His Story takes the form of a fictive but autobiographically based investigation into the child and young adult I used to be, and follows that protagonist into early adulthood. It tries to show the damage done to that character and the way in which he damaged others in turn. As Hemingway said, We are all bitched from the start and you especially have to hurt like hell before you can write seriously. More importantly, the main protagonist is somebody who became concerned with, and cognizant of the main political and social events of his day. His life is set in its social context, and reaches out to the larger issues. That is to say, the personal events of the protagonist's life are recorded alongside and set in the context of the major events taking place on the world stage. The manuscript is some sort of hybrid of novel, autobiography, and historical and social document. As Isaac Bashevis Singer said, The serious writer of our time must be deeply concerned about the problems of his generation. In order to make His Story effective in sharing my ideas and beliefs, and, of course, in order to protect the innocent and more particularly, the guilty, it is created in the colourful area that is the overlap between memory and fiction. When we tell the stories of our lives to others, and indeed, to ourselves, we prise them out of memory's fingers and transform them into fiction. To write autobiography well, as E.L. Doctorow said, you have to invent everything, even memory.

O objetivo da pesquisa foi estudar a psicologia dos Agentes de Segurança Penitenciária (ASPs), como integrantes de um grupo profissional no exercício de sua função no interior do cárcere. O referencial teórico foi a Teoria de Campo de Kurt LEWIN, com destaque para os conceitos de espaço de vida, pessoa e ambiente, regiões, barreiras, locomoção e tempo. O objeto de estudo foi 27 ASPs de duas Penitenciárias masculinas do Estado de São Paulo. Esses agentes foram observados em três situações de trabalho, especialmente nas portarias e nas gaiolas das penitenciárias, durante 120 horas, ou dez plantões. As observações, de matiz etnográfico, que incluíram ações, gestos, palavras e ambiente físico, foram registradas em cadernos de campo. A análise das observações foi realizada mediante a leitura dos conceitos lewinianos, subsidiada por outros estudos das prisões e das relações grupais no interior do cárcere. A sistematização das análises permitiu inferir que: i) o ambiente das prisões não é apenas perigoso e insalubre, como também lugar de trabalho precarizado e pauperizado; ii) as pessoas dos ASPs ressentem-se da condição inadequada de trabalho, mas poucos conseguem, no sentido da transformação do ambiente; iii) as más condições de trabalho levam à precarização da própria existência pessoal dos ASPs; iv) o ambiente da prisão leva à vitimização das pessoas, sejam funcionários ou presos. Os resultados foram discutidos à luz dos conceitos enunciados, que permitiram esclarecer, do ponto de vista psicossocial, o exercício da função do ASP como identidade profissional paradoxal: ora agente repressor, ora agente ressocializador. Essa ambiguidade característica resulta de uma situação de equilíbrio precário entre regiões de valências opostas e entre forças de natureza diversa, além de ser resultante da interação com o ambiente, que inclui o grupo dos ASPs e o grupo dos presos / The aim of this research was analyzing the psychology of correctional officers as members of a professional group carrying out their duty inside the prison. The theoretical reference was Kurt Lewins field theory, highlighting the concepts of life space, individual and environment, regions, barriers, locomotion and time. The purpose of the investigation was 27 correctional officers from two male correction facilities in Sao Paulo State. These officers were observed in three working situations, mainly in the gatehouses and in the prison cages, for 120 hours, or ten shifts. The observations, with ethnographic tone, which included actions, gestures, words and physical environment, were recorded in field notebooks. The analysis of the observations was accomplished through the reading of Lewinian concepts, helped by other studies on prisons and group relations inside the correction facilities. The systematization of the analyses helped inferring that: i) the environment of the correctional facilities is not only dangerous and unhealthy, but also fragile and meager; ii) the correctional officers, as human beings, are resentful of the inadequate working conditions, but few succeed, in the sense of environment transformation; iii) the bad working conditions lead to an impoverishment of the correctional officers personal existence itself; iv) the prison environment induces the victim hood of the individuals, officers and prisoners alike. The results were discussed in the light of the declared concepts, which allowed explain, in the psychosocial point of view, the correctional officers duty role as a paradoxical professional identity: sometimes a repressor agent, sometimes a resocializer agent. This distinctive ambiguity results from a precariously balanced situation among areas with opposed validity and among several different forces, and it is also a result of the interaction with the environment, which includes the group of correctional officers and the group of prisoners

