Universiẗat, Diss., 2003--Freiburg (Breisgau).

Thèse d'exercice : Pharmacie : Université de Nantes : 2004. / Bibliogr. f. 53-56 [37 réf.].

Zugl.: Wien, Univ., Diss., 2005

This master's thesis focuses on two female artists, Germany's Erika Mann (1905-1969) and Quebec's Pauline Julien (1928-1998). The impact of their artistic contribution created in part in their chosen exile, as well as their political engagement will be examined. Biographical, social, and historical facts, which influenced the life and work of each artist, will be included. An analysis of texts written or performed by each of them follows. Finally, comparisons are established, demonstrating the many parallels between their professional and artistic lives, as well as their political engagement.

Thesis (doctoral)--Universität, Wien, 2005. / Includes bibliographical references (p. 292-305).

No description available.

Le transport durable est un enjeu contemporain primordial. La santé humaine risque aujourd'hui d'être menacée par une gestion approximative de ce problème qui ne permettrait pas de combattre la pollution, notamment quand ce phénomène est en contact direct avec la population. En utilisant le prisme du droit, avec l'analyse de la production législative internationale, communautaire et régionale dans le domaine du transport durable, cette recherche vise à identifier les problématiques principales, trier les meilleures solutions, proposer des alternatives fonctionnelles, pour pouvoir concilier mobilité et durable. La norme EURO, le projet de test antipollution unifié au niveau international (Worldwide harmonized Light vehicles Test Procedures), la multi modalité, le véhicule intelligent, la stratégie du marketing du durable, sont des exemples des différentes mesures prises pour remédier au problème de la pollution. La souveraineté territoriale reste l'un des obstacles majeurs à dépasser pour que les décisions politiques favorisant le développement durable, incarnées dans des traités internationaux, puissent être vraiment contraignantes pour les états signataires. Le droit est l'instrument privilégié pour faire coïncider un développement économique et social avec une protection environnementale, mais une prise de conscience généralisée de l'importance de cet enjeu, et notamment du rôle joué par les transports, est indispensable pour atteindre cet objectif. L'urgence dictée par la détérioration de l'environnement pousse à ce que des actions soient entreprises par les gouvernements avec courage et rapidité. / Sustainable transport is a major contemporary issue. Human health may be threatened by a superficial management of this problem that would undermine a most needed fight against pollution, especially when this phenomenon is in direct contact with the population. Using the prism of law, with the analysis of international, European and regional legislations on sustainable transport, this research aims at identifying the main problems, sorting the best solutions and proposing functional alternatives to reconcile mobility with sustainability. The EURO standard, the Worldwide Harmonized Light Vehicle Test Procedure, the multi-modality, the intelligent vehicle and the sustainable marketing strategy are examples of the various measures taken to remedy the problem of pollution. Territorial sovereignty is still one of the major factors hindering a full implementation of all sustainable development policies embodied in international treaties and making them truly binding on the signatory States. Law is the ideal instrument to align economic and social development with environmental protection, but a widespread awareness of the importance of the environment, and in particular the role played by transport, is essential to achieve this objective. The urgency given by the deterioration of the environment demands world governments to take actions as fast and brave as possible.

Das Elektronische Rückmelde-Instrument über Kompetenzen Älterer (ERIKA) wurde entwickelt, um die Fahrkompetenzen älterer Fahrer und Fahrerinnen im Realverkehr systematisch beobachten, bewerten und rückmelden zu können. Das Ziel ist ein allgemein einsetzbares, objektives und hoch praktikables Beobachtungsinstrument mit differenzierten Auswerte- und Rückmeldemöglichkeiten zum Fahrverhalten und zur Verkehrssicherheit älterer Autofahrer. ERIKA besteht aus mehreren Komponenten: einem Fahraufgabenkatalog inkl. Beobachtungsbogen, einem Beobachtungs- und Bewertungsschema und einem Rückmeldevorgehen. Zudem umfasst es die Umsetzung in ein elektronisches Beobachtungs- und Rückmeldewerkzeug. In diesem Bericht sind die ersten drei Komponenten wie folgt dokumentiert: Fahraufgabenkatalog (Kap. 2 mit einer Einführung in Kap. 1.1) Beobachtungsbogen (Kap. 3) Beobachtungs- und Bewertungsschema (Kap. 2, als Operationalisierungen Fahraufgabenkatalog, Einführung in Kap. 1.1) Rückmeldevorgehen (Kap. 4). Die Umsetzung in ein elektronisches Beobachtungs- und Rückmeldewerkzeug steht für ERIKA (2019) noch nicht zur Verfügung (vgl. Kap. 1.4).

