The objective of the present thesis entitled The creation of the Soviet union's ideal and its media image in the Czechoslovak media in 1950's is to show the effort of the major daily newspaper of that time - i.e. Rudé právo - to describe Soviet science. Creating a positive image of the Soviet Union through the presentation of scientific breakthroughs represents a significant way of building the ideal image of the USSR. More than fifty years later, it may be well analyzed which scientific fields were glorified by right, wherein the Soviet Union really excelled; and the rest, glorified only for propagandistic purposes. The theoretical part of this paper deals with the political situation in the USSR at the end of 40's and in the 50's as well as with the overall scientific environment during the same period. It characterizes the position of Rudé právo and describes the method of investigation. The paper however centers on the media analysis of ten separate time periods. The basic research method consists in historical and content- related analysis. The areas to be analyzed include the most important military research event of the decade under investigation - the successful test of the Soviet H-bomb, as well as the first successful use of nuclear energy for civilian purposes in the world - the startup...

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-17T17:34:53Z No. of bitstreams: 1 juliocesarcoelho.pdf: 2714643 bytes, checksum: 9bdaf694f058128655dd58d0cf5e718e (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-18T11:36:50Z (GMT) No. of bitstreams: 1 juliocesarcoelho.pdf: 2714643 bytes, checksum: 9bdaf694f058128655dd58d0cf5e718e (MD5) / Made available in DSpace on 2017-05-18T11:36:51Z (GMT). No. of bitstreams: 1 juliocesarcoelho.pdf: 2714643 bytes, checksum: 9bdaf694f058128655dd58d0cf5e718e (MD5) Previous issue date: 2015-12-17 / A tese discorre sobre a regulação democrática da radiodifusão, abordando sua dimensão normativa e trajetória histórica. No primeiro caso, são cotejadas diversas formulações da teoria democrática, que assinalam as exigências de consentimento expresso no pacto que institui a ordem política, de garantia de expressão das diferentes alternativas e de definição de mecanismos que assegurem a correção de desigualdades em benefício de setores menos favorecidos, avaliando suas implicações para a regulação do sistema de radiodifusão. Em seguida, são consideradas as trajetórias do Reino Unido e dos Estados Unidos, tomados como paradigmas de duas abordagens regulatórias, respectivamente a que trata a radiodifusão como serviço público e a que a toma como utilidade pública. Por fim, são analisadas as trajetórias da Argentina e do Brasil, países nos quais se erigiu um sistema de comunicação social oligopolizado, não obstante mudanças recentes. A análise de tais trajetórias é efetuada considerando a existência de quatro grandes períodos à escala global no desenvolvimento da radiodifusão no decorrer do século XX e no início do século em curso: a) Formação e definição (1910-1945); b) Expansão, consolidação e acentuação da regulação pública (1946-1973); c) Advento e afirmação do neoliberalismo e impulso para desregulação (até o fim da década de 1990); d) Desafios regulatórios das novas mídias: um novo período em gestação? (2000...). São tomadas como variáveis analíticas, o contexto internacional, o desenvolvimento das tecnologias de comunicação, a participação da iniciativa privada no setor comunicacional e as características do sistema político, de modo a explicar os processos de definição das configurações institucionais de regulações existentes nos países focalizados. Sustenta-se que a regulação democrática dos meios de comunicação, especialmente da radiodifusão, é requisito fundamental para o direito à comunicação e condição para que se fortaleçam interações entre os cidadãos capazes de acentuar sua confiança recíproca e nas instituições, sustentando e conferindo eficácia à ordem democrática. / The thesis discusses broadcasting democratic regulations, addressing their normative dimension and historical trajectory. In the first case, it collates various formulations of democratic theory, highlighting the express consent required to define the political order, the importance of the expression of different alternatives in the political process and the need to define mechanisms to ensure the correction of inequalities for the benefit of disadvantaged sectors, assessing their implications in the broadcasting system regulations. Then, it analyzes the trajectories of the United Kingdom and the United States, taken as paradigms of two different regulatory approaches, respectively dealing broadcasting as a public service, and alternatively, as a public utility. Finally, it addresses the trajectories of Argentina and Brazil, countries where was erected oligopoly media systems, despite the recent changes. The analysis of such paths is performed considering four major periods on a global scale in the broadcasting development in the 20th century and at the beginning of the current century: a) Formation and definition (1910-1945); b) Expansion, consolidation and accentuation of public regulation (1946-1973); c) Advent and strengthening of neoliberalism and the push for deregulation (until the end of the 1990s); d) Regulatory challenges of news media: a new period in progress? (2000…). We considered as analytical variables the international context, the development of communication technologies, the participation of private companies in the communication sector and the characteristics of the political system, in order to explain the definition processes of the institutional settings in the existing regulation in the targeted countries. This thesis maintains that the democratic regulation of the media, especially broadcasting, is a fundamental requirement for the communication rights, and condition to strengthen interactions between citizens able to enhance their mutual trust and in institutions, supporting and giving effectiveness to the democratic order.

