Diss.--Philosophische Fakultät--Universität Köln, 1992. / Appareil critique en allemand suivi du texte en latin. Bibliogr. p. 208-219. Index.

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The hydrodynamics and mechanics of obliquely swimming characoid species Chilodus punetatus, Nannostomus eques, Nannostomus unifasciatus, Thayeria. boehlkei and Thayeria obliqua are investigated. In Chilodus punctatug, Nannostomus eques and Nannostomus unifasciatus the position of the centre of mass relative to the centre of buoyancy is the reverse of what would be expected from their pitch. The centre of mass is in front of the centre of buoyancy in the two Nannostomus species which swim with a positive pitch and vice versa in Chilodus punctatus which swims with negative pitch. The relative positions of these two centres are in such a way that they help to bring the fish horizontal during fast swimming. Pitch in these species is maintained by the action of the pectoral and caudal fins. In the two Thayeria species the centre of mass is behind the centre of buoyancy and their separation is responsible for the positive pitch. The fins are used to correct for this pitch to the desirable level. The enlarged lower lobe of the caudal fin in Nannostomus species has an epibatic effect and does not contribute to the forces responsible for the pitch in hovering as previously proposed. Relative vertebrae size in Nannostomus eques and Nannostomus unifasciatus when compared to Nannostomus becfordi and Nannostomus trifasciatus which swim horizontally show adaptations towards a strategy of rapid start from rest. / Science, Faculty of / Zoology, Department of / Unknown

Gunther Schuller is presently one of America's most influential music personalities. As one colleague of Schuller's at the New England Conservatory has written, "In many ways, Gunther Schuller is a modern incarnation of the renaissance man, with his interests and abilities flowing from him like ripples in a pond."1 Schuller, in his six decades, has been one of the nation's first-rate orchestral horn players and has participated in the instrument's introduction into the jazz medium; his interest in musicological research has encompassed the study of various types of music and resulted in Early Jazz: Its Roots and Musical Development, 2 considered by some to be "the definitive musicological treatment of jazz history . . ..”3 Schuller is also recognized as a leading contemporary composer and conductor, former composition instructor and long-time artistic co-director of the annual summer Tanglewood Festival, and teacher, authority, and author on horn playing.The dissertation traces Schuller's varied career, giving particular attention to his phenomenal success as a virtuoso of the French horn by age seventeen. The study also details his development as a composer, concentrating primarily on his compositional style as revealed in the works for horn as a solo and chamber music instrument. Among the works discussed are the horn concertos, the woodwind suite and brass quintet, Lines and Contrasts for sixteen horns, and Five Pieces for Five Horns. Included in the discussion is his unpublished and virtually unknown first Horn Concerto, which was written (and performed only once) by the composer while he was first horn in the Cincinnati Symphony. For the research, a copy of the manuscript was provided by the composer. (To date, the only published remnant is an arrangement of the second movement entitled Nocturne for horn and piano.)The dissertation examines Schuller's ideas concerning the "art" of modern horn playing through a discussion of his writings (Horn Technique), his musical studies (Studies for Unaccompanied Horn and Duets for Unaccompanied Horns), and through the observations of colleagues and former students. Fortunately, some of Schuller's well-articulated thoughts on musicianship in general and horn playing specifically have been retained in the tapes of the Sixth Annual International Horn Workshop, held at Ball State University in 1974. These are transcribed and included in the Appendix.In summary, the research is in three major sections. The first deals with biographical information-- Schuller's various careers, a survey of his compositions and writings, and a discussion and evaluation of his playing career based on information from his colleagues, recordings, and reviews. Section two examines the composer’s style and his influence on the instrument’s technique through a detailed study of the solo and chamber works for horn. Part three concerns his pedagogical and philosophical ideas regarding music education, with particular attention to the horn and horn playing.1. Frank Battisti, "Gunther Schuller and His Many Worlds of Music," The Instrumentalist, XXXII (June, 1978), p. 39.2. Gunther Schuller, Early Jazz: Its Roots and Musical Development, (New York: Oxford University Press), 1968.3. Robert Palmer, "Gunther Schuller: On the American Musical Melting Pot," Downbeat, XLIII (Feb. 12, 1976), 12.

