Aval regarding the bill of exchange In the first chapter, I focused on the genesis of aval in the context of the international law of exchange adjustments and I tried to describe in detail the efforts of its unification to the present. Next I made an excursion into Anglo-American law, I pointed out the uniqueness in the genevian legal system. This chapter then closes with a brief description of the development regulation of aval in our country, from the first references to the present. The following chapter is devoted to the general characteristics of aval, then performed a brief description of the nature of the commitments and I focused on the eligibility of persons who have obligations to take the aval. Finally, I tried to capture the specific hedging nature of the aval compared with the general hedging instruments, which manifests itself in matters of akcesority and subsidiarity. In the next section, I tried to capture the problems of individual requirements of aval statement in terms of location, formal requirements and the terms of content. Because of controversial situations stemming from the location of aval on blank promissory note, I did not even omit temporal aspect. The last chapter, I decided to give a close look at the possibility of the Opposition defense against claims of creditors, with...

O objetivo desta dissertação é aplicar as teorias da semiótica de linha francesa, inicialmente desenvolvida por A. J. Greimas, para analisar os efeitos de sentido e significação em três trabalhos de video arte realizados pelo artista americano Bill Viola:The space between the teeth (1976), The reflecting pool (1979) e The passing (1991). A linguagem da video arte é muito presente na arte contemporânea, porém os estudos e pesquisas dessa área artística são escassos. Entre os estudos semióticos que pesquisam as linguagens das Artes Visuais, encontramos análises de filmes de cinema, video clipes de músicas, comerciais de televisão, animações, porém não encontramos nenhuma pesquisa relacionada a trabalhos de video arte. Por essa razão nossa pesquisa não teve nenhuma base de referência para a utilização da teoria semiótica na análise de trabalhos de vídeo arte, partindo inicialmente do estudo de análises semióticas de histórias em quadrinhos. Um resumo da história da video arte é apresentado no primeiro capítulo. As teorias que utilizamos são resumidamente explicadas no capítulo 2, no qual damos ênfase para o percurso narrativo do sentido, as relações semi-simbólicas nas línguagens visuais e os novos estudos da semiótica tensiva, proposta por Claude Zilberberg, dela utilizamos o fazer missivo para analisar a estrutura e o fluxo narrativo dos vídeos. No capítulo 3 são realizadas as análises. / The purpose of this work is to use the Semiotic Theory, desenvolved by A.J. Greimas, to analyze three videos of the american artist, Bill Viola: The space between the teeth (1976), The reflecting pool (1979) and The passing (1991). The presence of the video art in the contemporary art is very strong, but the studies and researches in this artistic field is very low. Therefore, our work began with no references of other works that had already analyzed or studied the video art, só we started with some semiotics studies of comic books. In the first chapter we introduce a resume of the history of video art. In the second chapter we explain the theories we are using, mainly the course generate of meaning, the semi-simbolics relations in the visual languages and the news studies of the tensive semiotic, proposed by Claude Zilberberg, from this theory we use the missivity to analyze the structure and the flux of the narrativity in the videos. In the third chapter we presents the analyzes.

Esta pesquisa trata do artista suíço Max Bill e sua obra Unidade Tripartida, ganhadora do prêmio de escultura na Primeira Bienal de São Paulo, em 1951. Analisa arquivos referentes a curadorias de exposições em museus, aliados a informações sobre o percurso nacional e internacional da escultura tridimensional Unidade Tripartida e do artista Max Bill. Sua trajetória, desde o entendimento de sua produção até a sua formação, com participação na escola Bauhaus e a formação da Escola de Ulm, em que desenvolveu a teoria que sustentou a arte concreta, abrange diversas áreas do conhecimento artístico no decorrer das décadas de quarenta e cinquenta do século XX. O estudo aponta, também, as influências das ideias de Bill na produção concreta e neoconcreta de artistas brasileiros. / The following essay is about the Swiss artist Max Bill and his work Tripartite Unity (Unidade Tripartida), winner of the Sculpture Prize at the First Biennial of São Paulo, in 1951. Analyzes files relating to curtained exhibitions in museums, within information about national and international course of the three-dimensional sculpture Tripartite Unity and about the artist Max Bill. Its history, from the understanding of its production to its formation, with participation at the Bauhaus school and the formation of the School of Ulm, in which he developed the theory that supports the concrete art, covers several areas of artistic knowledge during the forties and fifties. The thesis also indicates the influence of Bills ideas in concrete, neo-concrete production on Brazilian artists.

