The demand for bandwidth is increasing vigorously. Thus wired network is using fiber optic telephone line instead of coaxial cable. The concept of Fiber to the Home (FTTH) is really coming into picture. Few countries like Japan, Korea etc are leading in this technology. But now the major challenge is how to provide the high speed internet connection wirelessly. Thus the change is to integrate the wireless and optical fiber communication. / Wireless Optical Communication

Purpose of the Study Since 1977 the Virginia High School League (VHSL) has been the subject of reports, legislative agendas and resolutions introduced in the General Assembly. These documents raised several questions concerning the authority, structure and performance of the VHSL. The purpose of this study was to answer the following primary questions: 1. What is the legal source and basis of the VHSL's authority? 2. Who governs the VHSL? 3. Does the VHSL provide adequate due process? 4. What is the source of any dissatisfaction that may exist and how can such dissatisfaction be abated? Design of the Study The study consisted of two phases. The first involved the research and analysis of state statutes and case law related to the administration of interscholastic athletics, and a review of the handbooks of selected state athletic associations. The second phase was the design, construction and implementation of a survey to determine and compare the opinions of a sample of principals, local superintendents, local school board chairmen and legislators concerning the authority, governance and performance of the VHSL. The data were analyzed using the cross-tabs and frequencies commands available on SPSS-X. Conclusions 1. Based upon their implied authority to implement rules and regulations necessary to supervise the schools within their jurisdictionL . local school boards have delegated the administration of interscholastic athletics to the VHSL. 2. The VHSL is governed by the principals of the member schools, but avenues of participation do exist for local school boards, the state department of education and others. 3. The due process provided by the VHSL satisfies any requirement that may exist . concerning the provision of either substantive or procedural due process. 4. The respondents were satisfied with the performance of the VHSL, but authority and power was a source of dissatisfaction. Most high school principals believe the VHSL should be able to pass regulations binding upon local school boards, but the remainder of respondents disagreed. Most local school board chairmen believe they have no input into the formulation of VHSL policy, but believe they should be actively involved in the governance of the VHSL. Principals disagreed and stated th~t local school boards should have an advisory role. 5. If the dissatisfaction of local school board members is not abated, the VHSL will be made accountable to local school boards by the concerted action of the local school boards or the General Assembly. The VHSL could reduce existing dissatisfaction by increasing the participation of local school boards in the governance of the VHSL within the existing structure of the VHSL. Most respondents did not favor the intervention of state agencies. / Ed. D.

Stripped of the intent of its author, L. Frank Baum, the children's fairy tale The Wonderful Wizard of Oz was left to be understood only within a changing cultural construct. Historian Hayden White, arguing that the similarities between a novel and a work of history were more significant than their differences, insisted that history was preeminently a subsection of literature. According to White, historical narratives were manifestly verbal fictions, and the only acceptable grounds upon which the historian should choose his historical perspective were the moral and the aesthetic. White conflated historical consciousness with myth and blurred the boundary that had long divided history from fiction. Just as changing cultural concerns infused the Dorothy of Baum's children's literature with meaning so social, cultural, and moral imperatives came to dictate the content of historical stories particularly in the historiography of the Reconstruction era. The twenty first century conception of Reconstruction is different from the conception influential at the start of the twentieth. In assessing the scholarship of William A. Dunning, contemporary historians have adopted a new paradigm when describing the scholar's Reconstruction accounts. Modern commentators reject Dunning's authorial intention and the contextual framework needed to define it. Thus, Dunning has receded into the "realm of myth." Careful attendance to Dunning's historical context, contemporary audience, and his authorial intent, will reposition the perspective for analysis of Dunning's work. Removing Dunning from abstract analysis will allow historians to arrive at an understanding of his work, and view the importance of the real Dunning, rather than the fabricated image constructed from a partial and even fragmented reading of his work. / Taking Dunning on his own terms restores a meaningful past and brings into bas-relief the tremendous advances the U. S. of twenty first century has made in reshaping social and political patterns.Taking theReconstruction era on its own terms impels historians to move beyond Dunning and return in their research to revisit primary records and documents as they work to clear the grisly ground of Reconstruction historiography for further fruitful examination. / by Kathleen P. Barsalou. / Thesis (Ph.D.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, FL : 2008 Mode of access: World Wide Web.