Notre travail vise à étudier les Max-Phil, textes inédits de Kurt Gödel, dans lesquels il développe sa pensée philosophique. Nous nous intéressons plus spécifiquement à la question du réalisme conceptuel, position déjà défendue dans ses écrits publiés selon laquelle les concepts existent indépendamment de nos définitions et constructions. L’objectif est de montrer qu’une interprétation cohérente de ces textes encore peu connus est possible. Pour ce faire, nous proposons une interprétation de certains passages, interprétation hypothétique mais susceptible d’apporter de nouveaux éléments à des questions laissées sans réponse par les textes publiés, telles celles relatives au réalisme conceptuel. Cette dernière position ne peut être comprise que par un éclairage de la notion de concept chez Gödel. Les concepts sont des entités logiques objectives, au cœur du projet d’une théorie des concepts conçue comme une logique intentionnelle et inspirée de la scientia generalis de Leibniz. L’analyse des Max-Phil souligne que la notion de concept et la primauté du réalisme conceptuel sur le réalisme mathématique ne peuvent se comprendre qu’à la lumière du cadre métaphysique que se donne Gödel, à savoir d’une monadologie d’inspiration leibnizienne. Les Max-Phil offrent ainsi des indices sur la façon dont Gödel reprend et modifie la monadologie de Leibniz, afin, notamment, d’y inscrire les concepts. L’examen de ce cadre métaphysique tend également à éclaircir les rapports entre les concepts objectifs, les concepts subjectifs (tels que nous les connaissons), et les symboles (par lesquels nous exprimons les concepts), mais aussi les rapports entre logique et mathématiques. / Our work aims at studying the unpublished texts of Kurt Gödel, known as the Max-Phil, in which the author develops his philosophical thought. This study follows the specific issue of conceptual realism which is adopted by Gödel in his published texts (during his lifetime or posthumously), and according to which concepts are independent of our definitions and constructions. We want to show that a consistent interpretation of the Max-Phil is possible. To do so, we propose an interpretation of some excerpts, which, even if it is only hypothetical, can give new elements in order to answer open questions of the published texts, e.g. questions about conceptual realism. This last position is not understandable without explaining Gödel’s notion of concept. For him, concepts are logical and objective entities, and they are at the core of a theory of concepts, which is conceived as an intensional logic, following Leibniz’s scientia generalis. The analysis of the Max-Phil underlines that we can understand the notion of concept and the primacy of conceptual realism over mathematical realism only in the light of Gödel’s metaphysical frame, i.e. of a monadology inspired by Leibniz. Thus the Max-Phil shows how Gödel reinvestigates Leibnizian monadology, and offers some clues on the modifications he makes on it in order to include concepts. The examination of this metaphysical frame tends to elucidate the relationships between objective concepts, subjective concepts (as we know them) and symbols (through which we express concepts), and also the relationship between logic and mathematics.

La pensée provenant du monde scientifique et celle représentée dans le cadre narratif du roman sont toutes deux issues d'une même volonté de révéler les objets de ces pensées, même si leur articulation est indubitablement différente. La science utilise le langage pour décrire le monde et aspire à des avancées techniques, alors que le langage du roman est l'expression d'une expérience. Les trois romans de notre étude intègrent certains aspects de la pensée scientifique et permettent ainsi de rendre compte des chassés-croisés entre la science et le littéraire. L'étude propose de faire état de l'appréhension du monde représentée dans Carpenter 's Gothic de William Gaddis, Roger 's Version de John Updike et Cat's Cradle de Kurt Vonnegut; à ce titre, nous serons en mesure de mettre en lumière les incidences de la pensée scientifique, épistémologique et philosophique dans ces romans. Nous articulerons comment les tensions entre les deux disciplines sont intimement liées aux processus langagiers dans ces fictions. Une réflexion sur la nature des savoirs et de la vérité est également au coeur de la dynamique de ces romans. L'imaginaire de la science permet d'anticiper un questionnement sur le rapport au monde de l'homme contemporain. Le présent mémoire tente globalement, en analysant comment la pensée scientifique se manifeste dans l'espace des romans, d'exposer comment les différents discours sur la science dans ces fictions caractérisent une pensée trouble essayant de faire sens d'un monde complexe et contradictoire. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : William Gaddis, John Updike, Kurt Vonnegut, Littérature, Science, Société, Culture.

