The subject of this thesis is the novel Das fliegende Klassenzimmer (1933) written by the German writer Erich Kästner and its two Czech translations from Marta Třísková (1935) and Jitka Fučíková (1961). The beginning of the theoretical part describes the author's personality and his work. Afterwards, the literary, cultural and historical context are explained, followed by other aspects connected with the German source text. The theoretical part also includes the translation theory, on which the thesis is based, and the specifics of translating children's literature. The empirical part consists of a translation analysis of the original and the Czech versions and concludes with a comparison of both translations.

The subject of this thesis is the novel Das fliegende Klassenzimmer (1933) written by the German writer Erich Kästner and its two Czech translations from Marta Třísková (1935) and Jitka Fučíková (1961). The beginning of the theoretical part describes the author's personality and his work. Afterwards, the literary, cultural and historical context are explained, followed by other aspects connected with the German source text. The theoretical part also includes the translation theory, on which the thesis is based, and the specifics of translating children's literature. The empirical part consists of a translation analysis of the original and the Czech versions and concludes with a comparison of both translations.

Cotutelle de thèse, Institut d'études politiques de Paris, Centre d'histoire de Sciences Po Paris Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Cette thèse revisite certains grands thèmes associés à l’économie à travers des analyses d’œuvres d’art. Nous proposons de mettre en question l’image, très souvent relayée en histoire de l’art, d’une économie actuelle essentiellement abstraite et détachée des conditions politiques. Dans un premier temps, nous revenons sur la définition même de l’économie. Nous identifions certains principes théoriques servant de légitimation aux discours qui entretiennent l’idée d’une neutralité des objectifs économiques. Puis nous construisons un cadre théorique à la croisée de plusieurs courants de pensée en sciences humaines et sociales, afin d’inscrire la vision de l’économie dans des dimensions politiques et matérielles. Nous réalisons ensuite une analyse de trois performances de l’artiste argentine Marta Minujín. Nous suivons l’artiste quant à l’importance qu’elle accorde aux matières premières, qui deviennent ainsi notre principal moyen d’enquête et de réflexion. Afin de renouveler la vision de l’économie à travers l’analyse d’œuvres d’art, nous conjuguons des comparaisons iconographiques inédites avec une mise à jour de la compréhension des contextes historiques, reposant notamment sur la récente littérature en analyse des systèmes-monde et en économie écologique, et nous présentons des réflexions abouties sur plusieurs concepts majeurs du fonctionnement économique, tels que la monnaie, la dette, le profit et la valeur. Nous montrons ainsi la polysémie du dispositif mis en place par l’artiste, et sa capacité à révéler des dynamiques politiques, territoriales et matérielles récurrentes qui soutiennent le fonctionnement de l’économie. Nous explorons comment les œuvres renversent la hiérarchie habituelle des subordinations économiques, et comment elles en débusquent les origines et les prolongements jusqu’à ce jour. Nous voyons également comment les performances de Marta Minujín pointent et confrontent les arrangements consensuels qui garantissent l’enrichissement économique. / This thesis revisits a number of major economic themes through an in-depth analysis of three works of art. It seeks to interrogate the prevailing conception of the contemporary economy as an abstract domain detached from political concerns—a conception commonly found in art historical texts. The first chapter of this thesis reassesses the definition of the economy. I identify a set of theoretical principles that serve to legitimate the idea that economic objectives are neutral. In the second chapter, I build a theoretical framework at the crossroads of several bodies of thought in the social sciences and humanities, in view of putting forward a renewed conception of the economy, anchored in political and material considerations. I then turn to my analysis of three performances by Argentinian artist Marta Minujín. Taking a cue from the artist's approach, I use raw materials as a prism of analysis and reflection. I combine novel comparative analyses of works of art with a fresh re-examination of key moments in the history of capitalism, drawing on recent literature on world-systems analysis and ecological economics, among others. I also present extensive reflections on a number of important economic concepts, namely money, debt, profit and value. In so doing, I expose the polysemic nature of Minujín’s performances and highlight their capacity to reveal recurring political, territorial and material dynamics undergirding the economy. I explore the ways in which Minujín’s works overturn the traditional hierarchy of economic subordination all the while revealing its historical roots and present-day manifestations. Lastly, I show how Marta Minujín’s performances highlight and challenge the consensual deals and arrangements that guarantee economic profit-making.

