Thesis (M.C.S.)--Regent College, 1988. / Includes abstract and vita. Includes bibliographical references (leaves 147-155).

Habilitationsschrift--Halle, 1970. / Bibliography: p. 149-151.

Thesis (doctoral)--Universität Heidelberg, 1971.

Habilitationsschrift--Halle, 1970. / Bibliography: p. 149-151.

Thesis (doctoral)--Universität Basel. / Vita. Includes bibliographical references (p. [11]-12).

Thesis (doctoral)--Universität Bern, 1911. / "Die vollständige Arbeit erscheint bei H. Haessel Verlag in Leipzig als Nr. 10 der Neuen Folge der 'Untersuchungen zur neuen Literaturgeschichte.'" Bibliographical references included in "Anmerkungen": p. [69]-83.

Texte remanié de: Assessorprüfung--Bibliothekswesen--Köln--Fachhochschule für Bibliotheks- und Dokumentationswesen, 1991. Titre de soutenance : Joseph Caspar Witsch. Sein Beitrag zur Weiterentwicklung des Volksbüchereiwesens und der Volksbüchereitheorie während der NS-Zeit.

M.A. (Sociology) / Much has been written about Romans' exchange theory, but even though his publication Social Behavior: Its Elementary Forms evoked much reaction and criticism, there has never been an attempt to make a systematic and integrated summary thereof. The objective of this study is to make an extensive study of Romans' view of exchange and his social exchange theory, in which he explains certain social phenomena in terms of exchange behavior. This thesis takes the form of a documentary study of Romans' exchange theory. Most of the books and articles written by various authors about Romans were consulted, with the emphasis falling on works highlighting his exchange theory. To gain perspective as to Romans' individualistic perspective of his exchange theory, a wide range of different perspectives relating to exchange theories were examined. A comprehensive and systematic exposition of Romans' biographical history, academical career and his methodological approach is given, which had a significant influence on: his sociology in general and his view of exchange in particular and can hardly be seen out of context with his exchange theory. Romans developed his propositions in the exchange perspective out of the behavioristic psychology and elementary economics and used the same propositions to explain social phenomena such as interaction and the elaboration of interaction; the group, conformity, cooperation and competition; power and authority; status and leadership; status, conformity and stratification as well as satisfaction and distributive justice in terms of exchange between at least two persons who reward or punish each others actions.

Caspar Lehmann is one of the most significant personalities of applied arts in central Europe at the end othe 16th and the beginning of 17th century. As an engraver of glass and precious stones he worked at the court of emperor Rudolf II. in Prague, but also at the court of the elector Christian II in Dresden. Considerable interest in his work was caused mainly by the claim of Joachim von Sandrart from 1675 stating that Caspar Lehmann was granted a privilege for glass engraving. Discovery of a signed beaker in late 19th century further sparked the existing interest in his production. Based on the similarities with the beaker, several other works were subsequently attributed to Lehmann, despite significant differences in quality and style of engraving. The present work summarizes Lehmanns life based on a thorough study of previous literature and archive materials. Main part of the work includes detailed analyses of 26 artifacts which were previously attributed to Lehmann. Based on their comparison it attempts to define a characteristic technique Lehmann used for carving, and subsequently to critically assess his authorship. The thorough comparisons of the existing objects suggest that three portrait pannels (Moritz von Oranien, Johann Sigismund von Brandenburg, and Johann Friedrich von Württemberg)...

C. D. Friedrich est le plus souvent présenté, dans l’historiographie traditionnelle, comme un peintre oublié durant les décennies qui ont suivi sa mort à Dresde, en 1840. Peu connu en dehors de son Allemagne natale, il n’aurait été redécouvert que grâce à cette grande rétrospective de l’art allemand que fut la Berliner Jahrhundert Ausstellung de 1906. La première biographie du XXe siècle que lui consacre l’historien norvégien Andreas Aubert, Dieu, liberté, patrie (Gott, Freiheit, Vaterland, 1915) attire l’attention sur l’orientation politique et patriotique de certaines de ses peintures. Cette thèse propose de reconsidérer divers aspects de la réception de l’œuvre du peintre, en la plaçant, non plus dans le seul contexte allemand mais dans celui, européen, du XIXe siècle. Si Friedrich a été longtemps méconnu des historiens d’art, il devint, de par sa culture poméranienne germano-scandinave, une référence aux yeux d’artistes scandinaves, qui entrèrent personnellement en contact avec lui ou par l’intermédiaire de son voisin d’atelier, le peintre norvégien J C. C. Dahl. Sujet d’intenses débats, non exempts de considérations politiques, la peinture de paysage est également devenue un enjeu patriotique en Allemagne et dans les pays scandinaves. L’objectif est de préciser la place de l’esthétique de Friedrich dans l’instauration de traditions picturales nordiques, au-delà des affinités et résonances pouvant unir les œuvres entre elles. Le suivi de cette trajectoire, passant par les pays nordiques et parvenant en France, permet également de relancer la question de la réception de Friedrich dans les milieux artistiques français, où il n’a pas exposé. / According to traditional historiography, Caspar David Friedrich was almost forgotten during several decades following his death in Dresden in 1840. Little known outside his native Germany, it is often said that he was rediscovered through the great retrospective of German nineteenth century art, the Berliner Jahrhundertausstellung, in 1906. The first biography of the artist published in the twentieth century, God, Freedom, Fatherland (Gott, Freiheit, Vaterland, 1915) by the Norwegian art historian, Andreas Aubert, draws attention on the patriotic orientation of some of his paintings. This thesis proposes to discuss different aspects of the reception of his oeuvre, not only in the German, but in the European context of the 19th century. If the painter was not recognized by the historians, he emerged, mainly thanks to his German-scandinavian Pomeranian culture, as a model among Scandinavian artists, who came largely through personal contact with Friedrich himself or via his neighbour and friend, the Norwegian painter J. C. C. Dahl. In the heart of intense debates in Germany and Scandinavia, landscape painting became a subject of political interest. This thesis is pointing the heritage of Friedrich aesthetics in the birth of Nordic painting traditions, beyond resonances and visual affinities between works. Following this itinerary through Nordic countries, reaching France, permits to question again the reception of Friedrich in French artistic milieux, where he never was on public display.