published_or_final_version / Architecture / Master / Master of Architecture

Economic globalization is a relatively recent phenomenon which has become familiar nowadays both in theory and practice. By definition, economic globalization is a transnational phenomenon characteristic of the post-industrial era and whose driving forces are respectively the recent technological innovations (as its engine), media of communication (information technology) as its facilitator, and political liberalism as its underlying political ideology, particularly after the collapse of doctrinaire socialism and the disintegration of the Soviet Union and its satellites. The phenomenon of economic globalization is ambiguous. It is a symbol of promise for some, yet a symbol of threat and alienation for others. It has both positive and negative effects. In effect, we can appreciate the dividends of economic globalization as they are evident in the growth of international trade, a tendency to universalize liberal democracy as a result of the failure of socialism and its command economy, an apparent international solidarity, economic prosperity as well as the triumph of the market economy. On the negative side, we cannot be blind to the obvious growing marginalization of the poor countries and the poor within countries, the demise of the nation-state coupled with social and political instability, inequality and social injustices between and within countries, ecological degradation and moral decadence due to blind interests in the market and maximization of profit. However, the negative effects seem to weigh more than the positive ones. This raises the question of how to respond to economic globalization. Two responses are analysed and critiqued in this dissertation. The first response, that of Samir Amin, comes from a Neo-Marxist perspective. Amin suggests a reversal of economic globalization altogether. This reversal consists in the reconsideration of the international socialism whereby each state should be allowed to negotiate the terms of interdependence with other states (poly-centrism). The second response is that of Hans Kung, who suggests a global ethic that could give economic globalization a human face. This economy with a human face is an "Aristotelian mean" economy; a kind of economy which is between the welfare state and neo-capitalism. The content of this global ethic supposed to underlie this economy is a set of values drawn from most of the religious traditions of the world. My contention is that neither Amin's international socialism nor Kung's global ethic constitute a satisfactory challenge to the power of the market and profit that are the main motive of economic globalization. Amin's international socialism is unrealistic and unreliable, particularly in this time when Marxist socialism has failed economically and has shown itself unpopular and unhelpful in practice. Kung's idea of global ethic is a powerful suggestion. Nevertheless it lacks a conceptual foundation which would redeem it from the risk of being a mere ethical contract. This conceptual framework should be an alternative to that of the Smithian homo oeconomicus that informs today's economy. The present economic order evolves around the neoclassical narrow understanding of the human being as homo oeconomicus. Thus, if we are to provide an ethic for the phenomenon of economic globalization, we have to build it on a concept that goes beyond the economic man. Such a concept should be an answer to the following double question: What/who are we, and how should we live given what/who we are? The concept that seems to best answer these questions is the concept of imago Dei as relational, central to the Judeo-Christian anthropology. The social, political and ecological implications of imago Dei as relational should help us to reconstruct the human community as the context of moral values, empower the state as the natural society that can work in partnership with the Church as the family of God, and finally consider those values that can help us to consider the enviromnent as something that is not at the disposal of human domination and overexploitation. The ethic of imago Dei as reIational is applied to the Burundian context as its testing ground. With the ethic of imago Dei as relational, the growth of the international trade should benefit the poor instead of marginalizing them, political liberalism would not lead to disorder which the profit seekers exploit to the detriment of the state, solidarity would imply equality and social justice as well as environmental care, and moral values would recover their priority over market judgment in which everything is referred to in terms of commodity. The implications of such an ordering are the following: the humanization of foreign aid and humanitarian service, the orientation of economic investment towards human promotion and not only for profit, a shift from self-enrichment minded political leadership to a leadership open to socio-economic empowerment of the poor as well as environmental care. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.

Thesis (M.A.)--University of Hong Kong, 1998. / Includes bibliographical references (leaves 59-61).