The Metropolitan Atlanta Rapid Transit Authority (MARTA) Transit Oriented Development (TOD) program has been expanding the number of stations being considered for development of surface parking lots and into the air rights over certain rail stations. As of 2015, MARTA has six rail stations in various stages of TOD development, which will increase multi-modal options for metro Atlanta residents. The overarching goal of TOD development is to increase transit ridership and reduce auto-dependency; hence quantifying the potential benefits of TOD development in terms of ridership is paramount. Despite several drawbacks, travel demand models have historically been utilized to forecast ridership for land use changes and transit improvements. Direct ridership models (DRMs) are transit demand forecasting methods that can be applied to land development in cases where traditional travel demand models (TDMs) are not well suited. DRMs leverage geographic tools commonly used by planners to take advantage of small scale pedestrian environment factors immediately surrounding transit stations. Although DRM data and methods can achieve greater precision in predicting local walk-access transit trips, the lack of regional and large-scale datasets reduces the ability to model ridership generated from riders outside the immediate vicinity of the rail stations. Stations that have high multi-modal access trips, particularly via personal vehicle and connecting buses, are not typically accounted for by DRMs. Hence, this study focuses on pedestrian-based rail boardings only, a metric that also allows the use of a large scale onboard survey distributed by the Atlanta Regional Commission (ARC) in late 2009 and early 2010 in Atlanta, Georgia. Analysis of the large scale on-board ridership survey also reveals variables that may be useful in forecasting ridership at the station level when coupled with available census data. Comparison of variables such as income, age, gender, ethnicity, and race from census data with the large scale survey guided the selection of candidate variables to be included in a DRM for MARTA rail stations. Results from the comparison showed that using census data in DRMs does not always accurately reflect the ridership demographics. Notable differences in pedestrian-based ridership and transit catchments appear to occur in populations making less than $40,000, African American populations, and the young and elderly populations. Large differences in the survey and census data reported around the stations raise questions about the usability of census data in predicting ridership at rail stations. Despite the shortcomings of using census data to directly predict walk access transit ridership, an ordinary least squared (OLS) regression model predicts a high proportion of variance of pedestrian-based ridership in Atlanta, Georgia. A small number of variables were incorporated into a DRM to show the strong relationship of employment density with pedestrian based ridership. The number of low income residents was also influential in increasing ridership via walk access.

This thesis investigates the potential of express bus to serve travel demand in a polycentric region, using the Atlanta metropolitan area as a case study. Express bus, which serves as the primary mode of line-haul transit commuting for most suburbs in the Atlanta region, is primarily focused on serving traditional suburb-to-city commutes. However, more than half of the commutes in the Atlanta metro are to suburban locations. This thesis investigates the potential of an author-devised plan to enhance the transit commute to suburban employment centers, using express bus as the primary technology. Working mostly with existing routes, the plan incorporates ideas found in the literature, such as intermediate stops, transfer hubs, and local bus serving first and last mile connections. The thesis also tested existing plans, off of which the author's plan was devised. Tests were performed using the trip-based model of the Atlanta Regional Commission (ARC). Dramatic gains were seen as a result of the author-devised plan, such that 8,000 daily transit trips are added, and express bus ridership increases by 50%. Performance improved especially for routes in which intermediate stops were added. The results have implications for how transit can better serve travel demand in a polycentric region.

This monographic dissertation traces the development of happenings and mass media art in Argentina through the works that Argentine artist Marta Minujín created between 1961 and 1968. It argues that, in its unparalleled pursuit of a mass audience, Minujín’s art articulated a populist logic that allowed it to subvert authoritarianism in an oblique manner based in dissensus. This distinguished Minujín’s practice from that of other politically radicalized Argentine artists, who had turned their art into a form of activism and overt critique of the dictatorship of General Onganía. This dissertation also demonstrates that Minujín’s media-centric happenings and environments adopted a carnivalesque strategy of “positive negation” or ambiguous mimetic excess to reveal and critique the effects of an incipient spectacle culture.

