This thesis examines the early work of poets Leonard Cohen and Seamus Heaney in light of their treatment of mythology, ritual, and mythologization, moving either from personal to political awareness (Heaney), or from political to personal awareness (Cohen). Heaney, writing in the midst of the Irish Troubles throughout the late 1960s and 1970s, slowly works up to political awareness as the situation from which he is writing becomes more dire. By contrast, Cohen writes during the beginnings of the Quiet Revolution in Quebec, from the late 1950s to the mid-1960s, moving progressively farther away from the highly political and mythologized work of his first book. This thesis analyzes both poets first four books of poetry and how each poet addresses the politics of his historical time and place as a minority figure: an Irish Catholic in Northern Ireland, and an Anglophone Jew in Montreal, respectively. Ultimately, each poet chooses to mythologize and use traditional mythologies as a means of addressing contemporary horrors before being poetically (and politically) exhausted by the spiritual and mental exertion involved in the "poetry of disfigurement."

This thesis examines American Far Eastern policy from the beginning of the Franklin Roosevelt presidency through the early months of 1938. This study is chiefly concerned with the attack by Japanese aircraft on the USS Panay and its effect on the course of U.S. foreign policy. Particular attention is paid to the Anglo-American dialogue which occurred throughout the Far Eastern Crisis. Prior to the end of 1938, the U.S. administration’s position in Asia was dictated both by policies inherited from preceding administrations and by the extreme isolationism of the American people. This foundation effectively inhibited any cooperation with foreign powers. Relying on a reactive policy in the Far East, Washington remained aloof from entanglement as the President sought a plan which would permit U.S. involvement without inviting isolationist wrath. This paper traces an evolution in American Far Eastern policy, highlighting the Panay incident as a distinctly identifiable turning point whereby isolationism gave way to internationalism.

This thesis examines the early work of poets Leonard Cohen and Seamus Heaney in light of their treatment of mythology, ritual, and mythologization, moving either from personal to political awareness (Heaney), or from political to personal awareness (Cohen). Heaney, writing in the midst of the Irish Troubles throughout the late 1960s and 1970s, slowly works up to political awareness as the situation from which he is writing becomes more dire. By contrast, Cohen writes during the beginnings of the Quiet Revolution in Quebec, from the late 1950s to the mid-1960s, moving progressively farther away from the highly political and mythologized work of his first book. This thesis analyzes both poets first four books of poetry and how each poet addresses the politics of his historical time and place as a minority figure: an Irish Catholic in Northern Ireland, and an Anglophone Jew in Montreal, respectively. Ultimately, each poet chooses to mythologize and use traditional mythologies as a means of addressing contemporary horrors before being poetically (and politically) exhausted by the spiritual and mental exertion involved in the "poetry of disfigurement."

This thesis examines American Far Eastern policy from the beginning of the Franklin Roosevelt presidency through the early months of 1938. This study is chiefly concerned with the attack by Japanese aircraft on the USS Panay and its effect on the course of U.S. foreign policy. Particular attention is paid to the Anglo-American dialogue which occurred throughout the Far Eastern Crisis. Prior to the end of 1938, the U.S. administration’s position in Asia was dictated both by policies inherited from preceding administrations and by the extreme isolationism of the American people. This foundation effectively inhibited any cooperation with foreign powers. Relying on a reactive policy in the Far East, Washington remained aloof from entanglement as the President sought a plan which would permit U.S. involvement without inviting isolationist wrath. This paper traces an evolution in American Far Eastern policy, highlighting the Panay incident as a distinctly identifiable turning point whereby isolationism gave way to internationalism.

This thesis examines American Far Eastern policy from the beginning of the Franklin Roosevelt presidency through the early months of 1938. This study is chiefly concerned with the attack by Japanese aircraft on the USS Panay and its effect on the course of U.S. foreign policy. Particular attention is paid to the Anglo-American dialogue which occurred throughout the Far Eastern Crisis. Prior to the end of 1938, the U.S. administration’s position in Asia was dictated both by policies inherited from preceding administrations and by the extreme isolationism of the American people. This foundation effectively inhibited any cooperation with foreign powers. Relying on a reactive policy in the Far East, Washington remained aloof from entanglement as the President sought a plan which would permit U.S. involvement without inviting isolationist wrath. This paper traces an evolution in American Far Eastern policy, highlighting the Panay incident as a distinctly identifiable turning point whereby isolationism gave way to internationalism.

