A presente dissertação consiste em estudo monográfico sobre o Museu Experimental El Eco. Idealizado pelo artista alemão Mathias Goeritz, o museu se posiciona entre as obras representativas da arquitetura moderna realizadas no México na década de cinqüenta. O trabalho descreve e documenta os diferentes momentos que constituem a história dessa edificação. Em primeiro lugar, examina o Museu Experimental El Eco tal como concebido em 1952, e sua contribuição ao patrimônio arquitetônico moderno mexicano. Em segundo lugar, o estudo focaliza o projeto de restauração e reabilitação do Museu no ano de 2005, bem como o projeto de ampliação no ano de 2006, realizados pela Universidade Autônoma do México. Através da apresentação e discussão sistemática da história do Museu Experimental El Eco, desenvolvida entre sua fundação em 1953, fechamento em 1954 e reabertura no ano de 2006, o trabalho espera contribuir para o conhecimento dessa obra e dos processos projetuais de reabilitação e de intervenção no patrimônio arquitetônico moderno. / This dissertation consists of a monographic study of the Experimental El Eco Museum. Designed by German artist Mathias Goeritz, the museum is among the representative works of modern architecture held in Mexico in the fifties. The paper describes and documents the different moments that make up the history of this building. First, it examines the Experimental El Eco Museum as conceived in 1952, and its contribution to the Mexican modern architectural heritage. Second, the study focuses on the restoration project and rehabilitation of the Museum in 2005 as well as the expansion project carried out by the Autonomous University of Mexico in 2006. Through the presentation and systematic discussion of the history of Experimental El Eco Museum, developed from its founding in 1953, closing in 1954 and reopening in 2006, the work hopes to contribute to raising awareness of this work and projective processes of rehabilitation and intervention in the modern architectural heritage.

"Infiltration of Waldheim" är ett spel gjort av David Lindell (grafik), Andreas Persson (programmering) och Mathias Jönsson (ljud och musik). Målet vi hade med projektet var att ha en spelbar bana med minst en vapen typ samt fiender att eliminera, allt ackompanjerat med pampig musik och en massa ljudeffekter. Jag kommer i denna rapport beskriva arbetets gång samt reflektera över vad som har fungerat och vad som varit mindre bra under projektets gång. Mina planer för spelet var mest att lära mig mera om framförallt AI samt arbeta mera i 3d. Spelet ska mest vara för mig själv, men med lite putsning och mera innehåll eventuellt användas vid jobb ansökningar i framtiden.

Made available in DSpace on 2016-04-28T14:16:40Z (GMT). No. of bitstreams: 1 Daniel de Oliveira.pdf: 749226 bytes, checksum: a0eb932bafc566e7a4a18c327dc5c5fe (MD5) Previous issue date: 2009-05-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present work refers to a study on Simão Mathias s contributions for the institutionalization of the science in Brazil. Its objective is to show how a professor Simão Mathias had fundamental importance for the development of institutionalization of the science in Brazil, by mentioning his biography, his books and its philosophies on the science and technology directed toward the scientific growth. The methodology used consists if collecting its contributions registered in books, magazines, testimonials of friends and scientists, and mainly in the publications of Simão Mathias / O presente trabalho refere-se a um estudo sobre as contribuições de Simão Mathias para a institucionalização da ciência , principalmente no Brasil. Seu objetivo consiste em mostrar como o professor Simão Mathias teve um papel fundamental para o desenvolvimento da institucionalização cientifica no Brasil, abordando sua biografia, em seus livros, suas filosofias através da ciência, e da tecnologia dirigidas para o crescimento científico. A metodologia usada consiste em coletar suas contribuições registradas, nos livros, revistas, depoimentos de amigos e cientistas, e principalmente nas publicações de Simão Mathias

Marian Atlas in Svatá Hora by Příbram The thesis concerns the Marian atlas in Svatá Hora. Compared to other places, it has a plastic form: angels standing on a balustrade of an elevated terrace hold in their arms a cartouche depicting Marian statues and images in Bohemia. In its first part, the thesis is dealing with piousness, veneration of the Blessed Virgin Mary and pilgrimages in the Baroque time. The information about Marian atlases by Wilhelm Gumppenberg and Bohuslav Balbín issued in printed form are summed up in the second part of the thesis. Thirdly, there are described other Marian atlases in Bohemia having diverse forms of art. The Marian atlas in Svatá Hora is the core topic of the fourth part of the thesis: its role and importance are explained on the basis of the Marian atlas itself, of the context of Svatá Hora as a place of pilgrimage and of the literature written in the Baroque time. Fifthly, there are presented statues and images of the Blessed Virgin Mary depicted in the cartouches of the Marian atlas in Svatá Hora, i.e. their origin and model and pilgrimages and veneration connected with them in the Baroque time. Keywords Marian atlas, Blessed Virgin Mary, Svatá Hora, image of the Blessed Virgin Mary, statue of the Blessed Virgin Mary, Mathias Hueber