Made available in DSpace on 2016-04-27T19:31:04Z (GMT). No. of bitstreams: 1 Heitor Campos Bueno.pdf: 1612406 bytes, checksum: e6488b0e895b69a1b1d6b12a2b8ab54e (MD5) Previous issue date: 2015-03-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work has as main thematic approach to analyze the effects produced in the viewer public by discourses present in the "Comportamento Sexual" presented by psychologist Marta Suplicy (1945 -) on TV Mulher program. Therefore, we use as documentary sources reports contained in correspondence sent to the program between the years 1980 and 1982 as well as four of Marta Suplicy publications: Conversando sobre Sexo (1983), Condição da Mulher Amor, Paixão, Sexualidade (1984), De Mariazinha a Maria (1985), Reflexões Sobre o Cotidiano (1986). As complementary and not a priority source we will also bring the reports in an interview granted by psychologist Marta Suplicy. From the discussions about power and sexuality proposed by the French philosopher Michel Foucault we shall ponder the speeches presented by Marta Suplicy, about sexuality and social status of women, point to a dichotomous relation to regulation and liberalization. In order to bring better analytics on the subject and the period in question, the research discuss issues that concern the Brazilian print and broadcast media products focusing on the so-called women's press and women's and feminist movements operating in Brazil / Esta dissertação tem como principal abordagem temática a analise dos efeitos produzidos no público telespectador pelos discursos presentes no quadro Comportamento Sexual apresentado pela psicóloga Marta Suplicy (1945 - ) no programa TV Mulher. Para tanto, utilizamos como fontes documentais relatos contidos em correspondências enviadas ao programa entre os anos de 1980 e 1982, bem como quatro publicações de autoria de Marta Suplicy: Conversando sobre Sexo (1983), Condição da Mulher Amor, Paixão, Sexualidade (1984), De Mariazinha a Maria (1985), Reflexões Sobre o Cotidiano (1986). Como fonte complementar e não prioritária traremos também os relatos concedidos em entrevista pela psicóloga Marta Suplicy. A partir das discussões sobre poder e sexualidade propostas pelo filósofo francês Michel Foucault ponderamos que os discursos apresentados por Marta Suplicy, a respeito da sexualidade e da condição social das mulheres, apontam para uma relação dicotômica de normatização e liberalização. A fim de trazer melhores recursos analíticos sobre a temática e o período em questão, abordaremos questões que concernem os produtos da mídia impressa e televisiva brasileira tendo como foco a chamada imprensa feminina e os movimentos femininos e feministas atuantes no Brasil

Made available in DSpace on 2016-04-25T20:20:53Z (GMT). No. of bitstreams: 1 Talita Alcala Vinagre.pdf: 64360864 bytes, checksum: b48d4ba34266505e5270a51acfe85053 (MD5) Previous issue date: 2012-10-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Is there a political power in dance? The present research focuses on this question. Crossing the boundaries between body, dance and politics, however, created a demand to investigate how politics can be exerted in a variety of means. Following the compositional paths of dance artist Marta Soares was the key to situating dance in its political potency. The lines that traverse her dance practice go beyond the traditional relationship between politics and the law, institutions and contracts all of which constitute the problematic of the sovereignty. The potency of dance was then taken as an opening of the body. An opening to the multiple contaminations that drag it beyond the territories understood by the Subject. The dance of Marta Soares utilizes the tensions of the efficient body and the virtuosic movement belonging to most dance techniques in order to create a tension in the practice of political participation and democracy, practices that have become immobilized in the State. The study of the lines composing the aesthetic field of this dance artist proposes to emphasize and affirm movement no longer as dislocation of the body in space as in the traditional sense of choreography but rather to affirm movement as a means for composing art and life. Dancing appears then as a composition for new ways of life, freer and more exuberant ways that can transform the body into a passage, rather than a starting or endpoint for movement / Existe uma potência política da dança? Sobre este questionamento se desenvolve a presente pesquisa. Entrecruzar corpo, dança e política demandou, no entanto, assinalar como a política se exerce de diferentes maneiras. A aproximação aos traçados compositivos da bailarina Marta Soares propiciou situar aqui a dança em sua potência política. Algumas linhas de força que atravessam sua prática de dança foram tomadas a partir de uma relação com a política que extravasa a relação tradicional com a lei, com a instituição e com o contrato, tal como se constitui em torno do problema do Soberano. A potência da dança foi tomada como uma abertura do corpo. Abertura aos contágios múltiplos que o arrastam para fora dos territórios conhecidos pelo Sujeito. A dança de Marta Soares ao problematizar o corpo eficiente e o movimento virtuoso de algumas técnicas de dança propiciou tencionar, nesta pesquisa as práticas de participação política e democrática que se imobilizam no Estado. O estudo de algumas linhas que compõem o campo estético dessa bailarina pretende ressaltar e afirmar o movimento não mais como deslocamento do corpo no espaço como no sentido tradicional de uma coreografia -, mas, sobretudo, o movimento como maneira de compor arte e vida. Dançar sinaliza então para uma prática de corpo e de pensamento inauditas, em uma composição com novos modos de vida, mais livres e exuberantes e que fazem do corpo, mais uma passagem do que um ponto de partida ou de chegada para o movimento

