Die Universitätsbibliothek Leipzig ermittelt seit Jahren Bücher, die unrechtmäßig erworben wurden. Schon 2001 gab es ein Pilotprojekt, finanziert von der Koordinierungsstelle für Kulturgutverluste Magdeburg und von 2009– 2012 ein vom Staatsminister für Kultur und Medien finanziertes Projekt zur Ermittlung von NS-Raubgut. Von den rund 6.000 Bänden, die im Zuge des letzten Projekts als NS-Raubgut (http://nsraubgut.ub.uni-leipzig.de) identifiziert wurden, konnten circa 160 den ursprünglichen Eigentümern zugeordnet werden.

The Arctic—warming at twice the rate of the rest of the planet—is a source of striking imagery of amplified environmental change in our time, and has come to serve as a spatial setting for climate crisis discourse. The recent alterations in the Arctic environment have also been perceived by some observers as an opportunity to expand economic exploitation. Heightened geopolitical interest in the region and its resources, contradicted by calls for the protection of fragile Far North ecosystems, has rendered the Arctic an arena for negotiating human interactions with nature, and for reflecting upon the planetary risks and possibilities associated with the advent and expansion of the Anthropocene—the proposed new epoch in Earth history in which humankind is said to have gained geological agency and become the dominant force over the Earth system. With the Arctic serving as a nexus of crosscutting analytical themes spanning contemporary history (the late twentieth and the early twenty-first century until 2015), this dissertation examines defining characteristics of the Anthropocene and how the concept, which emerged from the Earth system science community, impacts ideas and assumptions in historiography, social sciences and the environmental humanities, including the fields of environmental history, crisis management and security studies, political geography, and science and technology studies (STS). The primary areas of empirical analysis and theoretical investigation encompass constructivist perspectives and temporal conceptions of environmental and climate crisis; the role of science and expertise in performing politics and shaping social discourse; the geopolitical significance of telecoupling—a concept that reflects the interconnectedness of the Anthropocene and supports stakeholder claims across wide spatial scales; and implications of the recent transformation in humankind’s long duration relationship with the natural world. Several dissertation themes were observed in practice at the international science community of Ny-Ålesund on Svalbard, where global change is made visible through a concentration of scientific activity. Ny-Ålesund is furthermore a place of geopolitics, where extra-regional states attempt to enhance their legitimacy as Arctic stakeholders through the performance of scientific research undertakings, participation in governance institutions, and by establishing a physical presence in the Far North. This dissertation concludes that this small and remote community represents an Anthropocene node of global environmental change, Earth system science, emergent global governance, geopolitics, and stakeholder construction in an increasingly telecoupled world.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-30T17:43:49Z No. of bitstreams: 1 DIS_BRUNA_ATTI_PROVENZANO_COMPLETO.pdf: 9774141 bytes, checksum: 7138c5fc0f3c806ef1bf1c89f6e1ae18 (MD5) / Made available in DSpace on 2017-06-30T17:43:49Z (GMT). No. of bitstreams: 1 DIS_BRUNA_ATTI_PROVENZANO_COMPLETO.pdf: 9774141 bytes, checksum: 7138c5fc0f3c806ef1bf1c89f6e1ae18 (MD5) Previous issue date: 2017-04-10 / In this study, our gaze turns to the relationship between the media and the death of football players. Our focus is on the journalistic coverage of the Fernand?o death. We delimit, as the essence of our analysis, articles published by Correio do Povo e Zero Hora. We limit our corpus with five piece of news from each journal. They are the first productions of informative sort produced on the idol death and published in the printed version of the newspapers. Our objective is to study the production of meaning in the coverage of the death of a sports idol as Fernand?o. We are also motivated by the search for an understanding of the way the piece of news collaborate in the construction of the athlete myth.We will proceed using the analysis method as the Paradigm of Complexity from Edgar Morin (2011), which bets not on the linearity of the way, but on the constant dialogue between different knowledge. We define the analysis technique of our corpus the Semiology from Roland Barthes (1996). By unveiling the speeches - verbal and nonverbal - we seek to find what is obtuse in the productions about the Fernand?o death. By unveiling the speeches - verbal and nonverbal - we seek to find what is obtuse in the productions about the Fernand?o death. Our analyzes will be guided by six categories a priori that we understand as pertinent for the accomplishment of this study. Our starting point is based on: Photography, with the subcategories studium and punctum; Fait divers; myth; imaginary; Stereotype and socioleto. All are based on Barthes? reflections.The study revealed similarities in the discourse produced by the two journals about the death of Fernand?o. From verbal and non-verbal elements, the material tries to clear the player?s trajectory, highlighting, above all, the moments of victory and joy, suppressing the contradictions. / Neste estudo, nosso olhar se volta para a rela??o entre a m?dia e a morte de jogadores de futebol. Nosso foco est? na cobertura jornal?stica realizada acerca da morte de Fernand?o. Delimitamos, como ess?ncia de nossa an?lise, mat?rias publicadas pelos jornais Correio do Povo e Zero Hora. Limitamos nosso corpus a cinco publica??es de cada um dos peri?dicos. S?o as primeiras produ??es de g?nero informativo produzidas sobre o falecimento do ?dolo colorado e publicadas nas vers?es impressas dos jornais. Nosso objetivo ? estudar a produ??o de sentido na cobertura da morte de um ?dolo esportivo como Fernand?o. Tamb?m nos motiva a busca pela compreens?o da forma como as mat?rias observadas colaboram na constru??o do mito do atleta. Como m?todo, nos valemos do Paradigma da Complexidade proposto por Edgar Morin (2011), que aposta n?o na linearidade do caminho, mas no di?logo constante de saberes. Definimos como t?cnica de an?lise de nosso corpus a semiologia de Roland Barthes (1996). Ao desvelar os discursos - verbais e n?o verbais - buscamos encontrar o que est? obtuso nas produ??es sobre a morte de Fernand?o. Nossas an?lises ser?o orientadas por seis categorias a priori que entendemos como pertinente para a realiza??o deste estudo. Nosso ponto de partida est? alicer?ado em: fotografia, com as subcategorias studium e punctum; fait divers; mito; imagin?rio; estere?tipo e socioleto. Todas s?o baseadas nas reflex?es de Barthes. O estudo revelou semelhan?as no discurso produzido pelos dois peri?dicos acerca da morte de Fernand?o. A partir de elementos verbais e n?o verbais, as mat?rias tratam de inocentar a trajet?ria do jogador, destacando, sobretudo, os momentos de vit?ria e alegria, suprimindo as contradi??es.