O objetivo desta dissertação é aplicar as teorias da semiótica de linha francesa, inicialmente desenvolvida por A. J. Greimas, para analisar os efeitos de sentido e significação em três trabalhos de video arte realizados pelo artista americano Bill Viola:The space between the teeth (1976), The reflecting pool (1979) e The passing (1991). A linguagem da video arte é muito presente na arte contemporânea, porém os estudos e pesquisas dessa área artística são escassos. Entre os estudos semióticos que pesquisam as linguagens das Artes Visuais, encontramos análises de filmes de cinema, video clipes de músicas, comerciais de televisão, animações, porém não encontramos nenhuma pesquisa relacionada a trabalhos de video arte. Por essa razão nossa pesquisa não teve nenhuma base de referência para a utilização da teoria semiótica na análise de trabalhos de vídeo arte, partindo inicialmente do estudo de análises semióticas de histórias em quadrinhos. Um resumo da história da video arte é apresentado no primeiro capítulo. As teorias que utilizamos são resumidamente explicadas no capítulo 2, no qual damos ênfase para o percurso narrativo do sentido, as relações semi-simbólicas nas línguagens visuais e os novos estudos da semiótica tensiva, proposta por Claude Zilberberg, dela utilizamos o fazer missivo para analisar a estrutura e o fluxo narrativo dos vídeos. No capítulo 3 são realizadas as análises. / The purpose of this work is to use the Semiotic Theory, desenvolved by A.J. Greimas, to analyze three videos of the american artist, Bill Viola: The space between the teeth (1976), The reflecting pool (1979) and The passing (1991). The presence of the video art in the contemporary art is very strong, but the studies and researches in this artistic field is very low. Therefore, our work began with no references of other works that had already analyzed or studied the video art, só we started with some semiotics studies of comic books. In the first chapter we introduce a resume of the history of video art. In the second chapter we explain the theories we are using, mainly the course generate of meaning, the semi-simbolics relations in the visual languages and the news studies of the tensive semiotic, proposed by Claude Zilberberg, from this theory we use the missivity to analyze the structure and the flux of the narrativity in the videos. In the third chapter we presents the analyzes.

Thesis (M. Mus. (Perf.))--University of Sydney, 2009. / Title from title screen (viewed October 27, 2009) Submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) to the Sydney Conservatorium of Music, University of Sydney. Includes bibliographical references.

The purpose of this dissertation was to compare and contrast the origins, formulation, course, and outcome of three major American immigration schemes to provide haven for German Jewish and non-Aryan refugees and British children: The Intergovernmental Committee for Political Refugees (better known as the Evian Conference), and particularly the German Refugee Children’s Bill (also labeled as the Wagner-Rogers Bill) and the Hennings Bill. The Evian Conference, called for by President Franklin D. Roosevelt in the aftermath of the Anschluss, the German annexation of Austria, sought to create a global solution to the problem of forced migration. The Wagner-Rogers Bill, influenced by the November 1938 nationwide pogrom of Kristallnacht and the British Kindertransport, a project to resettle Jewish and Christian children from the Reich into the United Kingdom, attempted, by legislative means, to allow the entry of ten thousand children outside of the annual German and Austrian quotas in 1939 and 1940. The Henning Bill endeavored to rescue British children from the perils of aerial warfare in 1940. This measure necessitated the amendment of the Neutrality Act of 1939, which prohibited American shipping from entering war zones. It has been argued that the Evian Conference was, at its core, a publicity ploy, designed to express sympathy for persecuted German minorities, while avoiding any political cost or acceptance of impoverished refugees. The Wagner-Rogers Bill failed as a result of the interplay of multiple factors that included: lack of presidential backing; the economic throes of the Great Depression; fear of aliens; anti-Semitism; growing isolationism and resistance to continued immigration, and a disunited and fractious Jewish community that sought to avoid stimulation of domestic prejudice and more restrictive immigration policies. A key component was a critical misreading of the bill’s sponsors of public compassion for Hitler’s victims; sentiments that did not translate into a willingness to accept Jewish refugees. The Henning Bill, which FDR endorsed with strict qualifications, demonstrated preferences for particular ethnic groups; specifically, British Christian children. In contrast with the Wagner-Rogers Bill, this legislation rapidly made its way through Congress and into law. Its failure lay in the inability to acquire guarantees of safe passage through contested waters by the warring powers. A general review followed by a more detailed examination was made of existing official and un-official sources, employing public records, private diaries, books, newspapers, journals, and other periodicals for the critical period of January 1, 1938 through December 31, 1940. Various historiographical appraisals have been made of the actions of Roosevelt, his administration, Congress, the Jewish community, and general public, and these opinions have generated markedly divergent opinions. Some have alleged that FDR and his administration, particularly the Department of State, abandoned the Jews to their fate while others assert that, in the context of the time, he did everything that was potentially achievable. Debate has also been waged over wide-ranging accusations of inaction, apathy, prejudice, and complicity involving official sources, the general public, and American Jewry. I argue that any assessment of responsibility for failure to attempt rescue can be laid at the feet of many actors in this existential drama of life and death.