Made available in DSpace on 2016-04-26T14:54:00Z (GMT). No. of bitstreams: 1 Talita Alcala Vinagre.pdf: 64360864 bytes, checksum: b48d4ba34266505e5270a51acfe85053 (MD5) Previous issue date: 2012-10-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Is there a political power in dance? The present research focuses on this question. Crossing the boundaries between body, dance and politics, however, created a demand to investigate how politics can be exerted in a variety of means. Following the compositional paths of dance artist Marta Soares was the key to situating dance in its political potency. The lines that traverse her dance practice go beyond the traditional relationship between politics and the law, institutions and contracts all of which constitute the problematic of the sovereignty. The potency of dance was then taken as an opening of the body. An opening to the multiple contaminations that drag it beyond the territories understood by the Subject. The dance of Marta Soares utilizes the tensions of the efficient body and the virtuosic movement belonging to most dance techniques in order to create a tension in the practice of political participation and democracy, practices that have become immobilized in the State. The study of the lines composing the aesthetic field of this dance artist proposes to emphasize and affirm movement no longer as dislocation of the body in space as in the traditional sense of choreography but rather to affirm movement as a means for composing art and life. Dancing appears then as a composition for new ways of life, freer and more exuberant ways that can transform the body into a passage, rather than a starting or endpoint for movement / Existe uma potência política da dança? Sobre este questionamento se desenvolve a presente pesquisa. Entrecruzar corpo, dança e política demandou, no entanto, assinalar como a política se exerce de diferentes maneiras. A aproximação aos traçados compositivos da bailarina Marta Soares propiciou situar aqui a dança em sua potência política. Algumas linhas de força que atravessam sua prática de dança foram tomadas a partir de uma relação com a política que extravasa a relação tradicional com a lei, com a instituição e com o contrato, tal como se constitui em torno do problema do Soberano. A potência da dança foi tomada como uma abertura do corpo. Abertura aos contágios múltiplos que o arrastam para fora dos territórios conhecidos pelo Sujeito. A dança de Marta Soares ao problematizar o corpo eficiente e o movimento virtuoso de algumas técnicas de dança propiciou tencionar, nesta pesquisa as práticas de participação política e democrática que se imobilizam no Estado. O estudo de algumas linhas que compõem o campo estético dessa bailarina pretende ressaltar e afirmar o movimento não mais como deslocamento do corpo no espaço como no sentido tradicional de uma coreografia -, mas, sobretudo, o movimento como maneira de compor arte e vida. Dançar sinaliza então para uma prática de corpo e de pensamento inauditas, em uma composição com novos modos de vida, mais livres e exuberantes e que fazem do corpo, mais uma passagem do que um ponto de partida ou de chegada para o movimento

Tesi--Siena--Università degli studi di Siena, 2000. / Bibliogr. p. 199-215.