Sob a perspectiva de um reexame do momento de formação do teatro épico contemporâneo, esta dissertação consiste num estudo sobre o trabalho colaborativo de Bertolt Brecht e Kurt Weill nos anos de 1926 a 1933, com ênfase para o assim chamado teatro de atualidades elaborado pelos artistas. Tomando como linha condutora os três momentos centrais da República de Weimar (a crise de 1919-1923, a estabilização econômica e o craque de 1929) tentamos apreender como lírica, teatro e música confluíram criticamente na criação de um teatro político à altura das questões suscitadas pelo processo histórico de realinhamento capitalista sob o governo de coalizão de esquerda SPD/USPD, bem como de suas complexas implicações na cultura. Para tanto, em diálogo com a crítica literária brasileira e alemã, realizamos uma leitura da obra do jovem Brecht pautada pela questão do reaproveitamento que o dramaturgo fizera da música em seu livro de estreia como lírico, Hauspostille (1927), onde certo veio da cultura urbana anticapitalista dos cabarés da belle époque foi mobilizado, através da influência da lírica e do teatro de Frank Wedekind. Noutro nível, sob a linha condutora do projeto brechtiano de uma ópera culinária, procuramos traçar um apanhado das questões que marcaram a formação da linguagem musical de Kurt Weill, problematizando o desenvolvimento de seu trabalho coletivo com o Novembergruppe, sua abordagem da ópera moderna e da música utilitária e finalmentee seu pensamento sobre as potencialidades estético-políticas do rádio. O trabalho se conclui, enfim, pela análise de três obras da parceria Brecht/Weill: Berliner Requiem (1929), Mahagonny Songspiel (1927) e A ópera dos três vinténs (1928). / Through the perspective of a re-examination of contemporary Epic Theater, this dissertation consists of a study about the collaborative work of Bertolt Brecht and Kurt Weill from 1926 to 1933, centered upon the so called Zeittheater invented by both artists. By following the thread between the three main periods of Weimar Republic (the 1919-1923 political crisis, the stabilization period and the economical crash of 1929) our intention was to understand how Brechts previous lyric poetry, music and theatre enabled the autor to critically incorporate into his political theater matters brought up by the context of capitalistic re-alignment made by the left coalision government of SPD/USPD, as well as the impact of this complex political setting on culture. In order to do so and to maintain a dialoge with both brazillian and german literary criticism, we have sketched a reading of young Brechts work, focused on the appreciation of the influence of Frank Wedekinds lyric poetry and theater where a certain tendence of belle époque anti-capitalistic cabaret culture is registered on Brechts music, mainly through an interpretation of his first poetry book Hauspostille (1927). On another level, we have sketched the central issues that oriented the making of a new musical language by Kurt Weill, especifically the meaning of his collective work with Novembergruppe, his approach on Gebrauchsmusik and modern opera, his essays about aesthetical and political potencialities of radio and how they combined with Brechts project of culinary operas. Lastly this study is concluded by the analysis and interpretation of three different works by Brecht/Weill: Berliner Requiem (1929), Mahagonny Songspiel (1927) and The Threepenny Opera (1928).

