This work is about the renewal of the Czech party system in period of 1943-1945. The introduction focuses on the liquidation of the party system in 1938, the party system of the Second Republic and contextualisation of the work to party systems theories. Another part deals with the formation of concepts of domestic and foreign Czechoslovak resistance on the future shape of the party system, in particular the cooperation of Moscow and London exile. The thesis describes the relationships and actions of the Communist Party of Czechoslovakia, based in the Soviet Union and their democratic competitors, who were headquartered in London, where the President Beneš and the State Council were seated. In particular, these relationships are the starting point for this work's research thesis: how the negotiations between the exile in London and Moscow influence and determined the post-war party constitution. The hypothesis that the activity of the Czechoslovak Communist Party in the Moscow exile was vital for the post-war party development will be confirmed or disproved in the conclusion. The final chapter focuses on initial period of the restoration of the organizational form and policy programs of the party system in the years 1944 - 1945 and the beginnings of activity of the parties within the National Front...

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In interpretations of The Dance of Life (1899-1900) by Edvard Munch, the femme fragile and the femme fatale have been considered jointly (i.e. as allusions to the cyclicality of life) or as individuals. Their unique characteristics have been recognized as such: whereas the femme fragile dons white to signify her prepubescent state and thus her innocence, the femme fatale wears red to suggest her sexuality and even her availability. Yet, scholars have failed to probe their iconographical complexities. Doing so would not only lend greater conviction to Munch’s historical identity as a Symbolist (as his archetypes would be recognized for their multivalence), but it would also reveal the didactic possibilities of the work of art itself. Given this void in the literature, the purpose of this thesis will be to elaborate on the formal and narrative qualities of the femme fragile and femme fatale in this painting. These archetypes ultimately allude to misogynistic anxieties, with the femme fragile in particular representing the sickly female body. / Art History

Edvard Griegs 100-årsjubileum i juni 1943 var en spänningsfylld händelse i det tyskockuperade norska musiklivet, som i Oslo markerades med tillställningar av bland annat Filharmonisk Selskap, revyscenen Chat Noir och den nazistiska regimen. Genom att diskutera Griegjubiléets politiska signifikans för nazister och anti-nazister (s.k. jøssinger), samt analysera tonsättarens symboliska värde för respektive läger, förklarar uppsatsen varför båda lägren ville fira jubiléet och ha Grieg på sin sida. Huvudsyftet med detta är att öka kunskapen om de musikaliska och kulturella aspekterna av ockupationstiden i Norge. De källor som används är samtida tidningar, arkivmaterial från Kultur- og Folkeopplysningsdepartementet, samt Hans Jørgen Hurums samtidsskildring Musikken under okkupasjonen. Eftersom uppsatsen bygger på tolkning av historiskt material, tillämpas hermeneutisk metod.   Uppsatsen visar att nazisterna använde Griegjubiléet som kulturell propaganda, för att ge sken av ett lugnt och harmoniskt musikliv, vilket i sin tur skulle påvisa nationens välmående. Griegjubiléet var viktigt för nazisterna, eftersom Grieg var en viktig symbol för deras radikala kulturnationalism och framtidsvisioner. För jøssingene innebar Griegjubiléet en möjlighet att känna samhörighet med varandra och uttrycka en stilla protest mot regimen i form av bojkotter mot statligt arrangerade Griegkonserter. För dem hade Griegs musik ett trösterikt värde, samtidigt som den i likhet med 1800-talets kulturnationalism fick symbolisera frihet, självständighet och demokrati. Griegjubiléet i Oslo 1943 blev ett avgörande slag mellan radikal kulturnationalism och patriotism om framtidens musikliv, vilket slutade med total bojkott och slutligen död för det offentliga konsertlivet under resten av ockupationen.

