Submitted by BKAB Setor Proc. Técnicos FGV-SP (biblioteca.sp.cat@fgv.br) on 2013-04-12T15:30:17Z No. of bitstreams: 1 1198301247.pdf: 5160976 bytes, checksum: 48939e61ebcde68db395bcd3a82e2709 (MD5) / O objeto original da dissertação era a análise crítica da teoria das organizações, através da 'sociologia compreensiva' de Max Weber. Em resumo, essa dissertação é uma tentativa de penetrar uma pequena parte do universo intelectual de Max Weber.

Orientador : João Carlos Kfouri Quantim de Morais / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-16T17:05:20Z (GMT). No. of bitstreams: 1 Pierre_HectorLuisSaint_M.pdf: 34171943 bytes, checksum: 6f71de5ec6f43e51c9e96dd1203853a6 (MD5) Previous issue date: 1988 / Resumo: Não informado / Abstract: Not informed. / Mestrado / Mestre em Filosofia

Orientador: Andre Koch Torres de Assis / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Fisica Gleb Wataghin / Made available in DSpace on 2018-07-18T13:27:01Z (GMT). No. of bitstreams: 1 Thober_DarioSassi_M.pdf: 1547657 bytes, checksum: 6f5e29476f2b2d25cd2d314616e636f6 (MD5) Previous issue date: 1993 / Resumo: O objetivo desta Tese é o estudo do fenômeno da indução de correntes entre circuitos pela eletrodinâmica de Weber. Mostramos que a lei de indução de Faraday é consequência da eletrodinâmica de Weber. Isto é mostrado de duas maneiras: (A) Calculando a força eletromotriz que vem da integração da força por unidade de carga ao longo de um circuito. (B) Calculando a força eletromotriz a partir da energia magnética dos circuitos. Outra questão analisada aqui se refere às induções de corrente quando não há variação aparente do fluxo de campo magnético no circuito induzido. Nessa classe de induções analisamos o caso das induções unipolares. Mostramos que a lei de Faraday da indução se aplica também nesses casos, como se verifica pela eletrodinâmica de Weber / Abstract: The goal of this work is the study of induced currents between circuits by Weber's electrodynamics. We show that Faraday's law of induction can be derived from Weber's electrodynamics. This is shown in two ways: (A) Calculating the electromotive force by the line integration of the force per unit charge along the circuit. (B) Calculating the electromotive force through the magnetic energy of the circuits. We also analyse the induction of currents when there is no apparent variation of the flux of the magnetic field. Unipolar induction is also analysed. We show that even in these cases Faraday's law of induction can be applied, as is verified by Weber's electrodynamics / Mestrado / Física / Mestre em Física