A arquitetura contemporânea vive hoje uma arriscada fusão com a publicidade e a indústria do entretenimento. Tal convergência exige uma expansão da forma arquitetônica até o limite de sua materialidade. Em busca da renda informacional máxima, característica do universo das marcas mundiais, constatamos uma inversão de seus antigos fundamentos construtivos e produtivos, subvertidos por um jogo de volumes e efeitos para além de qualquer regra ou limitação. Aliado às técnicas digitais de projeto e à reorganização dos canteiros de obra, esse novo fetichismo da forma, análogo à autonomização do poder e da riqueza abstrata no capitalismo contemporâneo, define a nova condição da arquitetura. Estudaremos essa condição tomando como fio condutor projetos dos arquitetos mais consagrados pelo atual sistema de distinção e premiação. No propósito de melhor identificar esta arquitetura da exceção, investigamos nas obras emblemáticas dos últimos vinte anos um conjunto de particularidades e recorrências, que a nosso ver define a economia política da exceção e da regra no mundo atual. Principiamos pela análise do emaranhado de significados que sustentam hoje a forma construída, passando em seguida à esfera da produção das novas modalidades de projeto digital às transformações no canteiro de obras para, ao fim, examinar como ocorrem a circulação (com a proliferação de imagens midiáticas), o consumo (especialmente por meio da indústria do turismo) e a distribuição de riquezas que essa arquitetura favorece. O que se verifica é uma produção sobredeterminada pela busca da renda monopolista derivada das propriedades intrínsecas da forma, em seu novo estágio de concepção e realização. Esperamos, assim, mostrar como a arquitetura de ponta tornou-se uma das manifestações mais expressivas da acumulação flexível e da renda das marcas sob a dominância da lógica das finanças. / Contemporary architecture is dangerously enmeshed with the entertainment industry and the field of advertising. This meshing has pushed architectural form to the limits of materiality. Architecture today searches for maximum informational rent, a process typical of global product branding; through this process, established building and production principles are subverted by a play of volumes and effects beyond any rule or limitation. Relying on digital design technologies and the reorganization of the building site, this new fetishism of form, analogous to the autonomization of power and abstract wealth in contemporary capitalism, defines the new condition of architecture. We study this condition by focusing on the work of those architects who are most successful in the current system of professional recognition and rewards. So as to identify this architecture of exception more precisely, we analyze emblematic works from the last twenty years; in these works we identify a set of particularities and recurrent issues that define the political economy of exception and rule today. We begin by analyzing the tangle of meanings associated with contemporary built form. We then move on to the sphere of production from the new technologies of digital design to transformations in the building site. Finally, we examine three processes as they relate to contemporary architecture: circulation (through the proliferation of images in the media), consumption (in particular through the tourist industry), and distribution of wealth. Our investigation reveals that architectural production, in its new stage of conception and realization, is overdetermined by the search for monopoly rent through intrinsic properties of form. We argue that cutting-edge architecture has become one of the most expressive manifestations of flexible accumulation and brand revenue under the prevailing logic of financial capitalism.

A arquitetura contemporânea vive hoje uma arriscada fusão com a publicidade e a indústria do entretenimento. Tal convergência exige uma expansão da forma arquitetônica até o limite de sua materialidade. Em busca da renda informacional máxima, característica do universo das marcas mundiais, constatamos uma inversão de seus antigos fundamentos construtivos e produtivos, subvertidos por um jogo de volumes e efeitos para além de qualquer regra ou limitação. Aliado às técnicas digitais de projeto e à reorganização dos canteiros de obra, esse novo fetichismo da forma, análogo à autonomização do poder e da riqueza abstrata no capitalismo contemporâneo, define a nova condição da arquitetura. Estudaremos essa condição tomando como fio condutor projetos dos arquitetos mais consagrados pelo atual sistema de distinção e premiação. No propósito de melhor identificar esta arquitetura da exceção, investigamos nas obras emblemáticas dos últimos vinte anos um conjunto de particularidades e recorrências, que a nosso ver define a economia política da exceção e da regra no mundo atual. Principiamos pela análise do emaranhado de significados que sustentam hoje a forma construída, passando em seguida à esfera da produção das novas modalidades de projeto digital às transformações no canteiro de obras para, ao fim, examinar como ocorrem a circulação (com a proliferação de imagens midiáticas), o consumo (especialmente por meio da indústria do turismo) e a distribuição de riquezas que essa arquitetura favorece. O que se verifica é uma produção sobredeterminada pela busca da renda monopolista derivada das propriedades intrínsecas da forma, em seu novo estágio de concepção e realização. Esperamos, assim, mostrar como a arquitetura de ponta tornou-se uma das manifestações mais expressivas da acumulação flexível e da renda das marcas sob a dominância da lógica das finanças. / Contemporary architecture is dangerously enmeshed with the entertainment industry and the field of advertising. This meshing has pushed architectural form to the limits of materiality. Architecture today searches for maximum informational rent, a process typical of global product branding; through this process, established building and production principles are subverted by a play of volumes and effects beyond any rule or limitation. Relying on digital design technologies and the reorganization of the building site, this new fetishism of form, analogous to the autonomization of power and abstract wealth in contemporary capitalism, defines the new condition of architecture. We study this condition by focusing on the work of those architects who are most successful in the current system of professional recognition and rewards. So as to identify this architecture of exception more precisely, we analyze emblematic works from the last twenty years; in these works we identify a set of particularities and recurrent issues that define the political economy of exception and rule today. We begin by analyzing the tangle of meanings associated with contemporary built form. We then move on to the sphere of production from the new technologies of digital design to transformations in the building site. Finally, we examine three processes as they relate to contemporary architecture: circulation (through the proliferation of images in the media), consumption (in particular through the tourist industry), and distribution of wealth. Our investigation reveals that architectural production, in its new stage of conception and realization, is overdetermined by the search for monopoly rent through intrinsic properties of form. We argue that cutting-edge architecture has become one of the most expressive manifestations of flexible accumulation and brand revenue under the prevailing logic of financial capitalism.