This thesis aims at furthering our understanding of the constitutional structures and processes of sui generic associations such as the European Union. The thesis argues that the problematical constitutionalisation of the European Union has highlighted the limitations of the political thought that has served as the basis of political associationalism since the Treaty ofWestphalia (1648) and the publication of Thomas Hobbes' Leviathan (1651). These limitations have resulted in the European Union being described, for want of a better expression, as sui generis. The thesis advances the argument that in order to be in a position to understand constitutional relations in a 'non-statal' setting, what is needed is an alternative variant of political thought that is not based in or dependent on the societas canon that originates with Hobbes. One source of such political thought can be located in the work of Johannes Althusius (1557-1638) who, writing in the city of Emden in the Holy Roman Empire in the early 17th Century, described a constitutional structure of a political association that differs in significant features to the centralised state theories of the societas canon. The thesis also argues that the traditional concepts of constitutionalism and political association applied to sui generic constitutionalism are hampered by the inherent weaknesses of modem political and legal vocabulary. Despite being used ad infinitum in the constitutional discussions on the European Union, there is not a precise definition of either the term 'constitution' or treaty' in political or legal theory. Althusius' work avoids this weakness, due to the fact that the centralised state does not enjoy the same position it does in the societas canon, and so the need to classify 'intra' or 'inter' state relationships does not exist to the same degree. While taking the European Union as a workable model of a sui generic association, this thesis does not aim at solving the European Union's constitutional problems or offering a more suitable term to describe its nature. Rather, based on an analysis of Althusius' work, the thesis aims to offer an alternative understanding of the problems that result from the constitutionalisation of sui generic associations.

La présence de Peter Watkins dans son film Edvard Munch se manifeste de manière ubiquitaire par le biais de l'instance narrative qui s'infiltre, suivant la logique du masque, dans le portrait qu'elle fait du peintre. Le motif du masque permet de penser la co-présence du cinéaste et du peintre dans un rapport de complémentarité. D'abord, l'instance narrative du film est plurielle: elle comprend le méga-narrateur, l'auteur construit et intersubjectif, l'auteur de film, l'auteur historique et le narrateur explicite. Les caractéristiques propres à chacune de ces instances mettent en lumière les nombreux moyens dont dispose l'instance narrative fondamentale, en charge du récit, pour se dévoiler et se dissimuler dans l'oeuvre. De fait, elle apparaît masquée, formant un visage singulier, bien que redoublant celui du peintre. Le rapport entre le peintre et le cinéaste, qui sont tous deux sujets et objets de l'énonciation, est notamment établi par l'interaction du son et de l'image: Watkins, narrateur explicite se manifestant par la voix over, et Munch, présent à l'image mais peu volubile, se complètent et se définissent l'un l'autre. Ce «nous énonciateur» prend forme dans un réseau de correspondances, de parallèles et de contaminations esthétiques et thématiques entre le peintre et le cinéaste, contaminations qui prolifèrent de même entre monde fictionnel et monde réel. Ainsi, la vérité, conçue par le cinéaste et réinventée par le spectateur dans un acte infini de création, est rendue possible par un rejet de toute distinction entre monde vrai et monde des apparences, objectivité et subjectivité, réalité et fiction, Munch et Watkins. La reproduction et l'imitation laissent place à une représentation délibérément infidèle et subjective de l'époque, de la vie et de la carrière de Munch. La présence ubiquiste de l'instance narrative, contaminant par sa subjectivité non seulement le personnage du peintre, mais tout le langage cinématographique, participe donc de la logique du simulacre, puissance du faux devenue volonté de création. L'omniprésence de l'instance narrative dans Edvard Munch participe d'un désir délibéré, chez Watkins, de falsification et de fictionnalisation. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Peter Watkins, Edvard Munch, Narration filmique, Son au cinéma, Voix over, Documentaire, Réel à l'écran, Masque, Simulacre, Auteur au cinéma, Méga-narrateur, Auteur historique, Auteur construit, Expressionnisme, Biographie, Autobiographie, Cinéma politique.

