The German-Turkish director Fatih Akin and the Armenian-Russian Anna Melikian represent a new wave of successful young European filmmakers. Their works capture intermediate results of the quest for national identity that began in Germany and Russia after the fall of the Berlin wall in 1989 and the collapse of the Soviet Union in 1991 respectively. This thesis offers a comparative analysis of Akins In July (2000) and Head-On (2004) and Melikians Mars (2004) and Mermaid (2007) and explores how issues of identity and its key categories including gender, sexuality and ethnicity are treated in each of these works. The goal of the thesis is to look into how the historical cataclysms toward the end of the 20th century affected perceptions of national and personal identity, and how these changes were then reflected in the German and Russian outsider cinema of the 2000s.

La violencia en Colombia es un problema que lleva más de sesenta años. Siempre se ha hablado de la Época de la violencia como los años de la guerra entre conservadores y liberales que se inició con el asesinato del líder liberal Jorge Eliecer Gaitán en abril de 1948. Sin embargo, esa época no tuvo un final, ella fue simplemente la introducción a una forma de vida a la cual los colombianos se han acostumbrado, la violencia. Esta violencia sin tregua ha sido tema importante en la narrativa contemporánea. Desde los años noventas hemos visto la incursión en ese campo de una escritora colombiana que además de haber sido periodista por muchos años y de haber participado en los procesos de paz que se llevaron a cabo en los años ochentas en Colombia, ha tenido como uno de los temas fundamentales en sus novelas la violencia en Colombia y la actitud del colombiano ante la misma. Laura Restrepo, colombiana nacida en Bogotá en 1950, se ha convertido en una de las escritoras más leídas en Colombia en la actualidad. En sus novelas se aprecia siempre una conexión muy grande con su país y una posición muy crítica en relación con los problemas y la sociedad colombiana. El propósito de la tesis es, usando las novelas El leopardo al sol (1993), La multitud errante (2001) y Delirio (2004) de Laura Restrepo, analizar como la escritora percibe y presenta el problema de la sociedad colombiana a partir de los años cincuentas. Con tres historias muy diferentes y sólidos personajes Restrepo recorre la historia de Colombia en los últimos 60 años y retrata, por una parte, una sociedad golpeada por la violencia en donde impera la corrupción y el desorden y por otra, el papel del colombiano que tiene que sobrevivir en esta sociedad. Para el análisis se utilizará como marco teórico la teoría marxista de Georg Lukács ya que dicha teoría se enfoca en el hecho de que la novela debe llevar al lector hacia una inmersión en la realidad. Esta realidad no debe ser una simple descripción de la misma, el escritor debe mostrarla a partir de una proyección que incluya todos los elementos de la sociedad ya que estos están relacionados. La existencia humana se debe percibir como parte de un ambiente histórico dinámico. La selección de estas tres novelas de Laura Restrepo se hizo basada en la idea de que cada una de ellas contribuye a reflejar una parte de la historia de la violencia en Colombia y que al ser unidas conforman una buena representación de la experiencia colombiana con dicho fenómeno. La multitud errante, a través de la vida del protagonista Siete por Tres, enseña el fenómeno de los desplazamientos por la violencia entre conservadores y liberales de los años cincuentas y los de los desplazamientos por la inseguridad en el campo en los años setentas. El leopardo al sol narra la historia de dos familias emparentadas entre sí que entablan una lucha fratricida en donde prosperan los negocios ilegales y el dinero fácil. Finalmente, Delirio cuenta la historia de una familia de la clase alta y las complejas relaciones con el narcotráfico y la corrupción. La tesis estará compuesta de una introducción histórica y teórica. Seguidamente vendrán tres capítulos destinados cada uno de ellos a los libros mencionados en el siguiente orden: Capítulo uno Un desarraigo que va de arriba para abajo usando el libro La multitud errante. Capítulo dos El rugido de la muerte basado en el libro el leopardo al sol y capítulo tres: Locombia apoyado en Delirio. Finalmente se presentaran las conclusiones de este estudio y la bibliografía.

Ethics of Leadership| Organization and Decision-Making in Caesar's "Bellum Gallicum"

<p>This dissertation focuses on the artistic, archaeological, and literary representation and commemoration of the Classical Athenian navy. While the project stresses the various and often contradictory ways in which the Athenians perceived and represented their navy, its larger purpose is to argue that the integration of multiple and various media has the potential to change long-standing interpretations of ancient societies and cultures. Relying on the literary evidence of the "Old-Oligarch" and Plato, scholars have traditionally held that the 5th-century Athenian navy and its rowers were viewed by their contemporaries as a "mob" and a locus for citizen "riff-raff." Yet careful consideration of the vases, monuments, and buildings of 5th-century Athens, as well as the literary output of the period, demonstrate that the navy held a far more complex, and at times even positive, position in Athenian society.</p> / Dissertation

The French Revolution and the Industrial Revolution brought impact in both politics and economics that cause the rise of middle classes and changing environment in the music society. Under the influence of the new environment, the business of music publishers grow rapidly, and publishing music scores became a part of composers¡¦ major income. The chamber music and works for solo instruments are the most popular genres that middle classes and bourgeois are more interested during the classical period. The study focuses on the relationships between music publishers, composers, and public amateur. The thesis consists of three chapters, in addition to the introduction and conclusion. Chapter one contains the overview of the background of the society and musical environments in the late eighteenth century in Germany and Austria. Chapter two describes the music publishers in Germany and Austria, with emphasis on two leading publishers, Artaria and Breitkopf & H&#x00E4;rtel. The third chapter focuses the discussion of how publishing process effects the composers¡¦ writing. By the end of the eighteenth century, due to the changing of the social and musical environments, music publishers were developed rapidly. Bourgeois are the major consumers, and the publication of scores depended on the needs of the amateur, that publishers gained their taste through the newspaper advertisement. The chamber music and works for solo instruments are the most selling items among the popular genres. Because there are different economic background from Haydn, Mozart and Beethoven, their publishing process are not the same. After discharging from the Esterh&#x00E1;zy, Haydn started publishing his works. He, however, still remained part of payments from the Esterh&#x00E1;zy, and didn¡¦t depend on publishers entirely. Haydn, sometimes tried to sell the same work several times. Mozart and Beethoven didn¡¦t get paid from the court, they had to promote their works to publisher. Beethoven¡¦s publishing process is different from Haydn, and Mozart, he had forced the publisher stop to publish the pirate edition, and got more money by quoting at the publishers. Furthermore, between the choices of art and commercialism, they have a significant influence on the music of the Romantic era.