原為避險目的而生之衍生性商品，因為金融創新，不僅交易規模擴大，交易對象也變得多元，甚至進一步成為部分投機者賺取高報酬之工具。依統計資料，透過店頭市場交易之衍生性商品，其名目價值遠高於在集中市場交易者，然店頭市場交易係由雙方自行協商交易條件，在欠缺相關揭露要求之情況下，市場透明度低，且欠缺有力之違約風險控管機制，兼之此市場中參與者間之高度關聯性，使得一旦有違約情況發生，影響層面往往波及當事人以外之眾多對象。 在金融危機過後，國際間開始檢討此次危機之成因，並研擬後續可能改革方向，針對店頭市場交易部分，則強調透過集中交易、集中結算以及交易資訊揭露等方式加強監管。美國為眾多戮力於金融改革之國家中較早通過具體條文者，2010年的改革法案將店頭衍生性交易納入規範，以集中結算為改革重點，並施加交易資訊申報公開、保證金、資本準備和部位限制等要求。儘管集中結算制度為改革關鍵，在法案中卻存在部分豁免規定，例如僅標準化衍生性商品須集中結算、外匯換匯及遠期外匯兩類衍生性商品可免集中結算、以及最終使用者所從事之交易亦可豁免等。 對於上述豁免規定，本文認為基於集中結算制度本身運作之前提，為結算之衍生性商品必須有一定之流動性及標準化，加上採行集中結算可能會增加之避險成本，因此美國改革法案中之例外為妥協後之結果。上述例外存在之本身，以及相關主管機關所提行政規則修正草案中存在之缺失，皆增加了藉以規避集中結算制度之可能性，而成為美國改革法案集中結算制度之潛在漏洞，無法防範店頭衍生性交易再度賈禍。觀察過去美國幾次重大金融改革，皆是在金融危機後大幅加強對市場之管制，然管制之必要性卻須待多年運行後才能獲致理性檢驗之機會。此次集中結算制度之改革然結果如何，仍需待實際於市場實施後才能準確評價。 / Because of financial innovation, the trading volume of derivatives increases and the market participants get varied. Derivatives, that were developed to hedge or mitigate risk, become one of the tools to speculate. According to statistics, the total nominal value of derivatives traded in the over-the-counter (OTC) market is much higher than that traded in the exchange. Because of the low market transparency, the lack of powerful risk mitigating mechanism and the high correlation among major market participants, default of one counterparty may cause systemic risk. After the global financial market meltdown in 2008, countries devoted attention to the causes of the financial crisis, especially to the OTC derivatives. To reduce the risk identified in the OTC derivatives market, trading on the exchange or electronic trading platform, central clearing and information disclosure are some measures to be implemented. The Dodd-Frank Act was the earliest reform act passed by the U.S. among these countries. Although central clearing is the major component of the act, there are also several exemptions of it. For example, non-standard derivatives, foreign exchange swaps, foreign exchange forwards and derivatives traded by end-user are exempted from central clearing requirement. To be central cleared, the OTC derivatives must be standardized and with certain liquidity. Once central cleared, companies would be unable to use customized derivatives to mitigate commercial risk and the cost of hedge would probability increases. These are some reasons mentioned to support the central clearing exemption. However, the existence of these exemptions may become the inherent loopholes of the act. This article would first introduce the central clearing exemptions and evaluate the possible effect these exemptions might cause.