Principe de droit coutumier longtemps honoré, le droit de refuge n’est plus. Les catastrophes de l’« Erika » et du « Prestige », et entre les deux, le périple du « Castor », ont largement mis en lumière cette réalité. À l’origine de ce déclin, les progrès techniques. Certains ayant permis la sauvegarde des marins en perdition sans nécessiter le déroutement du navire vers un abri. D’autres ayant eu pour conséquence de rendre dangereux et polluants la navigation.Le phénomène dit de « lèpre maritime » fut la constante, la pratique adoptée par les États côtiers confrontés à des navires en difficulté susceptibles de porter atteinte à leurs intérêts. Décrit ainsi, le réflexe se perçoit comme légitime. Mais voilà, l’automatisme peut pousser à l’absurde alors que les progrès, encore eux mais a contrario cette fois-ci, permettent de mesurer et tempérer les risques et ainsi revenir vers la voie naturelle du refuge même en présence de navires potentiellement dangereux et/ou polluants / Principle of customary international law which was honored a long time, the right of refuge for ships in distress is in the present day eroded. The disasters of the « Erika » and the « Prestige », and between these two, the event of the « Castor », have largely emphasized this reality.At the origin of this decline, we found technical progresses. Some having permitted rescue of the sailors in distress without requiring the ship to be granted a safe haven. Others having had for consequence to make navigation dangerous and pollutant.The phenomenon known as of « maritime lepers » has been the constant, the practice adopted by the coastal States confronted with ships in distress likely to threaten their interests. Described in this manner, the reflex can be perceived like legitimate. But, the automatism can conduct to the absurdity whereas progresses, but a contrario this time, make possible to measure and moderate the risks and, in consequence, to return towards the natural way of the refuge even in the presence of potentially dangerous and/or polluting ships

A presente pesquisa visa a uma articulação entre o campo artístico da performance e a prática cênica de um dos mais importantes e longevos grupos de teatro em atividade no Brasil: o Teat(r)o Oficina, de São Paulo, dirigido por José Celso Martinez Corrêa. Recorrendo à história do grupo a título de uma genealogia, procuro apontar os traços de uma pulsão performativa que acompanha o Oficina desde a montagem de Roda Viva, de Chico Buarque de Hollanda, em 1968. Em 2012, integrei o elenco da companhia nos espetáculos Macumba Antropófaga - uma devoração do Manifesto Antropófago, de Oswald de Andrade e Acordes, adaptação do texto de Bertolt Brecht e da música de Paul Hindemith, ambos dirigidos por José Celso. Esta vivência como ator constitui parte fundamental da metodologia deste trabalho, que contou ainda com uma extensa arqueologia de matérias jornalísticas, entrevistas, manifestos, documentos, registros fotográficos e videográficos (alguns inéditos) e textos teóricos sobre a atividade do grupo entre os anos de 1968 e 2012. O texto aqui apresentado está dividido em duas partes. Na primeira, busco um esclarecimento teórico das noções de \"performance\" e \"performativo\" na cena contemporânea tomando o \"corpo real\" (Fischer-Lichte) como um dos seus principais dispositivos, para em seguida avançar sobre a história do Oficina, reconhecendo aproximações e distanciamentos de sua prática cênica em relação ao legado de autores como Marvin Carlson, Richard Schechner, RoseLee Goldberg, Renato Cohen, Hans-Thies Lehmann, Óscar Cornago e, principalmente, Erika Fischer-Lichte. A segunda parte deste trabalho consta de uma análise da pulsão performativa no espetáculo Macumba Antropófaga, bem como no processo de montagem de Acordes. A título de conclusão, a pesquisa pondera que esta releitura da história do Teat(r)o Oficina à luz da performance, além de contribuir com as reflexões sobre teatro e performance na cena contemporânea, faz uma correção histórica ao colocar em termos de uma pulsão performativa aquilo que parte significativa da crítica teatral brasileira, entre os anos 60 e 70, julgou ser um teatro agressivo e irracionalista. / The purpose of this study is to articulate the artistic field of performance with the stagecraft of one of the most important and long-lived theater groups in Brazil: Teat(r)o Oficina, from São Paulo, directed by José Celso Martinez Corrêa. Analysing the theater group history in order to obtain its origins, I intend to show traces of a performative pulse, which is perceived since Oficina has performed Roda Viva, written by Chico Buarque de Hollanda, in 1968. In 2012, I joined Oficina cast for two plays: Macumba Antropófaga - uma devoração do Manifesto Antropófago, by Oswald de Andrade, and Acordes, adaptation of Bertolt Brecht\'s text and Paul Hindemith\'s music, both directed by José Celso. This experience as an actor of Oficina constitutes an essential aspect of methodology of this study, which is also based on extensive archeology of newspaper articles, interviews, manifestos, documents, photography and videography records (some of them are unpublished) and theoretic texts on group activity from 1968 to 2012. The following study is divided into two parts. In the first one, I conduct a research on clarifying theory notions of \"performance\" and \"performative\" in contemporary scene, taking the \"real body\" (Fischer-Lichte) as one of the main concept instruments. Afterwards, I continue to study on the history of Oficina, recognizing similarities and differences between its stagecraft and the legacy of researchers such as Marvin Carlson, Richard Schechner, RoseLee Goldberg, Renato Cohen, Hans-Thies Lehmann, Óscar Cornago and, mainly, Erika Fischer-Lichte. The second part of this study consists in analyzing the performative pulse on the production of Macumba Antropófaga, as well as on the process of production of Acordes. In conclusion, this research considers that this reinterpretation on the history of Oficina, based on performance, in addition to contributing to the reflections upon theater and performance in contemporary scene, also makes a correction to the history of Oficina when the performance pulse aspect is considered, whereas significant part of Brazilian Theater Criticism, in 1960\'s and 1970\'s, reviewed it as an aggressive and unreasonable kind of theatre