<p>Denna uppsats fokuserar på King Hus actionestetik och den montagekonstruerade rörelsen, enligt en konkret syftesformulering som lyder: Att öka förståelsen för King Hus estetiska val genom att belysa vissa rytmiska rörelsetendenser, såsom en konstruktion av filmens montage, och dess relation till två vitt skilda konstyttringar, med dessa avses Pekingoperan och cinéma pur. Ledande tes genom uppsatsen är att Hus visuella stil visserligen är starkt präglad av ett personligt intresse och en djup förståelse för estetiska normer i Pekingoperan, men att han samtidigt genom ett skickligt utnyttjande av cinematiska tekniker skapar en alldeles unik version av kinesisk estetik, som måste förstås som specifik för filmmediet. Sammantaget är förhoppningen att resultatet skall bidra till avmarginaliseringen av Hu som förvaltare till en förment essens av traditionell kinesisk kultur. Metoden består i en jämförande analys av rörligt bildmaterial i två steg, som illustrativ modell och teoretisk ingång till rörelsebegreppet tillämpas Heinrich von Kleists marionett och i dess förlängning även Sergei Eisensteins biomekaniska rakurs.</p><p>Min analys leder mig till slutsatsen att den rytmiska rörelsen i Hus actionscener har starka likheter med såväl Pekingoperan som cinéma pur, och jag vill på grundval av detta föreslå att Hu snarare bör förstås som en nyskapare av kinesisk estetik, då han positionerar sig någonstans mellan traditionalism och modernism genom att skapa en estetisk jämvikt mellan teater och film där ingenderas legat går förlorad.</p>

The Arctic—warming at twice the rate of the rest of the planet—is a source of striking imagery of amplified environmental change in our time, and has come to serve as a spatial setting for climate crisis discourse. The recent alterations in the Arctic environment have also been perceived by some observers as an opportunity to expand economic exploitation. Heightened geopolitical interest in the region and its resources, contradicted by calls for the protection of fragile Far North ecosystems, has rendered the Arctic an arena for negotiating human interactions with nature, and for reflecting upon the planetary risks and possibilities associated with the advent and expansion of the Anthropocene—the proposed new epoch in Earth history in which humankind is said to have gained geological agency and become the dominant force over the Earth system. With the Arctic serving as a nexus of crosscutting analytical themes spanning contemporary history (the late twentieth and the early twenty-first century until 2015), this dissertation examines defining characteristics of the Anthropocene and how the concept, which emerged from the Earth system science community, impacts ideas and assumptions in historiography, social sciences and the environmental humanities, including the fields of environmental history, crisis management and security studies, political geography, and science and technology studies (STS). The primary areas of empirical analysis and theoretical investigation encompass constructivist perspectives and temporal conceptions of environmental and climate crisis; the role of science and expertise in performing politics and shaping social discourse; the geopolitical significance of telecoupling—a concept that reflects the interconnectedness of the Anthropocene and supports stakeholder claims across wide spatial scales; and implications of the recent transformation in humankind’s long duration relationship with the natural world. Several dissertation themes were observed in practice at the international science community of Ny-Ålesund on Svalbard, where global change is made visible through a concentration of scientific activity. Ny-Ålesund is furthermore a place of geopolitics, where extra-regional states attempt to enhance their legitimacy as Arctic stakeholders through the performance of scientific research undertakings, participation in governance institutions, and by establishing a physical presence in the Far North. This dissertation concludes that this small and remote community represents an Anthropocene node of global environmental change, Earth system science, emergent global governance, geopolitics, and stakeholder construction in an increasingly telecoupled world. / <p>QC 20151211</p>

