University of Melbourne, Dept. of Philosophy, 2001. / Typescript (photocopy). Includes bibliographical references.