Between 1969 and 1980 Edvard Radzinskii wrote three ‘historico-political’ plays which were later published as a trilogy entitled ‘Theatre of the Times …’. This thesis attempts to unravel the nature of time in the trilogy and invokes Mikhail Bakhtin’s notion about the forms of time and the chronotope in literary narratives to do that. Bakhtinian concept of the chronotope provides a suitable strategy for reading a trilogy that aims to re-present ‘real’ time, place and human beings. The concept also provides a vantage point from where the trilogy can be read both from within the time-space of its main protagonists and from that of its author, readers, performers and spectators. ¶ Both ‘Dialogues with Socrates' and 'Lunin …’ are structured around the chronotope of the prison which is associated with the chronotope of the acropolis in ‘Dialogues with Socrates’ and with the chronotope of the masked-ball in ‘Lunin …’. In ‘Theatre of the Times of Nero and Seneca’ the circus-theatre functions as the main chronotope. All these chronotopes serve as plot-constitutive devices and provide appropriate space in which the lives and times of the main protagonists can be adequately re-presented. However, the use of the concept of the chronotope in reading the trilogy does not imply that it can be read meaningfully only from within the time-space of its protagonists. The trilogy reconstructs the historical time-space but also engages in a substantial way with contemporary Soviet reality. This is achieved through an interaction between literary and real chronotopes. There is little doubt that most Soviet readers, performers and spectators negotiatied the chronotopes of the prison and the circus-theatre and the motifs of show-trial and execution from within their own time-space, their own historical experience. The thesis discusses a large number of reviews published in Soviet media to show that most critics read the trilogy from within the discourses about positive hero and socialist realism, because of which Socrates and Lunin were also turned into positive heroes. ¶ One of the most intriguing aspect of the three plays is the ‘play within a play’ structure which achieves its maximum potential in the final play of the trilogy where it is combined with the theme of metamorphoses and multiple role playing. The trilogy, like Pirandello’s trilogy about theatre, is able to foreground its own theatricality and explore the role of theatricality and role playing in and outside theatre. In ‘Theatre of the Times of Nero and Seneca’ the boundary between role playing in life and in theatre becomes so blurred that history begins to resemble the writing and staging of a play. ¶ Apart from exploring the nature of theatricality, the trilogy also questions the conventions of its genre. The three plays do not follow the conventional framing devices employed by dramatic texts and foreground the presence of a mediating narrator. This ‘novelisation’, is more evident in ‘Lunin …’ in which the frequent use of verbs in the past tense in the extra-dialogic text can be linked to the presence of a mediating narrator.

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-08-21Bitstream added on 2014-06-13T18:49:09Z : No. of bitstreams: 1 barboza_lk_me_ia.pdf: 643339 bytes, checksum: 29ec35c91aab300cc909f6a6e7bd63ad (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Tendo por principal referencial teórico os conceitos de Carl Gustav Jung (1875-1961) sobre os arquétipos e o inconsciente coletivo, neste trabalho proponho-me mostrar como o conteúdo simbólico universal se manifesta na expressão artística individual do pintor norueguês Edvard Munch (1863-1944). Coloco em foco imagens que retratam a mulher e as relações afetivas entre o homem e a mulher que o artista produziu na segunda fase de sua carreira, entre 1889 e 1908. Não obstante referirem-se à visão pessoal do artista, revelam simultaneamente a “nova mulher” que emergia na sociedade de seu tempo. Desta forma, ao contextualizar a produção artística de Munch e analisar seu conteúdo simbólico, proponho-me mostrar como a obra de arte pode expressar, muito além dos conflitos particulares de seu autor, o espírito da época em que foi criada, mediante temas universais. / Having as main theoretic reference the concepts of Carl Gustav Jung (1875-1961) on the archetypes and the collective unconscious, in this work I propose to demonstrate how the universal symbolic tenor is manifested in the individual artistic expression of the Norwegian painter Edvard Munch (1863- 1944). I put into perspective images that portray the woman and the relations of affection between man and woman, that the artist produced in the second phase of his career, between 1889 and 1908. Notwithstanding those refer to the personal view of the artist, they simultaneously bring forth the “new woman” that emerged in the society then. Thus, in contextualizing Munch´s artistic production and analyzing its symbolic content, I propose to show how the work of art can express, far beyond the private conflicts and idiosyncrasies of its author, the spirit of the time in which it was created, through universal themes.

When talking about tonal music, we sometimes tend to take for granted the idea that the tonic should always be clearly established either at the beginning or the end. However, there are composers who sometimes deviate from the normal path by creating different types of riddles or tonal enigmas in their works. Some of these riddles can be solved later on as the piece progresses; yet others may need to bexplained with the help of some external references. This thesis examines three such examples, each of which poses its unique enigma. The second movement of Bruckner's Symphony No. 1 presents a dualism between Ab and F (paralleled by their dominants Eb and C); Brahms's Alto Rhapsody involves an enormous auxiliary cadence spanning 2/3 of the piece and a seemingly plagal cadence which turns out to be authentic with the V suppressed; and eventually, Grieg's setting of Dereinst, dereinst, Gedanke mein provides a paradoxical ending which may be understood as incorporating the composer's attitude towards the text.

The purpose of this document is threefold. First, it demonstrates what Grieg contributes to the musical text compared with the original Peters edition, particularly, those additions that refer to expression, interpretation, and style. Second, this document focuses on presenting Grainger's changes that were approved by Grieg. Third, the document evaluates Grainger's own suggestions for pedaling, hand redistribution and fingering, addition of notes, tempo markings, and other performance guidelines.