The purpose of this research is to conduct a concept analysis and conceptual historical analysis as well as to develop a conceptual cartography of the concept of Human Rights Education (HRE) with reference to human rights in education. HRE has evolved into a burgeoning pedagogical formation that sources its currency from the perceived consensus on human rights universals. However, the proliferation of HRE is paradoxically not matched by a sustained and meaningful theoretical analysis of HRE though it has far-reaching implications for educational systems worldwide. This study provides a comprehensive theoretical analysis of HRE by examining the meanings that organise and construct the conceptual structure of HRE. The origins of the concept of HRE and its changing meanings are traced over time and paradigmatically analysed across a variety of theoretical orientations. This study also shows that HRE is a concept that is subjected to an unexplored and unexplained conceptual eclecticism that hampers its pedagogical potential as a counter-measure to human rights violations and human suffering. Amongst all the conceptual possibilities that could have been developed as an analytical interplay between the conceptual cartography, models, approaches and typologies of HRE, this study demonstrates that the dominant conceptual structure of HRE has grown into a declarationist, conservative, positivistic, uncritical, compliance-driven framework that is in the main informed by a political literacy approach. Consequently, this study develops alternative conceptual principles buttressed by a non-declarationist conception of HRE that stands in a critical and anti-deterministic relationship with human rights universals. / Thesis (PhD (Education Management and Policy Studies))--University of Pretoria, 2007. / Education Management and Policy Studies / unrestricted

Although the current, exhaustive studies of Brahms' works have covered many aspects of the composer's art, it is still surprising that his large-scale, five-movement Piano Sonata No.3 has in many ways been insufficiently studied by scholars who have emphasized the genre of the piano sonata and the aspect of performance practice over the work's more diverse features. Another reason that this early work has been understudied could in fact be that his later compositions in other genres, such as his symphonies, chamber music or choral music, have been perceived by scholars to represent best his most mature, comprehensive style. This dissertation will therefore examine the orchestral underpinnings of this monumental work which owes most often its already mature artistic essence to Brahms' multi-instrumental approach.

Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.

Kaikhosru Shapurji Sorabji (1892-1988) was an English composer-pianist of Parsi descent. Although he composed many works for piano, these compositions remain largely unknown to the public due to the composer's self-imposed 40-year ban on public performances of all his works and the immense technical difficulty of his music. This research proposes a comparative study of Sorabji's two versions of Rapsodie espagnole de Maurice Ravel-Transcription de concert pour piano (1923, 1945). These transcriptions are based on Ravel's orchestral work and are different in terms of the style of their arrangements: the 1923 version is more of a literal transcription, whereas the 1945 version has been expanded upon the former. This dissertation compares the differences between the two versions, as well as identifying how Sorabji infused his own style into the 1945 transcription. This study relies on primary sources including writings and manuscripts of Sorabji, and secondary sources such as articles on interpreting Sorabji's piano works and biographies about Sorabji.

Eak Tai Ahn is not only the first generation of Korean musicians, composers and conductors to have studied Western music and given successful musical performances in Western countries, but also is among the first to introduce the music of Korea to the West utilizing the Western music system. Korea Fantasy is an important work that helped Ahn win international acclaim. Korea Fantasy is an orchestral piece that evolved along with Ahn's unique life experiences shaped by the state of his native country. The piece is programmatic, depicting the history of Korea, which utilizes musical devices, such as rhythms and quotation that are distinctive musical elements of Korea. This document discusses the political and social history of Korea during Ahn's life time, offers an overview of Ahn's education and musical footsteps, and describes the premiere and reception of Korea Fantasy. Moreover, a discussion of his compositional traits and a musical analysis of Korea Fantasy are presented.

The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.

