Inaug.-Diss. - Bern. / "Literatur": p. 12-14.

Diss.--Nijmegen--Katholieke universiteit, 1998. / Contient des résumés en anglais et en néerlandais. Bibliogr. p. 522-541.

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The term hybrid warfare is both controversial and debated. Those who favor the use of the term usually use widely different definitions of it. This makes the term problematic to use in an official and academic context, which may contribute to unjustified policy decisions. My thesis aims at using three existing theoretical definitions to identify a more sustainable definition of the hybrid warfare concept. And at the same time contribute to the debate about the usefulness of the concept.    The thesis analyzes three theoretical perspectives of the hybrid warfare concept, by adopting a conceptual study approach founded in Giovanis Sartori's theoretical framework. The result shows that a more sustainable definition of hybrid warfare primarily comprises the coordination of funds and methods for achieving political purposes. Based on this result can hybrid warfare primarily be understood as a management perspective.

Submitted by Regiane Rafaela Roda null (regiane_rafaela@yahoo.com.br) on 2017-04-16T18:58:17Z No. of bitstreams: 1 Tese_RegianeRafaelaRoda2017.pdf: 5234107 bytes, checksum: 2380aea0c7ba38cd2af27e519023be67 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-04-18T17:38:38Z (GMT) No. of bitstreams: 1 roda_rr_dr_sjrp.pdf: 5234107 bytes, checksum: 2380aea0c7ba38cd2af27e519023be67 (MD5) / Made available in DSpace on 2017-04-18T17:38:38Z (GMT). No. of bitstreams: 1 roda_rr_dr_sjrp.pdf: 5234107 bytes, checksum: 2380aea0c7ba38cd2af27e519023be67 (MD5) Previous issue date: 2017-02-23 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O romance I Malavoglia (1881), de Giovanni Verga, foi adaptado duas vezes para o cinema: a primeira, pelo milanês Luchino Visconti, em 1948, La terra trema: episodio del mare, importante obra do neorrealismo italiano; e a segunda, pelo siciliano Pasquale Scimeca, em 2010, Malavoglia. Em ambas as adaptações, o momento de produção foi extremamente importante para a reescritura do romance realista do século XIX e instaurou uma profunda e significativa relação entre história e sociedade para a compreensão das obras como realizações artísticas autônomas. A partir do conceito de adaptação de Hutcheon (2013) e dos estudos de Stam (2008) e (2013), este trabalho pautou-se pela compreensão do processo adaptativo que teve como suporte a atualização, ou seja, o transporte da narrativa literária para um novo contexto histórico; por exemplo, os anos seguintes à Segunda Guerra Mundial e o primeiro decênio do Terceiro Milênio, para analisar a forma como os filmes dialogaram com o texto adaptado e ampliaram seu próprio raio de ação ao atualizar a narrativa, ancorando-se nesta, mas projetando-se para engendrar novos sentidos e significações. Segundo a análise desse deslocamento temporal, no qual são inseridas questões de relevância para a atualidade, propiciando a identificação de elementos do presente histórico e da realidade por seu público alvo, foi possível concluir que a atualização proporcionou uma íntima conexão entre o momento de produção das obras cinematográficas e o transporte de elementos da realidade para a trama ficcional que alteraram profundamente os percursos interpretativos e determinaram as bases crítico-ideológicas das releituras produzidas, a finalidade das transformações dos textos e as estratégias de reconstrução dos sentidos para a construção de obras cinematográficas que se revelaram retratos de uma época e de uma sociedade para compor, ao lado do romance, um documento humano. / The novel I Malavoglia (1881), by Giovanni Verga, has been adapted twice to film: the first one, by the Milanese Luchino Visconti, in 1948, La terra trema: episodio del mare, important masterpiece of Italian Neorealism; and the second one by the Sicilian Pasquale Scimeca, in 2010, Malavoglia. For both adaptations, the moment of production was extremely important for the rewriting of a realistic novel from the XIXth century and instituted a deep and significant relationship between history and society to understand those works as autonomous artistic realizations. From Hutcheon’s concept of adaptation (2013) and Stam’s studies (2008 and 2013), this work was based on understanding the adaptation process supported by updating, i.e., the literary narrative transported to a brand new historical context, e. g, the years after World War II and the first years of the Third Millennium, to analyze the dialogues between the films and the adapted text and how they extended their own meanings when they brought the narrative up to date, holding on the novel but enlarging its overall signification. The analysis of that temporal dislodgement, in which it’s possible to find social questions relevant to the their moments of production, indicating and identifying historical and real elements to the audience, led us to conclude that the updating allowed an intimate connection between the moment of production of those cinematographic works and the transport of elements of reality to the fictional story that deeply changed the ways of interpretation and determined the critical and ideological bases of those rewritings, the final goal of those texts’ transformations and the strategies for reconstruction of the meanings to create films that revealed themselves to be portraits of the time and society, composing, side by side with the novel, a human document. / CNPq: 140717/2013-7