Diss.--Saarbrücken, 2003. / Bibliogr. p. 294-326.

Texte abrégé et remanié de: Dissertation--Fachbereich Geisteswissenschaften--Universität Duisburg-Essen, 2005. / Bibliogr. p. 244-251.

Thesis (M.A.)--Florida State University, 2004. / Advisor: Dr. Anita Gonzalez, Florida State University, School of Theatre. Title and description from dissertation home page (viewed 6/16/04). Includes bibliographical references.

This thesis is an attempt to assess the importance of the satirical photo essay Deutschland, Deutschland uber alles in the life and literary development of the German author Kurt Tucholsky, and to help establish the significance of the work in the German literary canon. The work appeared in 1929, and marked a complete departure from his previous output in many respects. He experimented with the genre of photo essay and photomontage in collaboration with renowned montage artist and dedicated Communist John Heartfield, attempted to reach a new reading audience in the German working classes, and published the book in a radical publishing house with strong ties to the German Communist Party. / However, despite the successful combination of photograph, photomontage and text which allowed Tucholsky and Heartfield to produce many insightful and scathing criticisms of Weimar society, the book largely failed to deliver a relevant social or political criticism of the Weimar Republic. Tucholsky's criticisms were directed toward the ruling Social Democratic Party and other parties of the bourgeois political establishment, but he ignored or refused to see the far greater threat posed by the rising tide of National Socialism. (Abstract shortened by UMI.)

Kurt Gerstein entered the Waffen-SS in 1941 with the intention of working against the Nazi regime from the inside. Despite being required to participate in some of the criminal activities of the SS, Gerstein believed he could be most effective for the resistance if he remained in the SS. This thesis examines the evidence presented in and the results of three separate legal proceedings (a criminal trial, a Denazification hearing and a rehabilitation and compensation case) which took place in the 24 years following Gerstein's death in 1945. Each of the three proceedings was brought about for a different legal purpose, and therefore involved different laws and standards for judgment. However, all of the proceedings dealt with the problem of balancing the incriminating nature of Gerstein's means of resistance against what he had hoped to accomplish, or did accomplish, from that position.

<p>The period following the Second World War in Austria represents a unique historical situation. On the one hand, strongly conservative and restaurative trends in politics, publications, media, and social life dominated the country - at the same time, a radically new avant-garde movement emerged. What today is collectively referred to as the Wiener Gruppe was, in the 1950s, a circle of young writers, connected by friendship and collaboration with the filmmakers Kurt Kren and Peter Kubelka. These artists created experimental works that pre-empt the concept of performance art established at a theoretical level two decades later, and anticipate the re-conceptualization of the role of the reader theorized by Roland Barthes and Michel Foucault in the 1960s. </p><p>In this dissertation, I outline the socio-political situation in Austria during the years following World War Two in Chapter One and discuss the key concepts and works which are relevant for the understanding of experimental literature and film in Chapter Two and Three. I demonstrate that the radical experimentation of postwar experimental authors and filmmakers draws attention to the materiality, visuality, and performativity of their works and establishes experimental literature and film as individual art forms: writing-as-writing and film-as-film. In conclusion, I argue that their works represent an implicit critique of language, culture, and society in the context of the "grand narratives" or the "invisible structurations" supporting a post-World War Two Austrian society.</p><p>In this dissertation, I will outline the socio-political situation in Austria during the years following World War Two in Chapter One, and discuss the key concepts which are relevant for the understanding of experimental literature in Chapter Two and Three. I will demonstrate that the radical experimentation of postwar experimental authors and filmmakers draws attention to the materiality, visuality, and performativity and establishes experimental literature and film as individual art forms: writing-as-writing and film-as-film. In conclusion, I argue that their works represent an implicit critique of language, culture, and society in the context of the "grand narratives," the "invisible structurations" which support society.</p> / Dissertation