Muitas biografias foram escritas sobre Fiódor Dostoiévski, nome central da literatura russa do século XIX. Dentre os títulos dedicados à vida do escritor russo destaca-se Dostoiévski de Joseph Frank, um grande esforço de investigação elaborado ao longo de quase três décadas. A obra escrita pelo scholar norte-americano consiste em uma síntese da história cultural da Rússia no século XIX, contexto no qual Dostoiévski viveu, além de um esforço de interpretação da ficção do romancista. Essa pesquisa visa analisar a biografia de autoria de Joseph Frank, assim como efetuar uma comparação entre essa obra e outras biografias importantes escritas sobre o escritor russo. Paralelamente, pretende-se investigar as questões teóricas e metodológicas concernentes ao gênero biográfico. Tendo em vista a grande repercussão da obra nas publicações norteamericanas, essa pesquisa também examinará de modo panorâmico a recepção da biografia de Frank nos Estados Unidos e os percursos da eslavística norte-americana nas últimas décadas. / Many biographies have been written about Fyodor Dostoevsky, a prominent 19th century Russian literature novelist. Among all these titles, Joseph Frank\'s Dostoevsky stands out as a great synthesis of the Russian writer\'s life and era. Written along three decades, Frank\'s work recreates the Russian cultural history in the second half of the 19th century and proposes an interpretation for Dostoevsky\'s literary works. After this biography, Frank has become one of the most important North American\'s experts in Russian literature and Dostoevsky. This research aims to analyze this monumental biography, to compare this work with other biographies written about the thrilling life of Dostoevsky and to investigate the theoretical and methodological problems of the biography genre. Finally, considering the repercussion of Dostoevsky for the intellectual community of United States of America, we will also analyze the reception and the critiques of Frank\'s biography and the situation of the last decades of Slavic studies in that country.

This master thesis deals with causes and some of the main instituonal answers to the financial crisis of 2007-2009. The thesis also ppresents a brief historical overview of US financial crisis. The main aim of the first chapter is to decide whether the US historical crisis have something in common. The answer is that the past crisis really share something and the difference is rather in historical circumstances. The second chapter is dedicated to some of the financial crisis causes such as Community Reinvestment Act,Gramm Leach Bliley Act, Commodity Futures Modernization Act and also to the role of moral hazard. This thesis is of a firm belief that the only aspect that can be blamed is the phenomenon of moral hazard. The last chapter is focused on the main instituonal answers to the crisis. Dodd-Frank Act, Volcker rule, reorganization of derivative market, some of the changes in rating agencies regulation and also BASEL III consequences for capital requirements are all under the radar.

The financial markets have undergone a very dramatic evolution in the last 100 years. Multiple attempts to regulate the evolution were part of the development. They reacted mostly on economic crises, whether on the capital market or in the banking sector. This thesis describes the developments in the US and European financial markets. Most important part of the thesis contains an analysis of the causes, course of action and impacts of the financial crisis, it evaluates current crisis in the terms of functionality of the financial crisis regulation system as well as suggestions and discussions how tho improve regulation in the USA and the European Union.

This document examines Frank Ferko's unique setting of the ancient Latin sequence, Stabat Mater that incorporates five English interpolations dealing with the subject of parental grief over the loss of a child. The twenty Latin stanzas and five English interpolations are examined harmonically and philosophically, as two separate works. The tonal architecture of the work, outlined in two large arches built on key relationships, is explored in the body of the paper in addition to a graphic depiction and table of key centers. The interrelationship between key centers and textual considerations is examined. An extensive interview with the composer provided invaluable information regarding the creative process as it relates to the choice of English texts, compositional techniques and influences, and the stylistic musical diversity that characterizes the work. Three prominent American conductors, who have conducted significant performances Stabat Mater discussed specific problems and solutions in preparing and performing the work. Data pertaining to Stabat Mater history and other settings was gathered from reference materials, periodicals, and internet sources.

Frank Norris uses the sixth sense in his writings as a creative device, explaining the illusory characteristics of life mainly in six works: The Responsibilities of the Novelist, Blix, Vandover and the Brute, McTeague, The octopus, and The Pit. In The Octopus, Vanamee, a character fashioned after Norris's friend Bruce Porter, becomes the focal point for the author's elucidation of the sixth sense, and also of related powers such as telepathy, hypnosis, and transmigration, all related to a moral natural order. In the other works the sixth sense is consistently utilized by Norris's special characters in correctly perceiving unknown knowledge. It is conclusive that Norris acknowledges and accepts the mysterious as a reality and attempts to explain it.

Frank Martin, while assimilating many of the features of serial technique, found other of its features incompatible to his temperament. The Eight Preludes for Piano mark a point of decision regarding these features. While rejecting the twelve-tone row, he extracted prime cells from the octatonic scale and subjected them to the serial approach. One of these cells, G-flat - F - A - A-flat, evokes the B-A-C-H motive. In view of Martin's admiration for Bach, this similarity is probably not accidental. In any event, this four-note motive permeates the preludes and binds them into a coherent and unified set. Along with some evidence of partial form in the preludes, the concept of continuous variation is the compelling force molding the overall form. Martin disdained atonality on personal and artistic premises. Despite their contemporary textural qualities, the listener perceives c-sharp as a tonal center for the set. Tempo, rhythm, and texture contrasts and complementation between the preludes reveal an obviously preplanned format for the fulfillment of set unity. The consummate knowledge of pianism demonstrated in the preludes places them as a major contribution to twentieth-century piano literature.