Orientador: Patrizia Piozzi / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-25T13:18:01Z (GMT). No. of bitstreams: 1 Carmo_JeffersonCarriellodo_M.pdf: 11962928 bytes, checksum: 2360b2ddaa987ffd8bc827bf245b7b60 (MD5) Previous issue date: 1999 / Resumo: Esta dissertação trata da Reforma Educacional promovida pelo filósofo Giovanni Gentile em 1923, procurando compreende-la em suas raízes históricas e filosóficas. Para tanto, dividimos o trabalho em três momentos. No primeiro, buscamos localizar as origens históricas do fascismo, na conjuntura de grave crise econômica e social que assolou a Europa do pós-guerra. Focalizamos, em particular, a crise do modelo liberal de Estado e a emergência de alternativas políticas na Itália e na Alemanha. No segundo momento, analisamos os textos que compõem a Reforma Gentiliana, buscando relaciona-la com os rumos da sociedade e da política nos primórdios do regime fascista. Enfim, procuramos o lastro filosófico da Reforma, reconstruindo a noção de Estado ético de Gentile, em sua relação com as concepções de Estado derivados do idealismo alemão, em particular de Hegel e de Fichte / Abstract: The present dissertation deals with the Educational Reform promoted by the philosopher Giovanni Gentile in 1923, and aims to understand it in its historical and philosophical roots. To do so we have divided this work into three moments. In the first moment, we try to localize the historical origin of fascism within the scenery of the deep economical and social crisis which ravaged the Europe of the post-war. We particularly focus here the crisis of the State liberal model and the arisen of political alternatives in Ita1y and Germany. In the second moment, we analyze texts about the Gentilian Reform, trying to relate it to the course of society and politics in the beginning of the fascist regime. Finally, we study the philosophical support of Reform, reconstructing Gentile's notion of an ethical State in its relation to State conceptions derived from the German idealism, particularly Hegel's and Fichte's / Mestrado / Mestre em Educação

The purpose of this thesis is to present a new approach to the art of Rosso and Pontormo and to suggest a new interpretation to its controversial character. The first part is essentially a preparation to the main discussion: the notion of Spirituality, necessary to a full understanding of the art of Rosso and Pontormo, is first developed, followed by an extensive study of the primary "will" which was guiding the classic painter in his major realizations. The second part discusses the art of Rosso and Pontormo. The object here is to demonstrate that in a reasonably large number of their works we can detect a distinct will to awake feelings of incongruity, abnormality, strangeness in the beholder, and to perplex, disturb, frustrate and even shock him. This will is defined as the new will. After an expose of the latter, the art of Rosso is taken up, followed by the art of Pontormo. Eight works by Rosso and eleven by Pontormo are discussed individually. The method of analysis followed extensively takes into account the fact that the revolutionary art of those artists made its apparition in an essentially classicizing atmosphere. The third part attempts to explain what may have caused the new will to germinate in Pontormo and Rosso. A first chapter is devoted to showing that corruption, at the height of the Renaissance, pervaded the Italian clergy from top to bottom. In a second chapter, documents are brought up to the support of the fact that a reformation of the clergy was the great spiritual need of that age. It is also pointed out that the whole of the Italian society of that time, indeed, was morally deteriorating at an alarming rate. A final chapter describes how, under the effect mainly of the new dignity awakened in them by their recent recognition as liberal artists, Pontormo and Rosso would have subconsciously awakened to such a state of affairs. They would have realized, among other abnormalities, that Christian art, essentially meant to promote the spiritual advancement of society, was not helping to solve the great spiritual demand of their age, nor was it truly helping society as a whole, although it had just reached an unprecedented degree of perfection. Disillusion and despair would have followed, ultimately engendering, at least at the pre-conscious level, a bitter resentment against society in general which was failing to respond as it should to the artist's message. The will to turn the work of art against society by making it disturbing, frustrating and even shocking would have been the direct result of such a resentment. The thesis concludes by pointing out some important similarities between the art of Rosso and Pontormo and the modern Dadaist movement. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This dissertation examines the role of Cardinal Giovanni Battista de Luca in the reform of nepotism in the seventeenth-century Catholic Church. Popes gave very large amounts of money to their relatives and the burden of nepotism on the Catholic Church was very onerous. The Catholic Church was crippled by nepotism and unable to carry out its traditional functions. Although Cardinal de Luca and Pope Innocent XI worked tirelessly to end nepotism, they were thwarted in their attempts by apprehension among the Cardinals concerning conciliarism and concerning the use of reform measures from the Council of Trent; by Gallicanism and the attempts of the French King to exercise power over the French Church; and by the entrenchment of nepotism and its long acceptance within the Church. Cardinal de Luca and Innocent XI were not able to push through reforms during their lifetimes but Pope Innocent XII was able to complete this reform and pass a reform Bull. This dissertation has two complementary themes. First, a confluence of circumstances allowed for the unfettered growth of nepotism in the seventeenth-century Church to the point of threatening the well-being of the Catholic Church. Reform was not undertaken until the threat to Church finances was severe. Secondly, two upstanding and honest reformers arose in the Catholic Church to correct the problem, de Luca and Innocent XI. The achievements of Cardinal de Luca, also an important reformer of the Canon Law, are almost unknown to an English-speaking audience.