Im ersten Abschnitt der Arbeit werden, neben dem grundlegenden Ablauf, die unterschiedlichen Factoring-Formen und Funktionen erläutert. Es erfolgt eine Abgrenzung zu anderen kurzfristigen Finanzierungsformen. Für diese Arbeit wurden Geschäftszahlen der Jahre 2008 bis 2018 von 106 Factoring-Unternehmen über die elektronische Ausgabe des Bundesanzeigers erhoben. In dem darauffolgenden Abschnitt erfolgt die Arbeit mit den empirischen Daten. Die Daten werden diskutiert, aufbereitet und anschließend ausgewertet. Es werden Entwicklungen am Arbeitsmarkt und der Gesamtwirtschaft beobachtet und im letzten Abschnitt der Arbeit die aktuellen Entwicklungen der Fintechs betrachtet. Dabei wird der Begriff „Fintech“ zunächst definiert und die Unterschiede zu klassischen Geschäftsmodellen kritisch analysiert. Abschließend erfolgt eine Zusammenfassung der Ergebnisse.:1 Einleitung 2 Definition und Abgrenzung des Factorings 2.1 Definition und Formen des Factorings 2.2 Bedeutung und Funktionen des Factorings 2.3 Alternative kurzfristige Finanzierungen und deren Kosten 3. Entwicklung des Factoring-Marktes in Deutschland 3.1 Erhebung und Herkunft der Daten 3.1.1 Statistische Beurteilung – Qualität der Daten 3.1.2 Regression – Schätzen fehlender Werte 3.1.3 Interpretation der Daten 3.2 Einteilung der Unternehmen 3.2.1 Nach Unternehmensgröße laut HGB 3.2.2 Nach Rechtsform 3.2.3 Nach Standort 3.2.4 Nach Gründungsdatum 3.2.5 Nach Wirtschaftsbranche der Factoring-Kunden 3.3 Positionen der Gewinn- und Verlustrechnung 3.3.1 Zinserträge / Provisionserträge 3.3.2 Zinsaufwendungen / Provisionsaufwendungen 3.3.3 Allgemeine Verwaltungsaufwendungen 3.3.4 Wertberichtigungen auf Forderungen 3.3.5 Sonstige Gewinn- und Verlustrechnungspositionen 3.3.6 Ergebnis aus normaler Geschäftstätigkeit 3.4 Positionen der Bilanz 3.4.1 Forderungen und Verbindlichkeiten 3.4.2 Sonstige aktive Bilanzposten 3.4.3 Eigenkapital 3.4.4 Sonstige passive Bilanzpositionen 3.5 Arbeitsmarkt / Anzahl der Mitarbeiter 3.6 Entwicklung der Factoring-Quoten, Kundenzahlen 3.7 Historische Entwicklung und regulatorische Einflüsse 4 Entwicklungen in der Fintech-Branche 4.1 Definition von Fintechs 4.2 Dienstleistungsunterschiede zu klassischen Factoring-Anbietern 4.3 Börse für Factoring 4.4 Kritische Auseinandersetzung 5 Zukünftige Entwicklung 6 Fazit / This bachelor thesis evaluates the development of the german factoring market between the years 2008 and 2018. For the evaluation key figures of annual financial statements, employment market and the factoring branch in general are compared between 164 factoring companies.The thesis also discusses the latest innovation of fintechs and draws a comparison to traditional factoring companies. In conclusion, the results clearly show a growth of the industry within the evaluation period.:1 Einleitung 2 Definition und Abgrenzung des Factorings 2.1 Definition und Formen des Factorings 2.2 Bedeutung und Funktionen des Factorings 2.3 Alternative kurzfristige Finanzierungen und deren Kosten 3. Entwicklung des Factoring-Marktes in Deutschland 3.1 Erhebung und Herkunft der Daten 3.1.1 Statistische Beurteilung – Qualität der Daten 3.1.2 Regression – Schätzen fehlender Werte 3.1.3 Interpretation der Daten 3.2 Einteilung der Unternehmen 3.2.1 Nach Unternehmensgröße laut HGB 3.2.2 Nach Rechtsform 3.2.3 Nach Standort 3.2.4 Nach Gründungsdatum 3.2.5 Nach Wirtschaftsbranche der Factoring-Kunden 3.3 Positionen der Gewinn- und Verlustrechnung 3.3.1 Zinserträge / Provisionserträge 3.3.2 Zinsaufwendungen / Provisionsaufwendungen 3.3.3 Allgemeine Verwaltungsaufwendungen 3.3.4 Wertberichtigungen auf Forderungen 3.3.5 Sonstige Gewinn- und Verlustrechnungspositionen 3.3.6 Ergebnis aus normaler Geschäftstätigkeit 3.4 Positionen der Bilanz 3.4.1 Forderungen und Verbindlichkeiten 3.4.2 Sonstige aktive Bilanzposten 3.4.3 Eigenkapital 3.4.4 Sonstige passive Bilanzpositionen 3.5 Arbeitsmarkt / Anzahl der Mitarbeiter 3.6 Entwicklung der Factoring-Quoten, Kundenzahlen 3.7 Historische Entwicklung und regulatorische Einflüsse 4 Entwicklungen in der Fintech-Branche 4.1 Definition von Fintechs 4.2 Dienstleistungsunterschiede zu klassischen Factoring-Anbietern 4.3 Börse für Factoring 4.4 Kritische Auseinandersetzung 5 Zukünftige Entwicklung 6 Fazit

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