Utifrån Canvas analysmodell, hur ser Fantastic Franks E-business ut? Hur är synen på E-business hos en liten nischad fastighetsbyrå? Syftet med denna studie är att analysera Fantastic Franks E-business genom Canvas analysmodell och analysera hur differentiering genom E-business påverkar företagets framgång. Genom intervju med ledningsgruppsrepresentant från Fantastic Frank samt med fastighetsmäklare på Fantastic Frank applicerades företagets affärsmodell på modellen Källor till värdeskapande i E-business företag. Denna metod användes för att undersökningens syfte att se hur Fantastic Frank differentierar sig genom E-business skulle kunna undersökas. Nyckelresurser, nyckelpartnerskap och nyckelaktiviteter är de viktigaste blocken inom Canvas analysmodell för Fantastic Frank, för att de ska kunna erbjuda en värdeproposition och differentiera sig. Andra fastighetsbyråer börjar erbjuda liknande tjänster med bostadsstyling och Fantastic Frank bör vidareutveckla sin tjänst. För att skapa värde bör Fantastic Frank utveckla relationer med kunder som köpt eller sålt bostad genom gemensamma intressen inom inredning/design. Fantastic Frank ser möjligheter att använda sig utav E-business för att etablera sig i storstäder runt om i världen. Om de lyckas, kommer antagligen deras nuvarande partners att se möjligheter att växa med Fantastic Frank. Företaget differentierar sig genom att inte använda sig av tidningsannonser eller andra störningsmoment på sin hemsida utan skapar hellre inspiration. Genom att arbeta med målgruppsanpassad bostadsstyling ser ingen bostad ut som den andra vilket leder till att målgruppen återkommer för att söka efter bostad eller inspireras av bostäder. Fantastic Frank har spridit sina risker eftersom de satsar på flera olika medier. / How does the E-business of Fantastic Frank look like according to Business Model Canvas? How does a small and niched real estate agency perceive E-business? The purpose with this study is to analyse the E-business of Fantastic Frank real estate agency by applying it to the Business Canvas framework and analyse how differentiation through E-business affects the success of the company. By conducting an interview with representative from Fantastic Frank management as well as founder of Fantastic Frank real estate agency, and furthermore conducting an interview with one of the real estate brokers at Fantastic Frank, the business model of the company could be applied to the Value creation model by Amit and Zott (2001). The Value creation model was used in order to analyse how Fantastic Frank differentiates by their E-business. Key resources, key partnership and key activities are the most important parts within Business Model Canvas for Fantastic Frank, for the company to be able offer its value proposition and differentiate itself. Other real estate agencies have started to offer similar kinds of home styling services, and Fantastic Frank should have to consider how to further develop its service. To create value Fantastic Frank should develop relationships with customers who have used the company’s services by relating to common interests in interior/design. Fantastic Frank sees opportunities to make use of E-business to establish itself in major cities around the world. Their present partners will most likely appreciate the possibility to expand with Fantastic Frank. The company differentiates itself by not using ads and other kinds of disturbing elements on its homepage, and would rather be inspirational. With their target audience in mind during the styling session home stylings differ from each other with the result that people return to search for new homes or to get inspiration. Fantastic Frank also spreads its risks since the company can be found on many kinds of social media.