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-22Bitstream added on 2014-06-13T20:28:48Z : No. of bitstreams: 1 oliveira_jr_me_ia.pdf: 1981083 bytes, checksum: 13292c6d57bd94cf81642e9b2b123e66 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta pesquisa surgiu da necessidade de registrar, organizar, sistematizar e relacionar os conhecimentos adquiridos em minha formação de atriz, professora de teatro e artista marcial, no intuito de melhor explorar o processo de criação teatral, utilizando técnicas marciais orientais. Aproximando as duas artes: teatral e marcial – kung fu, termo que além de designar uma arte marcial de origem chinesa possui outros significados como, por exemplo, capacidade de aguentar jejum e resistir, vislumbrei desenvolver, com os envolvidos no processo, potencialidades e habilidades, que foram vivenciadas na preparação corporal destes como atores, iniciando pelo treinamento para se chegar ao ensaio e por fim o espetáculo, promovendo de forma prática o aprimoramento do autoconhecimento e de suas relações com o outro e com o espaço, proporcionando um maior domínio do corpo, que se tornou mais expressivo para a criação cênica. Por buscar orientar os processos de trabalho teatral, de modo a tornar a experiência com teatro um meio socializador, fundamentado no principal postulado brechtiano, em que educar e divertir se apresentam essenciais à experiência com os jovens, considerando o contexto aqui abordado, o eixo dessa proposta leva em conta a abordagem práxica do teatro épico, sistematizado por Bertolt Brecht, sobretudo a partir de meados da década de 1920, quando o dramaturgo alemão passa a dedicar-se à criação das peças didáticas. Por meio dessas ideias e das práticas vivenciadas, algumas perguntas surgiram. Por que e como se apropriar de duas artes aparentemente distintas: kung fu e teatro, a fim de possibilitar uma melhor expressão do corpo? Como essas duas artes poderiam interagir, dando origem a um treinamento utilizado em um grupo de teatro? O que há nessa técnica oriental, que mobiliza e contribui para... / This work is a product of a necessity of register, organize, classify and transpose the knowledges obtained during my actress formation, theater teacher and martial artist, with the intent of better explore the theatrical creation process, by using oriental martial techniques. By uniting these two arts: theatrical and martial -kung fu, term that besides designating a chinese martial art has others meanings such as, capacity of endure a fast and resist, it was possible to develop, with the ones involved, potentialities and abilities, which were experienced in their body preparation as actors, starting by training to get to the rehearsal and at last to the presentation, helping them in a practical way in the improvement of self-knowledge and their relations with each other and with space, providing a greater body control, that became more expressive to the scenic creation. For trying to guide the theatrical work processes, in a way to make the experience with theater a socializing means, grounded in the main brechtian postulate, where to educate and to have fun are essential to the experience with the youngsters, considering the context that was approached here, this proposal takes into account the practical approach of epic theater, systematized by Bertolt Brecht, specially from the middle of the 1920 decade on, when the german dramatugist begins dedicating himself to the creation of educational plays. Through these ideas and experienced practices, some issues came up. Why and how to appropriate of two arts apparently so different: kung fu and theater to enable a better body expression? How could these two arts interact, creating a training used by a theater group? What does this oriental technique have, that mobilizes and contributes to the work of scenical creation with young theater students? Then, this... (Complete abstract click electronic access below)

Syftet med denna uppsats är att utröna hur Karl XII har använts inom litteraturen under 1700, 1800 samt 1900-talet. Frågeställningarna som ska besvaras är ställda utifrån Karl XII:s personlighet, politiska förmåga som statsman och slutligen Karl XII:s egenskaper som en militär ledare.   Litteraturen som används för undersökningen speglar de verk som kom att bli mest uppmärksammade och uppskattade på det samhälleliga planet – då de kan antas haft den största inverkan på människorna i sin tid. Det förekommer litterära verk om sålts i miljontal, exempelvis Carl Grimbergs och Herman Lindqvists verk. Det verk som utgör starten för denna uppsats är skriven 1731 av François-Marie Arouet, Voltaire, som var en beundrare till den svenske kungen. Författaraktörerna byter av varandra och publicerar med en jämn ström under de följande århundradena.    Den tidigare forskning som ligger till grund för uppsatsen är författaren Eva Östbergs beskrivning av historiebruk – att historien är människans kollektiva förmåga att minnas och att glömma, vilket yttrar sig i historiebruk. Denna beskrivning av historiebruk utmynnar även till John Tosh´s beskrivning av ett socialt minne – vilket yttrar sig på liknande sätt. Författaren Klas-Göran Karlsson ger en förklaring till ett existentiellt historiebruk – vilket är ett resultat av att människor har ett medfött behov av att minnas. Till dessa begrepp kommer även Egeland och Johannissons teori för en koppling mellan kultur, plats och identitet att användas.   Den teoretiska ansatsen är att befästa Karl XII som en historisk aktör och byggsten i den svenska historien med utgångspunkt att detta skiftar i olika kontexter. Undersökningen ska utröna vilken plats författarna ger Karl XII som en historisk byggsten.