Estudio sobre la utilización del lenguaje armónico con fines expresivos. Un modelo de aplicación: la ópera Der Freischütz de Carl Maria von Weber Doctorando: Pedro Hontanilla Alfonso ABSTRACT Throughout history, societies have used organised sound as music in different fields in their activities. From soft songs to sleep babies to energetic war marches, with cheerful festive songs or religious invocations, music scorts human beings as an inherent expression of its existence, and on each of these areas, music adapts to the features of each situation. Something similar happens with abstract pieces of music, those whose object is the aesthetic pleasure without any links with another kind of communication. Music adquires a structure within the musical composition according to the composer¿s expressed, implicit or explicit, instinctive or conscious intentions. A kind of organisation of a musical piece is the one in which the composition moves forward towards a point of maximum expressiviness, the climax point, which is its objective. For its part, the musical pieces that do not present this climax moment, are not unaware of the expressive intensifications though, as much as phrases arrangements as observed from a wider prespective of sections or the piece of music as a whole. The tonal system has been for a wide historic period the arranging frame on which composers have developed their talent in their work. Frame that covers approximately from mid Baroque, covers Classicism and widely developed, continues along Romanticism, still remaining alive in subsequent insertions.This system bases its working in a group of techniques and internal procedures that involve its own logic, idiosyncrasy.Whithin its paradigms it is considered that certain harmonious arrangements require an intensification in the expression of the musical performance. A musical piece will need the use of the different sonorous components which constitute it to obtain these maxima of expression. If the musical work belongs to the tonal period, the elements of the tonal system will necessarily participate in this structure, and among them, the accords will come or join inevitably. In the present thesis we show, based on the study of the tonal system, the features for which we consider that certain harmonic arrangements are inherently more expressively intense, stating in the hypothesis those chords that, therefore, are supposed will have been used with the purpose of emphasizing the expression. Likewise we express a relationship between the chords and their interaction with respect to the different elements of the musical language, exemplifying the previous aspects from the study of the different numbers of a concrete composition, in this case, the opera Der Freischütz by Carl Maria von Weber. The supporting and driving objective of the investigation is the exploration of the link between the logic of a system -the tonal system- which responds to its own internal laws and its possibilities of use in the expressivity creation in an artistic work. The investigation has been carried out through a process in which, relying on a graphics presentation, the appropriate information is gradually extracted and classified at the same time. The analysis results provide information which, on the one hand, supports or empowers the intuitive knowledge belonging to the common heritage and, at the same time, broadens the perspectives about the resources that the composers have provided and the ones they have needed to create and highlight passages of expressivity in their works. / Estudio sobre la utilización del lenguaje armónico con fines expresivos. Un modelo de aplicación: la ópera Der Freischütz de Carl Maria von Weber Doctorando: Pedro Hontanilla Alfonso RESUMEN Las sociedades, en el transcurso de la historia, han utilizado el sonido organizado como música en los diferentes ámbitos de sus actividades. Desde suaves canciones para arrullar a los niños hasta las viriles marchas guerreras, con alegres canciones festivas o invocaciones religiosas, la música acompaña a los seres humanos como manifestación inherente a su existencia; y en cada uno de estos ámbitos, la música se adecúa a las características de cada situación. De igual manera sucede con las obras musicales abstractas, aquellas cuyo objeto es el goce estético sin vinculación con otro tipo de comunicación. La música adquiere una conformación dentro de la composición según las intenciones, manifestadas, veladas o implícitas, instintivas o conscientes, del compositor. Un tipo de conformación de una obra musical es aquel en el que la composición avanza dirigiéndose hacia un momento de máxima expresividad, el punto culminante, que es su objetivo. A su vez, las obras que no presentan este momento cumbre no son sin embargo ajenas a las intensificaciones expresivas, tanto en la configuración de las frases, como observadas desde una perspectiva más amplia de secciones o del conjunto de la obra. El sistema tonal ha sido durante un amplio período histórico el marco configurador sobre el que los compositores han desarrollado en su quehacer su talento; marco que abarca desde aproximadamente el Barroco medio, cubre el Clasicismo y, ampliamente desarrollado, continúa a lo largo del Romanticismo, perviviendo aún en inserciones posteriores. Este sistema basa su funcionamiento en un conjunto de técnicas y procedimientos internos que comportan una lógica propia, idiosincrática. Dentro de sus paradigmas se contempla el que ciertas configuraciones acórdicas comporten una intensificación en la expresión del discurso musical. Una obra musical requerirá de la utilización de los diferentes componentes sonoros que la conforman para obtener estos máximos de expresión. Si la obra pertenece al período tonal, los elementos del sistema tonal participarán necesariamente de esta conformación, y de entre ellos concurrirán, ineludiblemente, los acordes. En la presente tesis presentamos, basándonos en el estudio del sistema tonal, las características por las que consideramos que ciertas constituciones armónicas son inherentemente más intensas expresivamente, exponiendo en las hipótesis aquellos acordes que, por tanto, cabe suponer habrán sido utilizados con el propósito de acentuar la expresión. Planteamos asimismo una relación entre los acordes y su interacción con respecto a los diferentes elementos del lenguaje musical, ejemplificando los aspectos anteriores a partir del estudio de diferentes números de una composición concreta, en este caso, la ópera Der Freischütz de Carl Maria von Weber. El objetivo marco e impulsor de la investigación es la exploración del vínculo entre la lógica de un sistema -el sistema tonal- que responde a sus propias leyes internas y sus posibilidades de utilización en la creación de expresividad en una obra artística. La investigación ha sido llevada a cabo mediante un proceso en el cual, apoyándose en una presentación en tablas, paulatinamente se extrae, al tiempo que se clasifica, la información pertinente. Los resultados del análisis aportan información la cual, por una parte, refrenda el conocimiento intuitivo perteneciente al acervo común y, a la vez, amplía las perspectivas acerca de los recursos de los que han dispuesto y a los que han recurrido los compositores para crear y realzar pasajes de expresividad en sus obras. / Estudio sobre la utilización del lenguaje armónico con fines expresivos. Un modelo de aplicación: la ópera Der Freischütz de Carl Maria von Weber Doctorando: Pedro Hontanilla Alfonso RESUM Les societats, en el transcurs de la història, han utilitzat el so organitzat com a música en els diferents àmbits de les seues activitats. Des de suaus cançons per a amanyagar als xiquets fins a les virils marxes guerreres, amb alegres cançons festives o invocacions religioses, la música acompanya als éssers humans com a manifestació inherent a la seua existència; i en cadascun d'aquests àmbits, la música s'adequa a les característiques de cada situació. D'igual manera succeeix amb les obres musicals abstractes, aquelles l'objecte de les quals és el gaudi estètic sense vinculació amb un altre tipus de comunicació. La música adquireix una conformació dins de la composició segons les intencions, manifestades, vetlades o implícites, instintives o conscients, del compositor. Un tipus de conformació d'una obra musical és aquell en el qual la composició avança dirigint-se cap a un moment de màxima expressivitat, el punt culminant, que és el seu objectiu. Al seu torn, les obres que no presenten aquest moment cim no són no obstant açò alienes a les intensificacions expressives, tant en la configuració de les frases, com observades des d'una perspectiva més àmplia de seccions o del conjunt de l'obra. El sistema tonal ha sigut durant un ampli període històric el marc configurador sobre el qual els compositors han desenvolupat en el seu quefer el seu talent; marc que abasta des d'aproximadament el Barroc mitjà, cobreix el Classicisme i, àmpliament desenvolupat, continua al llarg del Romanticisme, pervivint encara en insercións posteriors. Aquest sistema basa el seu funcionament en un conjunt de tècniques i procediments interns que comporten una lògica pròpia, idiosincràtiques. Dins dels seus paradigmes es contempla el que certes configuracions acòrdiques comporten una intensificació en l'expressió del discurs musical. Una obra musical requerirà de la utilització dels diferents components sonors que la conformen per a obtenir aquests màxims d'expressió. Si l'obra pertany al període tonal, els elements del sistema tonal participaran necessàriament d'aquesta conformació, i d'entre ells concorreran, ineludiblement, els concordes. En la present tesi presentem, basant-nos en l'estudi del sistema tonal, les característiques per les quals considerem que certes constitucions harmòniques són inherentment més intenses expressivament, exposant en les hipòtesis aquells concordes que, per tant, cal suposar hauran sigut utilitzats amb el propòsit d'accentuar l'expressió. Plantegem així mateix una relació d'entre els concordes i la seua interacció pel que fa als diferents elements del llenguatge musical, exemplificant els aspectes anteriors a partir de l'estudi de diferents nombres d'una composició concreta, en aquest cas, l'òpera Der Freischütz de Carl Maria von Weber. L'objectiu marc i impulsor de la recerca és l'exploració del vincle entre la lògica d'un sistema -el sistema tonal- que respon a les seues pròpies lleis internes i les seues possibilitats d'utilització en la creació d'expressivitat en una obra artística. La recerca ha sigut duta a terme mitjançant un procés en el qual, recolzant-se en una presentació en taules, gradualment s'extrau, al mateix temps que es classifica, la informació pertinent. Els resultats de l'anàlisi aporten informació la qual, d'una banda, confirma el coneixement intuïtiu pertanyent al patrimoni comú i, alhora, amplia les perspectives sobre els recursos dels quals han disposat i als quals han recorregut els compositors per a crear i realçar passatges d'expressivitat en les seues obres. / Hontanilla Alfonso, P. (2017). Estudio sobre la utilización del lenguaje armónico con fines expresivos. Un modelo de aplicación: la ópera Der Freischütz de Carl Maria von Weber [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90433 / TESIS