Viola pedagogy has historically been closely intertwined with and highly dependent upon violin repertoire. As the viola emerged as an instrument worthy of independent study, many still rely on transcriptions of violin etudes. Fortunately, the efforts of performers, teachers, and scholars have brought forth discoveries of original viola literature and thus shifted toward the perception that viola should begin to embrace its individual pedagogy. Viennese composer and violist Marco Frank contributed three volumes of Viola-Etuden and a method book, Praktische Viola-Schule, which are suitable for the intermediate violist. This document explores and analyzes the usefulness of an original viola series in comparison to the ‘tried and true' violin transcriptions.

The focus of this dissertation is Frank Herbert‘s use of messiahs and martyrs in selected novels of the Dune Chronicles. I make connections with Herbert‘s studies, inspirations and background to his treatment of religion, establishing the translation of these ideas in the texts. To identify and study every aspect of religion in the series is impossible; however, I will include other features that I deem important to my understanding of the religious theme in these texts. I intend to scrutinize these novels to find evidence of Herbert‘s claim that he studied religion at great length. I will also observe Herbert‘s attitude to and engagement with religion in the Dune Chronicles / English Studies / M.A. (English Studies)

The focus of this dissertation is Frank Herbert‘s use of messiahs and martyrs in selected novels of the Dune Chronicles. I make connections with Herbert‘s studies, inspirations and background to his treatment of religion, establishing the translation of these ideas in the texts. To identify and study every aspect of religion in the series is impossible; however, I will include other features that I deem important to my understanding of the religious theme in these texts. I intend to scrutinize these novels to find evidence of Herbert‘s claim that he studied religion at great length. I will also observe Herbert‘s attitude to and engagement with religion in the Dune Chronicles / English Studies / M.A. (English Studies)

Made available in DSpace on 2016-12-08T16:19:05Z (GMT). No. of bitstreams: 1 anaemilia.pdf: 11726982 bytes, checksum: d0cb6288e1da54b67001097c7c67229b (MD5) Previous issue date: 2009-10-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the Polaroids series photographer Robert Frank creates performed situations and manipulates the two-dimensional surface in a post-production condition, building images with uncertain borders where emptiness, words, pictorial gestures, appropriations and acts are highlighted. Emerging through mounting resources, these procedures question certain intrinsic references in the field of photography and image, allowing the recognition of a territory where both manufacture and operatory notions that state poetical basis are implied and contrasted, interrogate and disturb in relation to the look field. In the interlocution of art history and theory with psychoanalysis and philosophy, we find the possibility of troubling the procedures of this work in order to elaborate questions that resonate from it, without reducing its terms. In the first chapter, we investigate the potential of the foreigner language as a condition of the image, which is identified in both the photography and image fields, as extinguisher of borders and promoter of new proposition parameters. The unquiet Freudian strangeness articulated with infinite possibilities of artistic language opens a field to think the Polaroids series as image-happening. In the second chapter, we analyze the relation between the visible and what can be said from renitent aspects of the mounting operation along the series, such as the figural logic in dreams and reticulations, the relation between image and word, the repetition as difference and the gesture that re-signifies the instant of looking. In the third chapter, we study the projection of these plastic procedures in the visual field. From the process of determining the view of the artistic object, we reach the notion of irrepresentability as an encounter with the Real, and we conclude with the structure of the scopic field, which was formulated by Jacques Lacan and has its orientation in art theory developed by Georges Didi-Huberman, in which the look accomplishes the function of causing the subject in its desire / Na série Polaroids, o fotógrafo Robert Frank cria situações encenadas e manipula a superfície bidimensional em condição de pós-produção, construindo imagens com fronteiras imprecisas onde se destacam vazios, palavras, gestos pictóricos, apropriações e encenações. Emergindo por recursos de montagem, tais procedimentos colocam em questão certas referências intrínsecas ao campo da fotografia e da imagem permitindo reconhecer um território onde tanto a fatura como as noções operatórias que se afirmam como fundamento poético se implicam e se rebatem, interrogam e perturbam em relação ao campo do olhar. Na interlocução da história e teoria da arte com a psicanálise e a filosofia, encontramos a possibilidade de problematizar os procedimentos deste trabalho a fim de elaborar as questões que dele ressoam sem, entretanto, reduzir seus termos. No primeiro capítulo, investigamos o potencial de linguagem do estrangeiro como uma condição da imagem, que se identifica, tanto no campo fotográfico como imagético, como anulador de fronteiras e instaurador de novos parâmetros propositivos. A inquietante estranheza freudiana articulada com as infinitas possibilidades da linguagem artística abre campo para pensar a série Polaroids como imagem-acontecimento. No segundo capítulo, analisamos a relação entre o visível e o dizível a partir dos aspectos renitentes da operação de montagem ao longo da série, entre os quais, a lógica figural nos sonhos e na retícula, a relação entre imagem e palavra, a repetição como diferença e o gesto que re-significa o instante de ver. No terceiro capítulo, analisamos o rebatimento destes procedimentos plásticos no campo do visual. Do processo de instauração da visualidade do objeto artístico, alcançamos a noção de irrepresentável como encontro com o Real, e concluímos com a estrutura do campo escópico formulada por Jacques Lacan, e cuja orientação na teoria da arte é desenvolvida por Georges Didi- Huberman, onde o olhar cumpre a função de causar o sujeito em seu desejo