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La carrière politique de Joseph-Mathias Tellier s'inscrit, dans l'histoire québécoise, comme la lutte d'un homme pour la conservation d'une idéologie sérieusement remise en question à cette époque. Élu député conservateur à la fin du XIXe siècle, Tellier n'a de cesse, au cours de ses quelque 24 ans passés à l'Assemblée législative, de défendre une vision idéologique empreinte d'un conservatisme qui ne cadre plus avec le bond en avant que le Québec s'apprête à prendre. Prônant des thèmes comme la colonisation, vantant les mérites d'une économie agricole, dénonçant les méfaits d'une industrialisation massive, s'opposant à l'instruction obligatoire, Tellier cherche, à travers ces luttes, à mobiliser les forces conservatrices de la Province. Ainsi s'explique son alliance avec les nationalistes de Bourassa. Il ne parviendra pas toutefois à réaliser son objectif et, comme tous les autres membres de l'élite conservatrice de la province, il assistera impuissant à l'évolution inévitable du Québec. / Québec Université Laval, Bibliothèque 2013

Mathias Eugen Mnyampala (1917-1969) est un écrivain, juriste et poète d'expression swahilie tanzanien. De langue maternelle cigogo, il apprend le kiswahili et l'écriture par les textes de la Bible à l'âge de quinze ans. A partir de l'indépendance du Tanganyika en 1961, il engage son art poétique au service du développement du kiswahili, la langue de la nouvelle nation. Dans cette destinée particulière d'un jeune pasteur de l'Ugogo du centre de la Tanzanie, qui devient un maître reconnu par ses pairs de la poésie d'expression swahilie et un artiste national, se reflète la problématique de la construction d'une nation tanzanienne. Notre question centrale concerne la structure métrique formelle et la langue des poèmes de Mathias E. Mnyampala. Comment les définir ? Quels rapports entretiennent-ils avec le corpus classique des XVIIIème et XIXème siècles de la poésie d'expression swahilie ? Pourquoi est-ce ce type particulier de poésie - décrit formellement et linguistiquement - qui fait l'objet d'une promotion à l'échelon national et de reconnaissances officielles par des autorités politiques successives de Tanzanie ? Pour aboutir à l'interprétation politique de l'analyse formelle et linguistique des textes poétiques, il nous a fallu d'abord nous doter d'outils de description formelle qui étaient manquants. Nous parcourons pour ce faire l'ensemble des théories métriques existantes afin d'arriver à une synthèse formelle et réductionniste. Nous analysons ensuite le corpus poétique de Mathias E. Mnyampala sur cette base. Les formes métriques et la langue des poèmes témoignent de processus créatifs ex materia liés à la métrique classique qui nous apprennent quelque chose au sujet de la construction nationale au service de laquelle ils sont appelés. La création ex materia, ni classique ni moderne, est une troisième voie de la composition poétique que notre approche formelle permet de décrire. Nous verrons qu'en parallèle d'une nationalisation des mètres classiques de la poésie d'expression swahilie, il est question d'une africanisation de la culture nationale.

The present thesis investigates the music and career of Jeffrey Lewis (born 1942). The thesis is broadly divided into three sections. First is an account of the composer’s life, told mainly through an overview of his works, but also through a sketch of his early years in South Wales, his studies in Cardiff, Darmstadt, Kraków and Paris, his academic career in Leeds and Bangor, and his subsequent early retirement from academia. There follows a more detailed study of six works from the period 1978 – 1985, during which certain features of Lewis’s musical language came to the fore, perhaps most notably a very individual and instantly recognisable use of modal language. After an Epilogue, the thesis concludes with an Appendix in the form of a Catalogue in which all Lewis’s known compositions are listed, together with details of performances, broadcasts and recordings. Lewis’s music often plays with our temporal expectations; the close interrelationship between texture, structure, harmony and melody, and its effect upon our perception of the passage of time, are explored in the main analyses. These are conducted partly by means of comparison with other works by Lewis or his contemporaries. Memoria is examined in relation to a similarly tranquil score, Naaotwá Lalá, by Giles Swayne. The following chapter discusses the extra-musical inspiration for Epitaph for Abelard and Heloise, whose relationship to Tableau is then explored in the next. The difficulties of creating a large-scale structure that unifies the work’s various harmonic elements are also investigated. The analysis of Carmen Paschale considers it in relation to Lewis’s other choral music, whilst the final analytical chapter compares and contrasts two three-movement works, the Piano Trio and the Fantasy for solo piano. Lewis’s melodic writing in the Piano Trio is discussed in relation to that of James MacMillan, and the origins of the first movement of Fantasy in Oliver Knussen’s Sonya’s Lullaby are explored. In the Epilogue, the possible reasons for Lewis’s current neglect are explored, various influences on Lewis’s musical thinking are laid out, and his achievements are assessed.