The Weber Basin Water Conservancy District is a state institution, but its primary function is collecting money for the U.S. Bureau of Reclamation, to pay for the Weber Basin Project. Ditferent classes of water users pay markedly different fees for identical Project services. More than half of the water developed by the Project is not used consumptively, yet supply facilities continue to be built in the Basin because they are less expensive to their owners than prices charged for the underused capacity of the Project. Paradoxically, some Basin residents are bitterly resentful of both the District and the Bureau, claiming that water rights formerly their own have, by means of the Project, been stolen. That is, both the enemies and the proponents of the Project adhere to the Western orthodoxy that water i.s scarce and drought imminent. The principal difficulty of this investigation lay in identifying the nature of the problem, for the situation seemed full of contradictions. Consequently, the primary contribution of the dissertation is an explanation of Basin circumstances that accounts for arresting observations without inconsistency or contradiction. The most important hypotheses are, therefore, empirical, or historical and institutional. Economics, according to Richard T. Elya and Frank H. Knight, is a set of principles concerning what ought to be, not empirical description of what ~· Consistent with that perspective, once the nature of the problem is clear, application of economic principles is a prescriptive judgment of how the problem may be resolved. The most important empirical hypotheses are as follows: Water is not scarce in the Weber Basin; neither are storage and conveyance facilities. All are abundant, even redunda nt. Nevertheless, in combination with certain institutional arrangements and a sustained propaganda campaign, this very abundance contributes to persistence of the attitude that water is scarce. Redundant facilities the reby encourage even more unneeded development. What appears on first examination to be a case of misallocated water resources by discriminatory prices, turns out to be a problem of distributing the burden of paying for excessive, unwanted public works. Water itself is a free good in the Basin. Actual distribution of the repayment burden is partly ideological and partly pragmatic; partly a political choice and partly a bureaucratic decision; partly a manifestation of agrarian policy and partly what the traffic will bear. If water is free, it is not an economic good, and not a subject for economic analysis . The Basin has an ample water supply, but water may nevertheless be locally and periodically scarce. The water problem is therefore one of conveyance and timing. Control of timing requires storage. Conveyance requires energy, as well as aqueducts. In the Weber Basin, conveyance energy may be either the controlled flow of falling (mountain) water, or electrically powered pumps tapping abundant groundwater reservoirs. The water development problem is, therefore, an issue of alternative capital facilities for the control and delivery of water (itself abundant). Efficient resource allocation in water development is consequently relevant at the !.!!vestment level; it is not a matter of pricing water. In this case, the major investment decisions have already been implemented, and the problem is one of evaluating distribution of the repayment burden. The relevant economics literature is principles of equitable taxation, and of public utilities' pricing. Application to the Basin situation produces a conclusion that present arrangements are as equitable as could be devised. Further redundant investment (inefficient use of resources), however, could be avoided if the State Engineer's Office took a harder line on requests to drill new wells. The information provided in this work could be the basis for making such a program popularly acceptable.