Esta pesquisa trata do artista suíço Max Bill e sua obra Unidade Tripartida, ganhadora do prêmio de escultura na Primeira Bienal de São Paulo, em 1951. Analisa arquivos referentes a curadorias de exposições em museus, aliados a informações sobre o percurso nacional e internacional da escultura tridimensional Unidade Tripartida e do artista Max Bill. Sua trajetória, desde o entendimento de sua produção até a sua formação, com participação na escola Bauhaus e a formação da Escola de Ulm, em que desenvolveu a teoria que sustentou a arte concreta, abrange diversas áreas do conhecimento artístico no decorrer das décadas de quarenta e cinquenta do século XX. O estudo aponta, também, as influências das ideias de Bill na produção concreta e neoconcreta de artistas brasileiros. / The following essay is about the Swiss artist Max Bill and his work Tripartite Unity (Unidade Tripartida), winner of the Sculpture Prize at the First Biennial of São Paulo, in 1951. Analyzes files relating to curtained exhibitions in museums, within information about national and international course of the three-dimensional sculpture Tripartite Unity and about the artist Max Bill. Its history, from the understanding of its production to its formation, with participation at the Bauhaus school and the formation of the School of Ulm, in which he developed the theory that supports the concrete art, covers several areas of artistic knowledge during the forties and fifties. The thesis also indicates the influence of Bills ideas in concrete, neo-concrete production on Brazilian artists.

The topic of this thesis is bill formalism and development of its concept in the judicature. The thesis deals mainly with requirements of a bill of exchange, which are set by law, as well as with the effect of the failure to meet the correct form of these requirements on validity of bills of exchange. This issue is analysed especially with regard to its concept in the Czech judicature. The first chapter deals with theoretical aspects of the topic, namely with description of the basic legal regulation of exchange law, the characteristics of a bill of exchange and defining the kinds of bills and special types of them. The second chapter focuses on basic requirements of a bill of exchange set by law, which are analysed in particular with regard to their impact on the validity of the bill of exchange. Individual parts of the chapter deal with the following requirements of bills of exchange: 1.indication that it is a bill of exchange, included in the text of the instrument, expressed in the language in which the instrument is drawn up, 2. unconditional order (promise) to pay a certain financial sum, 3. the name of who is to pay, 4. information on maturity, 5. information on the place where payment is to be, 6. the name of the person to whom or to whose order payment is to be, 7. date and place of issue of bill of exchange, 8. signature of the drawer. The third chapter contains issue that is closely connected with the introduction of the above-mentioned requirements on a bill of exchange and which also reflects the formal character of a bill of exchange. The first part of this chapter concentrates on the bill forms, with whose character certain specific problems are related. The second part of this chapter deals with issues of graphic layout of a bill, which has also significant importance in terms of bill formalism.

and keywords Causal objections to a bill of exchange and a promissory note, their types and proceedings related to them The subject of this thesis are causal objections to bill of exchange and promissory note, their types and proceedings related to them. The aim of the thesis is to provide a comprehensive overview of causal objections as a defense against produced bill of exchange (promissory note) based on an analysis of prosessional literature on the topic and the relevant case law. Thus, the thesis deals both with causal objections as substantive law institute and their practical application through procedural law institute of objections against bill of exchange (promissory note) payment order. The thesis consists of the preface, three chaptes and the conclusion. The first chapter deals with basic aspects of the term of "bill of exchange" (or the "promissory note"). The chapter is devided into four subchapters. The first subchapter analyses different definitions of the bill of exchange (promissory note) as they can be found in the professional literature and the case law and these definitons are compared to one another. The second subchapter deals with typical signs of bills of exchange (promissory notes) as a security. The essentials of such a security are described in the third subchapter. The...

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