A expansão do Direito Penal é um fenômeno jurídico da pós-modernidade que se encontra intrinsecamente relacionado com a configuração da sociedade atual como sociedade de riscos. Tal conjuntura social, política, tecnológica, econômica e, inevitavelmente, jurídica afeta a construção dos institutos dogmático-penais. Neste diapasão é possível observar novidades na realidade dogmática: o surgimento ou incremento dos crimes de perigo abstrato, o aumento da relevância da omissão, bens jurídicos supra-individuais, discussão sobre a responsabilidade penal da pessoa jurídica, dentre outros. O efeito deste novo contexto social expansivo da punição não implica apenas o surgimento de novas estruturas dogmáticas, mas, também, ocasiona a reconstrução das categorias dogmático-penais clássicas. A culpabilidade é um instituto pré-existente que enfrenta modificações de natureza semântica, ou seja, não está sendo construída no afã da novidade, mas reconstruída silenciosamente sob o manto dos costumes. Este estudo busca lançar luzes sobre a reconstrução histórica e funcional da culpabilidade, analisando e valorando as alterações práticas e teóricas sofridas pelo citado instituto no contexto da expansão penal na sociedade de risco. Para tal, o plano teórico condutor será o funcionalismo penal, que constitui escola de expressiva representatividade na pós-modernidade por coadunar-se com o momento histórico atual. O marco teórico específico será a obra de Günther Jakobs, em razão de a vertente funcionalista sistêmica deste autor estar alinhada com uma perspectiva funcional do Direito. O objetivo central do presente trabalho científico será, justamente, analisar em que medida confundir culpabilidade com prevenção geral positiva para atender anseios sociais de confirmação jurídica comunicativa, como faz Günther Jakobs, se coaduna com as funções da culpabilidade em um Estado Democrático de Direito. Assim, com a análise crítica da obra de Günther Jakobs, busca-se reconstruir o instituto da culpabilidade a partir de sua função histórica de valorização do indivíduo oriunda da subjetivação da responsabilidade e limitação da punição. / The expansion of the Criminal Law is a post modernity juridical phenomenon that is deeply related to risk society. This social, political, technological, economical context affects the criminal legal institutions. It is possible, in this situation, observing news concerning dogmatic reality: the emergence of abstract danger crimes, the increase of omission´s relevance, diffuse juridical estate, discussion about the responsibility of companies, among other effects. The effect of this expansive new social context of punishment, not only implies the emergence of dogmatic news, but also affects the reconstruction of the classic dogmatic categories. Culpability is an pre-existing institute in criminal doctrine that faces semantics changes. In other words, culpability is not built by post modernity changes, but it is quietly rebuilt under customs. This study aims to illuminate this reality of culpability reconstruction in post modernity, by analyzing the changes in culpability institute caused by criminal expansion in risk society. In order to accomplish that, the leading theory for the study will be the criminal functionalism, which is a representative criminal school of post modernity because of its consistency of the current historical moment. The specific theoretical framework is Günther Jakobss work, as this systemic functionalism author is related to a post-modern functional law tendency. The central goal of this work will be analyzing to what extent mistaking culpability for general positive prevention, in order to apply social anxiety of juridical communicative confirmation, as Günther Jakobs does, respecting the functions of culpability in a democracy or not. In this way, with a critical analysis of Günther Jakobs´s work, this study pursues the reconstruction of culpability through the historical function of the individuals appreciation, arising from subjective responsibility and punishment limitation.

In a public lecture given by Gunther Schuller in 1957, the term 'third stream music' was suggested as a way of describing the combination of 'first stream music' (Western classical) and 'second stream music' (American jazz) within a musical work. 'Third stream' was proposed as a term to denote the fusion of

A expansão do Direito Penal é um fenômeno jurídico da pós-modernidade que se encontra intrinsecamente relacionado com a configuração da sociedade atual como sociedade de riscos. Tal conjuntura social, política, tecnológica, econômica e, inevitavelmente, jurídica afeta a construção dos institutos dogmático-penais. Neste diapasão é possível observar novidades na realidade dogmática: o surgimento ou incremento dos crimes de perigo abstrato, o aumento da relevância da omissão, bens jurídicos supra-individuais, discussão sobre a responsabilidade penal da pessoa jurídica, dentre outros. O efeito deste novo contexto social expansivo da punição não implica apenas o surgimento de novas estruturas dogmáticas, mas, também, ocasiona a reconstrução das categorias dogmático-penais clássicas. A culpabilidade é um instituto pré-existente que enfrenta modificações de natureza semântica, ou seja, não está sendo construída no afã da novidade, mas reconstruída silenciosamente sob o manto dos costumes. Este estudo busca lançar luzes sobre a reconstrução histórica e funcional da culpabilidade, analisando e valorando as alterações práticas e teóricas sofridas pelo citado instituto no contexto da expansão penal na sociedade de risco. Para tal, o plano teórico condutor será o funcionalismo penal, que constitui escola de expressiva representatividade na pós-modernidade por coadunar-se com o momento histórico atual. O marco teórico específico será a obra de Günther Jakobs, em razão de a vertente funcionalista sistêmica deste autor estar alinhada com uma perspectiva funcional do Direito. O objetivo central do presente trabalho científico será, justamente, analisar em que medida confundir culpabilidade com prevenção geral positiva para atender anseios sociais de confirmação jurídica comunicativa, como faz Günther Jakobs, se coaduna com as funções da culpabilidade em um Estado Democrático de Direito. Assim, com a análise crítica da obra de Günther Jakobs, busca-se reconstruir o instituto da culpabilidade a partir de sua função histórica de valorização do indivíduo oriunda da subjetivação da responsabilidade e limitação da punição. / The expansion of the Criminal Law is a post modernity juridical phenomenon that is deeply related to risk society. This social, political, technological, economical context affects the criminal legal institutions. It is possible, in this situation, observing news concerning dogmatic reality: the emergence of abstract danger crimes, the increase of omission´s relevance, diffuse juridical estate, discussion about the responsibility of companies, among other effects. The effect of this expansive new social context of punishment, not only implies the emergence of dogmatic news, but also affects the reconstruction of the classic dogmatic categories. Culpability is an pre-existing institute in criminal doctrine that faces semantics changes. In other words, culpability is not built by post modernity changes, but it is quietly rebuilt under customs. This study aims to illuminate this reality of culpability reconstruction in post modernity, by analyzing the changes in culpability institute caused by criminal expansion in risk society. In order to accomplish that, the leading theory for the study will be the criminal functionalism, which is a representative criminal school of post modernity because of its consistency of the current historical moment. The specific theoretical framework is Günther Jakobss work, as this systemic functionalism author is related to a post-modern functional law tendency. The central goal of this work will be analyzing to what extent mistaking culpability for general positive prevention, in order to apply social anxiety of juridical communicative confirmation, as Günther Jakobs does, respecting the functions of culpability in a democracy or not. In this way, with a critical analysis of Günther Jakobs´s work, this study pursues the reconstruction of culpability through the historical function of the individuals appreciation, arising from subjective responsibility and punishment limitation.