The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods.

<p> Abstract: How can artists uphold their creative autonomy from the dictates of capitalism without compromising their vision for social change? Max Weber made it clear that the capitalism of to-day, which has to dominate economic life, educates and selects the economic subjects which needs through a process of economic survival of the fittest. (Weber, 1958) Eleven visual artists from the Golden Horseshoe Area and the Greater Toronto Area participated in this qualitative study and provided in-depth interviews their creative work, personal struggles and insights about the current state arts community. The data suggests connections between 'starving artists' and creative autonomy. On one hand, artists who pursued their art outside the formal art market deemed they had greater autonomy but experienced greater economic insecurity and social isolation. On the other hand, artists who practiced their art within the formal art market believed they had better freedom but needed to compromise creative autonomy and their vision for social change. On the whole, both art practices seemed to have lead artists to assume the concept of Art for 'my sake,' an assertion of their self-directed will for their own purpose, reducing artists' creative motivation to produce art society and for social change. While it may be solitary, it may also be a revolutionary strategy that enhances more control and focus on the artists' rather than pursuing society for validation and economic rewards.</p> / Thesis / Master of Arts (MA)

For theory and literature to evolve parallel to the subject matter which it associates, it recurrently progresses through admittance of variably incremental, yet critical, entries. This is the nature of modernism. This thesis reflects on one important point in the life of modernism, the advent at which society is first formalized and assimilated into theory: the origin of social theory, a point indisputably influential to twentieth century philosophy, but just eclipsed by one of that century's most noticeable theoretical features. The past century saw the rise and fall of a universalizing framework called structuralism. Informing the disciplines, especially the social sciences, on unearthing matters of the unconscious, structuralism occupied a place of knowledge-generation in a world entering its atomic youth. The heirs of this framework are the poststructuralists, and my paper applies poststructuralism to pre-structural social theories. The purpose of this activity is to articulate the value dormant in these dated theories by recontextualizing their abstracted elements for a world ready to use them. The developed world has acquired a postmaterial status in regard to the necessities of survival, as Inglehart explains, while the developing world burdens to address materialist concerns in close contingency to cultural and traditional concerns. This opens up the discussion to a greater postmodern debate, one involving politics, economic status, cultural difference, and more. The international stage has consolidated a considerable level of liberty, but the semantics are often neglected in light of the success of convention. The purpose of this thesis is then to make an interdisciplinary, holistic attempt to reconstruct, exposing the relevance and potential of the deconstructed.

No description available.

The problem of this research was to compare the ideas of Emile Durkheim and Max Weber concerning the relationship between society and religion. The primary sources for the study were The Elementary Forms of the Religious Life by Durkheim and The Protestant Ethic and the Spirit of Capitalism and The Sociology of Religion by Weber. An effort was made to establish similarities and differences in the views of the two theorists concerning (1) religious influences on social life and, conversely, (2) social influences on religion.