Subject of this work is pursuance technology of above-standard family house. This diploma thesis contains construction and technology report, technological prescriptions for important parts of buildings, technology report of plant building site, concepts of mechanical assembly, inspection and test plan, technology report of health and safety on the construction site. Budget, calculation and time planning, a drawing of the facilities of the construction site, description of transport relations is included in addendum. Work also contains part about use of Calcium silicate masonry and its comparation.

Das Leonhardi-Museum in Dresden gehörte in der DDR zu den legendären Ausstellungsorten für zeitgenössische, nonkonforme Kunst. Seine Besonderheit bestand darin, daß die Konzeption und Organisation der Ausstellungen in den Händen der Künstler selbst lag - die sich dafür immer wieder in einer offenen Formation, einer Arbeitsgruppe (AG) zusammenschlossen -, und daß es kein inoffizieller oder autonomer Ort war, sondern zunächst eine Galerie des staatlichen Künstlerverbandes VBK und später des Stadtbezirkes Dresden Ost. In der vorliegenden Dissertation konnten von 1963 bis 1990 über 100 Ausstellungen und Aktionen im großen Saal des Leonhardi-Museums nachgewiesen und dokumentiert werden: In der Mehrzahl Personal-Ausstellungen von Graphikern, Malern und Bildhauern, die Haltungen provozierten, Sehgewohnheiten erweiterten und sich von der Dimension des Raumes zu Experimenten anregen ließen. Nicht selten war es für sie die erste Gelegenheit, überhaupt auszustellen. Kanonbildend waren vor allem die gemeinsamen Feste und die spektakulären Gruppenausstellungen zu den Themen „Türen“ (1979) und „Frühstück im Freien“ (1982), welche das Leonhardi-Museum auch über die Stadt- und Staatsgrenze hinaus bekannt machten. Ferner trugen die durch das Ministerium für Staatssicherheit veranlassten Verbote und Schließungen zur Popularität des Hauses bei. Im Vergleich mit anderen offiziellen Ausstellungsorten in Berlin (Kunstkabinett von Lothar Lang, Galerie Arkade), Leipzig (Galerie am Sachsenplatz, Herbstsalon), Karl-Marx-Stadt (Galerie Clara Mosch) und Dresden (u.a. die Galerien Kunst der Zeit, Nord, Comenius und Mitte; Puschkinhaus, Lücke frequentor, Intermedia) konnte gezeigt werden, daß sich die Bedeutung des Leonhardi-Museums veränderte, es aber der einzige Ausstellungsort in der DDR war, an dem es Künstlern über drei Jahrzehnte gelungen ist, offizielle Strukturen (aus-) zu nutzen, um in produktiver Eigenständigkeit einen Freiraum für bildende Kunst zu schaffen. / The Leonhardi-Museum in Dresden belonged to one of the most legendary exhibition centers / galleries for contemporary nonconformist art in the GDR. Its peculiarity was derived from the fact that the concept and organization of the exhibitions lay in the hands of the artists themselves – who continually formed open ad hoc working groups (Arbeitsgruppe / AG) – as well as the fact that it was not an unofficial or autonomous institution, but primarily a gallery belonging to the State Association of Artists in the Graphic Arts in the GDR (VBK) and later to the city council Dresden-East. This dissertation examines and documents more than 100 exhibitions and events held in the principal hall of the Leonhardi-Museum between 1963 and 1990. The majority were personal exhibitions by graphic artists, painters and sculptors which provoked attitudes and opinions, broadened viewing habits and which featured experiments which were stimulated by the dimensions of the room. Often it was the first opportunity at all for artists to exhibit. Especially the communal festivities and spectacular group exhibitions around the topics “doors” and “Alfresco Breakfast” made the Leonhardi-Museum famous both nationally and internationally. Ministry of “Staatssicherheit” bans contributed to the increased popularity of the Leonhardi-Museum. Comparisons with similar official exhibition venues in Berlin (Lothar Lang’s Art-Cabinet, Gallery Arkade), Leipzig (Gallery on the Sachsenplatz, Herbstsalon), Karl-Marx-Stadt (Gallery Clara Mosch) and Dresden (Galleries Kunst der Zeit, Nord, Comenius and Mitte; Puschkinhaus, Lücke frequentor, Intermedia) demonstrate that the importance of the Leonhardi-Museum changed, but that for three decades it remained the only place in the GDR in which artists were able to use official structures for their art. In doing so they created scope for freedom for the graphic arts.