­^¤å´£­n¡G The pre-classical era is the crucial stage for the development of the symphony. At this stage, the works are plentiful but with no explicit definition and forms. Also, with the various terminologies set by composers, it causes a chaotic situation at the early development of the symphony. Therefore, this thesis focuses on the issues of symphony development in the pre-classical era and the problems caused by the uncertain terminology. The thesis consists of four chapters. Chapter One is the discussion of the relevant contexts, including the background of that era, the social status of composers, the development of the orchestra, and the forming of the core of the symphony. At the very beginning, the thesis discusses the transition of the whole society at the early eighteenth-century. Many new concepts affected by the Enlightenment were being produced at that times especially in music and the composition was diversified. What should take into consideration is the social status of the composers at that times. It is because most of them were employed by the aristocrats or bourgeoisies; hence, these composers had produced plenty of works. This affected the organization of the orchestra and the five great symphonies development. Chapter Two defines the various terminologies prevalent at the time and clarifies their conceptual differences. The origin of the term "symphony" and the meaning it represents in the pre-classical era is first presented. Then, it discusses the various terminologies step by step. Chapter Three elaborates the content of the symphony. That is the manipulation of the orchestration and of the integral elements (including movements, musical forms, texture, and harmony). The discussion is made in two areas: these musical pieces entitled "symphony" and those "non-symphony". Chapter Four concludes the discussion of the effects of the pre-classical era as well as its subsequent influences. Music terminology is extremely important. Not only it represent what music but it also gives the audience the foremost impression as well. Unfortunately, due to the inconsistency of terminology and the unconformity of the orchestration rendered to the prototype symphonies, much misunderstanding resulted. Through the orchestration and the content of works, we perceived the works in pre-classical era would be titled with a variety of terminologies. Also, they made great contribution for the composition improvement and established a good foundation for the orchestra development.

Inaugural-Dissertation--Würzburg, 1931. / "Die ganze Arbeit mit dem Titel Gottesvorstellung und Lebenauffassung im griechischen Hymnus" erscheint ... im Verlag W. Kohlhammer, Stuttgart, 1932."

Thesis--Aarhus universitet. / Summary in Danish. Bibliography: p. 157; bibliographical footnotes.

This thesis examines the Greek wedding song and its function in literature and culture. The genre, hymenaios or epithalamium, has received little scholarly attention, particularly in English (cf. Muth, WS 1954; Tufte, Los Angeles 1970; Contiades-Tsitsoni, Stuttgart 1990, ZPE 1994; Swift, JHS 2006 & DPhil diss.). Yet an examination of the poetry of marriage, a crucial aspect in the study of the ancient world, contributes to our understanding of gender and social relations, as well as literature. Using elements of genre theory, gender studies, anthropology and cultural history, I argue that the epithalamium was part of a ritual of transition; for both the bride and for the community. The archaic epithalamium enacts this transition in lyric; tragic adaptations of the genre explore the consequences when this tradition is unsuccessfully performed. In contrast, the wedding songs of Attic comedy represent a 'happy ever after' ending for the communities of the protagonists, and portray these unions as a Sacred Marriage of man and goddess. The Helenistic epithalamium takes elements of these literary predecessors, and uses them to articulate a transition in marital relations, and literary politics, in the oeuvre of Theocritus. Philia relations in this era evolve to depict a more prominent mutuality between husband and wife, which also underpins the erotic writings of Plutarch. But more importantly, this author develops epithalamial topoi to present marriage as an 'initiation' for the bridal couple, which brings the thesis full-circle to the concept of transition while laying the foundation for one of the central concepts of Menander Rhetor's prescripts.

How were Greek plays viewed in the fifth century BCE and by deepening our understanding of their visual dimension might we increase our knowledge of the plays themselves? The aim of this study is to set out the importance of the visual (opsis) when considering ancient Greek drama and provide a basis for constructing a form of “visual dramaturgy” that can be effectively applied to the texts. To that end, this work is divided into five sections, which follow a “top-down” analysis of ancient dramatic visuality. The analysis begins with a survey of the prevailing visual culture and Greek attitudes about sight and the eye. Following this is an examination of the roots of drama in the performance of public collective movement forms (what I have called “symporeia”) and their relationships to the environments they moved through, including the development of the fifth century theatre at the Sanctuary of Dionysos Eleuthereus in Athens. The focus then falls on the dramatic mask and it is proposed here that operating in this environment it was the visual focus of Greek drama and the primary conveyer of the emotional content of the plays. Drawing on new research from the fields of cognitive psychology and neuroscience relating to facial processing and recognition, gaze direction, foveal and peripheral vision and neural responses to masks, movement and performance, it is explained how the fixed dramatic mask was an incredibly effective communicator of dramatic emotion capable of eliciting intensely individual responses from its spectators. This study concludes with a case study based on Aeschylus Oresteia and the raising of Phidias’ colossal bronze statue of Athena on the Acropolis and the impact that this may have had on the original reception of the trilogy.