This Master's thesis focuses on the specific features and phenomena in the Czech third stream in the 1960s. These specifics are identified, on the one hand, through the analysis of Karel Velebný's third streams compositions, but also through their comparison with third stream works by other Czech authors in the observed period. The resulting characteristic of the Czech third stream is then confronted with the third stream of an American author and ideological founder of this style movement, Gunther Schuller. The criterion for the inclusion of the analyzed compositions in this thesis was the presence of a certain avant-garde ambition, which, in this thesis, is understood as the use of dodecaphony or other New music compositional techniques in the context of jazz music. In the analysis, the thesis focuses on the way these compositional techniques were implemented into the structure of jazz music, but the author also observes which musical components are through this stylistic synthesis modified the most. Key words: Third stream, jazz, Karel Velebný, Pavel Blatný, Gunther Schuller

My dissertation project, Die Gruppe ZERO: Working through Wartime Trauma, analyzes the art, publications, and demonstrations of the art movement Zero. Zero’s core artists, Otto Piene, Heinz Mack, and Günther Uecker worked in West Germany and emerged as a group in West German in 1957. They worked together until they officially disbanded in 1966. My project investigates the specific historical context of Zero, which encompasses the artists’ experience of World War II, its dismal aftermath, the rise of the Wirtschaftswunder (Economic Miracle), and the mounting tensions of the Cold War. In between the lines of Zero manifestos, which are wildly riddled with utopian rhetoric, were the sentiments of their dark reality. Zero artists’ desire to create all-consuming visual phenomena for the observer stemmed directly from their own immersive experience on the ground during the aerial raids of World War II. Zero artists desired to erase the terrorizing charge embedded in the memory of the past and the fears of the present, through bodily experience that would give survivors a new sense of personal agency.

Ce mémoire traite de la populaire exposition montrant de véritables corps humains morts pouvant être vus en institutions muséales, soit Le monde du corps. Exposition anatomique de corps humains de Gunther von Hagens. Il a pour objectif de définir les visées et les procédés utilisés par celle-ci afin d'en stimuler son succès en mettant en exergue les confusions établies par le discours à sa défense et en relevant les thèmes inhérents à la sensibilité contemporaine qu'elle vient toucher. Se servant d'approches diversifiées, l'anthropologie et la sociologie en sont les principales alors qu'elles permettent de mettre en contexte le corpus des sculptures plastinées (selon la technique de plastination qui aurait été inventée par Gunther von Hagens). La réception des médias est examinée pour ensuite laisser place à l'étude du catalogue d'exposition, véritable outil promotionnel du projet. Le rapport actuel à la mort, dans la dynamique complexe qu'il entretient avec le cadavre, est discuté tout en relevant les croyances et les modes de défense créés par les sociétés pour faire face à sa violence. L'histoire des représentations du corps mort dans l'histoire de l'art occidental est réalisée afin d'y comparer le nouveau type de représentation du corps émis par l'exposition. Les liens construits avec la discipline artistique sont analysés pour rendre compte des stratégies déployées à travers eux pour favoriser la légitimité de l'exposition. Enfin, sa pertinence dans l'époque actuelle est constatée par l'analyse de thèmes propres aux sensibilités contemporaines tels que la nouveauté, la technique, la potentielle forme d'existence post mortem ainsi que les modèles corporels promus. La confusion suscitée semble voulue et permet de tirer bénéfices pour son succès. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Gunther von Hagens, Cadavre, Mort, Plastination.