Thesis (M.A.)--University of Wisconsin--Madison, 1963. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 130-132).

Denna undersökning är en komparativ studie som utgår från hur Fredrich Nietzsche och hans Gud är död kan ha betydelse för hur utvecklare såväl som konsument uppfattar cookies i webbläsare. Syftet är att genom Fredrich Nietzsches ögon undersöka hur cookies död påverkar webbläsare och med den kunskapen problematisera användning av cookies i webbapplikationer. Undersökningen grundar sig i frågeställningen: Hur uppfattas cookies som ett maktförfogande väsen? Genom att titta på hur cookies idag används till andra ändamål än vad grundtanken en gång var, går det att utläsa hur cookies pålitlighet idag är tveksam. Cookies som länge dominerat utveckling av applikationer på Internet framstår idag i många forum som ett hot mot integritet och säkerhet. Cookies som en gång var en symbol för trygghet och robusta applikationer står under förändring och kan inte längre fungera som meningsbärare för en hel värld av Internetanvändare. Undersökningen påvisar att det inte går att utläsa för- eller mot argument som ensamt kan tala för om vi skall ha kvar cookies eller inte. Däremot kan Gud är död fungera som ett tillvägagångssätt för att betrakta cookies som en innehavare av makt eftersom att utvecklare såväl som konsument påverkas av att dödförklara cookies. / This study is a comparative study based on how Fredrich Nietzsche and his God is dead may be significant for how developers and consumers perceive cookies in the browser. The goal of the study is that through Fredrich Nietzsche's eyes examine how cookies death affect the browser and with that knowledge problematize the use of cookies in webapplications. The study is based on the question: How are cookies perceived as a being with power at its disposal? By looking at how cookies are currently being used for purposes other than the basic idea they once had, it is possible to see how cookies reliability today is doubtful. Cookies that have long dominated the development of applications on the Internet appears today in many forums as a threat to privacy and security. Cookies that were once a symbol of security and robust applications is undergoing a change and therefore can no longer serve as a meaningful vehicle for the whole world of Internet users. The study demonstrates that no pro or con arguments can be made that alone will tell if we are to retain cookies or not. However, God is dead serve as an approach to consider cookies as a holder of power because the developers as well as consumers are affected by the death of cookies.

Stephen Goss composed Cinema Paradiso, a six-movement suite for solo guitar, as an homage to films and film directors. Goss cites nihilism as a theme in Dogville, the film that inspires the fourth movement, "Mandalay," but I assert that all the films and many musical devices throughout the piece can be read through the lens of nihilism. The first movement, "Paris, Texas," depicts the stark landscape of the opening scene of the 1984 Wim Wenders film of the same name. "Modern Times" chronicles Charlie Chaplin's slapstick-laden descent from the factory to the insane asylum in the opening sequence of his 1936 Modern Times. "Noir" is a tribute to the procedures of film noir: violent storylines that depict the harshness of life, dim lighting, and anti-hero characters, all accompanied by jazz. Lars von Trier's Dogville provides the movement "Mandalay" with its nihilistic meaning, but Goss writes that he invokes the musical style of Kurt Weill's opera The Rise and Fall of the City of Mahagonny. Just as the book people of François Truffaut's Fahrenheit 451 had to pass on books orally, Goss has burned the score for his "451," forcing guitarists to learn it by watching a video and listening to a recording. Finally, the chaotic tarantella, "Tarantino" depicts Uma Thurman's heroin overdose scene in Quinten Tarantino's Pulp Fiction. By analyzing Fredrich Nietzsche's writings to form a broader definition of nihilism and applying that definition first to each film and then to corresponding musical elements in each movement, this paper argues that nihilism acts as a connecting theme throughout Cinema Paradiso.

長久以來，以「解放人類」為訴求目標與口號的馬克思主義，一直以其濃厚的烏托邦 色彩困惑人心。本論文撰寫的目的，正是針對這個問題，以馬克思共產主義理論的誕 生地一「巴黎手稿」為中心，展開對馬克思所謂「解放」，即自由概念的分析。本論 文共分為五章 第一章 馬克思對黑格爾和費爾巴哈的揩判 旨在說明馬克思從對黑格爾和費爾巴哈的批判中，建立了他的研究方法，而恩格斯認 為馬克思所建立的「歷史唯物主義」，在此也已有了基本雛型 第二章 馬克思對人的看法 馬克思認為人通勞動建立人與自然、人與社會的關係。勞動是人生命的表現，一旦它 不能使人的禾能、潛力得到發揮，這時就產生了異化。 第三章 異化勞動 就在說明馬克思如何解析人在資本主義社會當中，包括工人程資本家在內被異化的處 境，其根源正是來自於私有財產與分工。因此揚棄異化必須廢除私有財產與分工，才 能使人從社會的桎梏中獲得解放。馬克思認為資本主義社會已經為人類揚棄異化提供 了現實性的條件，但是，在獲致自由的途徑中，人還必須克服理論與實踐脫離的問題 第四章的內容，就在呈現馬克思如何整合理論與實踐，從而使他的共產主義主張或自 由概念有了不同於前人的內涵。最，第五章，承續前幾章討論內容，就馬克思在「手 稿」中呈現的自由概念的特質，做出結論並加以批評。

本論文共計六章十一節，約五萬五仟字，其扼要內容如下﹕ 第一章 緒論 本章在說明撰寫本論文的動機與書寫論文的方法。另外對各章節內容做一概要性解釋 與說明，使閱讀論文者能對全部內容有著基本瞭解。 第二章 共黨統戰的內涵 本章分兩節，目的在釐清對統戰紛雜的解釋與說法。 第一節 統戰的定義一從中共自己對統戰的解釋與其他各具代表性的人物中，各自對統戰的觀 點加以融合，最後再過濾出作者本人對統戰的定義解釋，以求瞭解統戰的基本定義。 第二節 統戰的思想根源。從馬克思、恩格斯、列寧、史達林與毛澤東等從上到下一路探討整 個統戰的思想，以求對其一貫性與差異性之瞭解。 第三章 「武力」與「和平」口號交錯運用時期中共對台統戰。本章分三節，其內容從一九四 九至一九七八年的三十年間將中共對台統戰做一追溯性的說明，以求瞭解到各階段統 戰方式有何異同。 第四章 現階段中共對我運用之統戰策略一兼論一國兩制。本章分三節。 第一節 一國兩制蘊釀時期中共對台之統戰策略一從一九七八年中共十一屆三中全會後到一九 八四年一國兩制口號正式提出前，將中共統戰攻勢做一解釋與分析。 第二節 後一國兩制時期中共對台之統戰策略一從一九八五到一九八六年的新情勢做一解釋與 分析。 第三節 一國兩制的析評，對中共所提出的一國兩制口號做一內容分析，以求瞭解真相。 第五章 兩航談判一本章分三節，從兩航談判的背景與經過做一說明後進而對整個談判做一檢 討，從檢討中來判斷談判本身是否為純粹統戰型式。 第六章 結論 本章除將中共對台統戰做一總檢討與整理外，也將預估未來中共對台之統戰走向及嚐 試著提出些因應之道的建議。