Den italienska kontrabasisten Giovanni Bottesini (1821-1889) är fortfarande mycket inflytelserik i dagens musikliv. Hans musik framförs regelbundet, och en viktig del av standardrepertoaren för kontrabasister. Bottesini anses vara världens kanske främste kontrabassolist genom tiderna, men hans spelstil har sällan problematiserats. Syftet med studien är att utifrån ett uppförandepraxisperspektiv undersöka och analysera hur Giovanni Bottesini spelade kontrabas. Det genomfördes metodiskt genom att utvärdera primärkällor såsom 1) konsertrecensioner, både internationella och i svenska. 2) Bottesinis utrustning, inklusive hans instrument, strängantal, stränglängd, stämning och stråke. 3) Bottesinis metodbok, med instruktioner om hur kontrabasen och stråken ska hållas samt fingersättningar och portamento. Studiens resultat påvisar att kärnan i Bottesinis musikaliska uttryck var hans sångbara och lyriska ton, som gestaltades genom ett intrikat samspel av faktorer som hans speltik, instrument, strängar, stråke samt konsertlokal. I detta arbete kommer jag också visa hur Bottesinis utrustning påverkade hans spelteknik, med aspekter som stränglängd, antal strängar och val av stråke. Resultatet visar att Givovanni Bottesini var en musiker av högsta rang, som ofta jämfördes med sin tids störste violinister. Bottesini framkallade sin vackra ton främst genom sin briljanta teknik, men också genom att använda en kontrabas med lång stränglängd samt tunna sensträngar stämda allt från en helton till en liten ters högre än normalt. Strängarna var tillverkade av Ruffini i Italien, och förmodligen tillverkade på italienskt vis med hela tarmar istället för delade tarmar som var vanligast i resten av Europa. Resultatet är viktigt för att förstå hur solokontrabas kunde låta under 1800-talet, men också för den musiker som vill spela Bottesinis musik tidstroget med 1800-talets utrustning. / <p>Kontrabaskonsert i H-moll - Giovanni Bottesini</p><p>Loke Underdal - Kontrabas</p><p>Katarina Ström-Harg - Piano</p>

Syftet med detta konstnärliga examensarbete var att undersöka skillnaderna mellan att spela kontrabas med orkesterstämning och med solostämning. Det implementerades genom en studie av den världskända kontrabasisten och dirigenten G. Bottesinis verk Elegy No.1 för kontrabas. För att uppfylla syftet utarbetades två frågeställningar: 1. Vilka svårigheter med att spela solostämning kan definieras? 2. Hur kan olika ackompanjemang göra att det blir lättare eller svårare att exempelvis intonera och göra rytmiska dragningar? Metoden var att spela stycket i olika stämningar och med olika kombinationer av ackompanjemang där resultatet bokfördes. Studiens resultat indikerar att spela i orkesterstämning med bas ackompanjemang var den mest givande metoden som konstnärligt var mest inspirerande. / <p>Elegy no 1  Giovanni Bottesini </p><p></p><p>Sonat för kontrabas och piano  Rob. Fuchs</p><p></p><p>Kontrabaskonsert Eb-dur  Jan Baptiste Vanhal</p><p></p><p>Symfoni nr 7 A-dur Poco sostenuto-Vivace  Ludwig van Beethoven </p><p></p><p></p><p></p><p>Medverkande:</p><p>Elisa Onegård</p><p>Victor Sjögren </p><p>Emilie Wästlund </p><p>Emilia Eriksson</p><p>Melina Karlgren</p><p>Eelis Malmivirta</p><p>Olof Rolandsson </p><p>Love Nordkvist</p><p>Simon Landqvist</p><p>Katarina Ström-Harg</p><p>Cornelia Vogel</p><p>Felicia Billherhag Hammarteg</p><p>Mimmie Törngren </p><p>Thomas Nicols </p><p>Hanna Anderberg </p><p>Blanka Hillerud</p><p>Joel Hedtjärn</p><p></p><p>Konserten kunde inte spelas in av tekniska skäl. Registreringen kommer att kompletteras vid ett senare tillfälle.</p>