En ny skola för årskurs 4-9 planeras i Kungsör. Den gamla skolan är delvis riven på grund av de fukt- och mögelskador som upptäckts. Mitt projekt är en tillbyggnad till den del av den gamla skolan som inte skadats. Den nya skolan ska rymma både mellan- och högstadie med 525 barn och ungdomar, samt 45 lärare och övrig personal. Det är en stor arbetsplats i en liten kommun. Sedan tidigt i projektet har essän 'Att kasta tjejkast' av Iris Marion Young påverkat grundidén bakom utformningen av den nya skolan. Denna text, i kombination med ett kritiskt förhållningssätt till den idag rivna skolans planutformning med många korridorer, ledde tillundersökningar om rörelsemönster och möjligheten att påverka sina rörelsemönster, i mitt fall för elever i en skola. Jag har jobbat emot korridorer som enda kommunikationselement och för ett alternativt rörelsemönster som istället låter människan själv att bestämma sina rörelsemönster i byggnaden. / A new school for years 4-9 is planned to be built in Kungsör, Västmanland. The old school, at the same site, is partially demolished because of damp damages. My project is an extension to the part of the old school that is not damaged and still exists. The new school will accommodate both elementary and secondary school with 525 children,  45 teachers and other staff. It's a big work place in a small community. Since early in the project, the essay 'Throwing like a girl' by Iris Marion Young affected the basic idea of the design of the new school. This text, combined with a critical approach to the floor plan of the now demolished school with many corridors, led to studies of movement patterns and the ability to influence your movement pattern. I have tried to eliminate corridors and instead creating a large room where the alternative movements is taking place. Here the people, instead of corridors, decide where to go and how to move.

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Cette thèse propose une analyse croisée du cinéma et du jeu vidéo sous un angle interdisciplinaire afin de montrer la réappropriation et le remédiatisation des structures narratives et formelles du jeu vidéo dans le cinéma d’effets visuels du tournant du XXIe siècle. Plus spécifiquement, la thèse porte sur l’analyse de trois figures majeures du jeu vidéo et de l’animation dans la trilogie Matrix (Larry et Andy Wachowski, 1999-2003), dans Avalon (Mamoru Oshii, 2001) et dans Kung-Fu Hustle (Stephen Chow, 2004). La première section de la thèse consiste en une mise en place théorique par la présentation de certains paramètres esthétiques du cinéma d’effets visuels et du jeu vidéo. Quelques réflexions préliminaires sur l’esthétique du cinéma d’effets visuels sont d’abord esquissées avant de présenter les principales relations transmédiales entre le cinéma et le jeu vidéo. Ensuite, c’est le cinéma transludique qui est défini alors que le terme découle de la synergie singulière entre le cinéma et le jeu vidéo. Puisque le cinéma transludique concerne spécifiquement la récupération de l’esthétique du jeu vidéo dans le cinéma contemporain, les prémisses d’une esthétique du jeu vidéo sont alors établies. Dans la deuxième section, ce sont les figures et sous-figures au cœur de cette réflexion qui sont développées, pour ensuite les appliquer aux films du corpus. La première figure à l’étude est celle de l’exploration, alors que l’analyse de la signification de cette figure dans la conception de jeu vidéo et dans les récits cinématographiques de science-fiction montre l’importance de la navigation comme expérience spatio-temporelle dans les univers virtuels. Ensuite, c’est l’utilisation récurrente de la figure vidéoludique du niveau (level) dans le cinéma hybride contemporain qui est soulignée, figure qui structure autant le récit que la forme représentationnelle des films transludiques. Enfin, la figure de la métamorphose, indissociable du cinéma d’animation, est étudiée afin de souligner l’importance de cette figure dans la création numérique et d’expliquer la transformation de l’image qui affecte le cinéma transludique, image qualifiée d’image-frontière. / This thesis proposes an analysis between cinema and video games from an interdisciplinary standpoint to demonstrate the remediation of video games’ narrative structures and forms in visual effects-driven films of the early twenty-first century. More specifically, the thesis focuses on the analysis of three major figures of video games and animation films in The Matrix trilogy (Larry and Andy Wachowski, 1999-2003), Avalon (Mamoru Oshii, 2001) and Kung Fu Hustle (Stephen Chow, 2004). The first section of the thesis is a theoretical framework in which the aesthetic parameters of visual effects-driven films and video games are introduced. Some preliminary thoughts on the aesthetics of visual effects-driven films are first outlined before presenting the main transmedial relationships between cinema and video game. Then, it is the transludic cinema which is defined as the term derives from the unique synergy between cinema and video game. Since transludic cinema specifically concerns the remediation of the aesthetics of video games in contemporary cinema, the grounds of an aesthetics of video game are established. In the second section, the figures and subfigures at the heart of this thesis are developed, and then applied to an analysis of the films. The first figure to be discussed is the motif of exploration, where I analyze the significance of this figure in the video game design and science-fiction films narratives, and the meaning of navigation as a spatio-temporal experience in virtual worlds. Then, I demonstrate the use of the recurring figure of the game level in the contemporary hybrid cinema, which structures the narrative as much as the representational image. Finally, the figure of metamorphosis, an essential characteristic of animation, is being studied to highlight the importance of this figure in digital films. I also explain the transformation of the image that affects the transludic film, an image qualified as an “image-frontière”.