Denna uppsats fokuserar på King Hus actionestetik och den montagekonstruerade rörelsen, enligt en konkret syftesformulering som lyder: Att öka förståelsen för King Hus estetiska val genom att belysa vissa rytmiska rörelsetendenser, såsom en konstruktion av filmens montage, och dess relation till två vitt skilda konstyttringar, med dessa avses Pekingoperan och cinéma pur. Ledande tes genom uppsatsen är att Hus visuella stil visserligen är starkt präglad av ett personligt intresse och en djup förståelse för estetiska normer i Pekingoperan, men att han samtidigt genom ett skickligt utnyttjande av cinematiska tekniker skapar en alldeles unik version av kinesisk estetik, som måste förstås som specifik för filmmediet. Sammantaget är förhoppningen att resultatet skall bidra till avmarginaliseringen av Hu som förvaltare till en förment essens av traditionell kinesisk kultur. Metoden består i en jämförande analys av rörligt bildmaterial i två steg, som illustrativ modell och teoretisk ingång till rörelsebegreppet tillämpas Heinrich von Kleists marionett och i dess förlängning även Sergei Eisensteins biomekaniska rakurs. Min analys leder mig till slutsatsen att den rytmiska rörelsen i Hus actionscener har starka likheter med såväl Pekingoperan som cinéma pur, och jag vill på grundval av detta föreslå att Hu snarare bör förstås som en nyskapare av kinesisk estetik, då han positionerar sig någonstans mellan traditionalism och modernism genom att skapa en estetisk jämvikt mellan teater och film där ingenderas legat går förlorad.

This study offers an inquiry into the historical context of the invention, consolidation, and on-going popularity of the ancient theatre typology based on the Greek-Roman &amp / #8216 / binarism&amp / #8217 / , for a better understanding of its philosophical and theoretical foundations. It scrutinises those foundations in order to discover, in their limitations for an assessment and restitution of the architectural characteristics of extant ancient theatre remains, a new set of variables for devising an alternative method of classification that adopts the &amp / #8216 / network&amp / #8217 / model. The classification made on the basis of the geographical distribution of the extant ancient theatre remains in modern Spain and Greece according to their size, their construction period, and the construction technique applied in their cavea enables an interpretation of Roman period theatre construction activity in these two regions of the Mediterranean from a &amp / #8216 / geo-historical&amp / #8217 / point of view, in the light of the variety of processes expressed by the term &amp / #8216 / Romanisation&amp / #8217 / . A comparative analysis of the examples in the two study areas along Fernand Braudel&amp / #8217 / s three historical time planes reveals the structural differences between the two corresponding provinces of the Roman Empire, highlighting the usefulness of adopting a &amp / #8216 / rhizomatic&amp / #8217 / model instead of a &amp / #8216 / binary&amp / #8217 / one in typological studies of ancient theatre architecture for their better integration into contemporary discourses emphasizing &amp / #8216 / cultural diversity&amp / #8217 / and &amp / #8216 / change&amp / #8217 / in the Mediterranean basin.

Ce mémoire traite de l'éducation dans l'oeuvre de Fernand Dumont. Dans un premier temps, il traite des aspects théoriques de l'éducation dumontienne et, dans un deuxième temps, il fait une critique des discours ministériels récents sur le monde scolaire. La première partie est une étude des liens qu'entretiennent la science, l'idéologie, la culture et l'éducation chez Dumont. Premièrement, en analysant la théorie de la culture de Dumont, avant d'éclairer les liens qui unissent la culture et l'éducation; deuxièmement, en montrant comment la culture est à la fois fondement et fin de l'éducation; troisièmement, en étudiant les liens entre science et idéologie pour définir le statut de l'éducation à l'intérieur du discours social en général et des sciences de l'homme en particulier. Le mémoire se termine par une analyse critique du Renouveau pédagogique du ministère de l'Éducation, des Loisirs et du Sport du Québec.

Le peintre Fernand Leduc a développé une trajectoire unique dans l'histoire de l'art québécois. Depuis 1943, il suit une démarche qui l'a mené de l'automatisme aux microchromies actuelles. Entre 1953 et 1959, durant son retour à Montréal, après un séjour de sept ans en France, Leduc vit une véritable révolution esthétique et plastique, celle du passage de l'automatisme à l'abstraction construite. Les sources de cette révolution, de nature philosophique et spirituelle, se retrouvent chez le penseur Raymond Abellio et chez le peintre Jean Bazaine qui ont marqué l'artiste dans son orientation. C'est par son action au sein du milieu de la peinture montréalaise ainsi qu'à travers sa pensée esthétique et sa démarche plastique que Leduc effectue son passage. "Portes rouges", une oeuvre de 1955, nous a semblé représenter un moment charnière de cette période. / Montréal Trigonix inc. 2018

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.