Ce travail vise à scruter quatre lectures de Kafka dans la philosophie allemande. Pourquoi ces philosophes ont-ils rencontré et interprété Kafka ? La première hypothèse est d’ordre biographique : leurs découvertes de Kafka sont marquées par le sentiment d’une proximité personnelle à l’égard ce qu’il donne à lire. Kafka est l’écrivain d’un certain moment, où le rapport à la langue ne va pas de soi, où l’expérience de l’exil prédomine, et où les mutations historiques rendent les contours de la subjectivité flous. La seconde hypothèse est philosophique : leurs lectures se fondent sur la nécessité de philosopher autrement, afin d’intégrer ces mutations. On ne peut plus penser selon les catégories du sens, de l’identité, de la conscience - mais il faut accepter que le sujet découvre en lui un étranger. Le défi que Kafka dresse devant ces philosophes serait donc de pouvoir « penser la métamorphose ». Celle du sujet, mais aussi celle que subit la philosophie au contact de la littérature. Et enfin, celle que Kafka invente dans l’ensemble de son œuvre, dont nous montrons qu’elle est irriguée par le « devenir-animal ». / We are focusing on studying four readings of Kafka in german philosophy. Why have these philosophers met and interpreted Kafka ? Our first hypothesis is a biographical one : their reading of Kafka’s books are influenced by the feeling of a proximity between his life and their experiences. Kafka represents a crisis : in his work, the language is not innate anymore, experiencing exile is prevailing, the historical mutations affect the concept of subjectivity. The second hypothesis concerns the philosophy itself : because of these mutations, the traditional metaphysical categories of sense or consiousness are obsolete ideas. The subject is becoming a stranger. Kafka is challenging philosophers to « think out the metamorphosis », the subject’s metamorphosis, the philosophy’s metamorphosis, and finally, the one Kafka invented, which is everpresent in his works, the notion of a « becoming-animal ».

Sob a perspectiva de um reexame do momento de formação do teatro épico contemporâneo, esta dissertação consiste num estudo sobre o trabalho colaborativo de Bertolt Brecht e Kurt Weill nos anos de 1926 a 1933, com ênfase para o assim chamado teatro de atualidades elaborado pelos artistas. Tomando como linha condutora os três momentos centrais da República de Weimar (a crise de 1919-1923, a estabilização econômica e o craque de 1929) tentamos apreender como lírica, teatro e música confluíram criticamente na criação de um teatro político à altura das questões suscitadas pelo processo histórico de realinhamento capitalista sob o governo de coalizão de esquerda SPD/USPD, bem como de suas complexas implicações na cultura. Para tanto, em diálogo com a crítica literária brasileira e alemã, realizamos uma leitura da obra do jovem Brecht pautada pela questão do reaproveitamento que o dramaturgo fizera da música em seu livro de estreia como lírico, Hauspostille (1927), onde certo veio da cultura urbana anticapitalista dos cabarés da belle époque foi mobilizado, através da influência da lírica e do teatro de Frank Wedekind. Noutro nível, sob a linha condutora do projeto brechtiano de uma ópera culinária, procuramos traçar um apanhado das questões que marcaram a formação da linguagem musical de Kurt Weill, problematizando o desenvolvimento de seu trabalho coletivo com o Novembergruppe, sua abordagem da ópera moderna e da música utilitária e finalmentee seu pensamento sobre as potencialidades estético-políticas do rádio. O trabalho se conclui, enfim, pela análise de três obras da parceria Brecht/Weill: Berliner Requiem (1929), Mahagonny Songspiel (1927) e A ópera dos três vinténs (1928). / Through the perspective of a re-examination of contemporary Epic Theater, this dissertation consists of a study about the collaborative work of Bertolt Brecht and Kurt Weill from 1926 to 1933, centered upon the so called Zeittheater invented by both artists. By following the thread between the three main periods of Weimar Republic (the 1919-1923 political crisis, the stabilization period and the economical crash of 1929) our intention was to understand how Brechts previous lyric poetry, music and theatre enabled the autor to critically incorporate into his political theater matters brought up by the context of capitalistic re-alignment made by the left coalision government of SPD/USPD, as well as the impact of this complex political setting on culture. In order to do so and to maintain a dialoge with both brazillian and german literary criticism, we have sketched a reading of young Brechts work, focused on the appreciation of the influence of Frank Wedekinds lyric poetry and theater where a certain tendence of belle époque anti-capitalistic cabaret culture is registered on Brechts music, mainly through an interpretation of his first poetry book Hauspostille (1927). On another level, we have sketched the central issues that oriented the making of a new musical language by Kurt Weill, especifically the meaning of his collective work with Novembergruppe, his approach on Gebrauchsmusik and modern opera, his essays about aesthetical and political potencialities of radio and how they combined with Brechts project of culinary operas. Lastly this study is concluded by the analysis and interpretation of three different works by Brecht/Weill: Berliner Requiem (1929), Mahagonny Songspiel (1927) and The Threepenny Opera (1928).