This thesis examines Epictetus' view on Cynic philosophy, as it is being expressed in chapter 22 of the third book of Diatribai ("The Discourses"). The chapter has traditionally been seen as an idealized and deceitful portrait of the Cynic, and has been questioned as an intended justification of stoics and Cynics in the overall view on the history of philosophy. This thesis, however, attempts a different approach on the matter, based upon a thorough discussion regarding the field of research, as well as on different ways to read and understand the text at hand, in order to seek out a view that goes beyond the traditional distinction between practice and theory. The thesis thus challenges the view where the philosophy of Epictetus is seen as an instrumental practice of stoic theory, isolated to the field of ethics.   The reading of the chapter focuses mainly on the philosophical purpose of the text and its intended practice, and finds that much of the stoic ascetic practice is not only taught through instructions, but also performed in the lecture and Epictetus' way of speaking. Epictetus' portrait of the philosophical Cynic is thus understood, not only as an extreme end that serves as an ascetic role-model, but also as a basic archetype of what it actually means to practice a philosophical way of thinking, that is of central importance to Epictetus philosophy. This sheds a new light on both the traditional distinction between stoic theory and practice, and on much of the research performed on the field of stoicism this far, as well as on that of Cynicism.

Chan Kai Yiu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1992. / Includes bibliographical references. / Chapter 1. --- Introduction: Big Business Financing in Modern China --- p.1 / Chapter 2. --- The Demand for Capital and Credit --- p.18 / Chapter 3. --- Internal Financing --- p.30 / Chapter 3.1. --- Shareholders' Initial Investment / Chapter 3.2. --- Accumulated Capital / Chapter 4. --- External Financing --- p.56 / Chapter 4.1. --- Economic Background and Rationale behind External Financing / Chapter 4.2. --- Loans and Credits from Qianzhuang / Chapter 4.3. --- Loans from Modern Chinese Banks / Chapter 4.4. --- Loans from the Foreign Banks in China / Chapter 4.5. --- Credits in Machinery Buying / Chapter 5. --- Attempts of Closed Financing --- p.110 / Chapter 5.1. --- Guangsheng Qianzhuang: The First Attempt / Chapter 5.2. --- Gechang Wanglai: A Channel of Closed Financing / Chapter 5.3. --- The Headquarters Company: An Institutional Device / Chapter 5.4. --- Staff's Savings Department: One Step Further / Chapter 6. --- "Conclusion: Entrepreneurship, Social Networking, and Economic Rationalization" --- p.136 / Chapter 6.1. --- Entrepreneurship / Chapter 6.2. --- Social Networking / Chapter 6.3. --- Economic Rationalization / Appendix --- p.148 / Glossary --- p.150 / Selected Bibliography --- p.157