This paper revisits one of the more frequented stops at the crossroads of politics and morality in contemporary ethical theory, Michael Walzer’s essay “Political Action: The Problem of Dirty Hands.” The aim is to provide a fresh assessment of Walzer’s project, and to evaluate the tenability of its core notion of “dirty hands.” In pursuit of this aim, the effort is made to reopen the paths which take Walzer to his celebrated impasse, from two directions. The first of these resituates Walzer’s analysis in the context of the debate within Anglo-American ethical theory in which it is originally expounded. The second route seeks to recapture the trail of thinkers who guide Walzer to his conclusions from more remote locations in intellectual history, in order to determine the reliability of his intriguing constellation of Machiavelli, Weber and Camus as lodestars. Writing thirty years later, one of Walzer’s friendliest interpreters, Jean Elshtain, in the midst of her enthusiasm for ‘dirty hands,’ renews doubts about his recommendation of “casuistry.” Hints from throughout Walzer’s essay, incompletely elaborated there, are parceled together into closing suggestions as to an alternative approach to so-called ‘dirty hands’ situations. / text

The objective of this paper – Trusting the reader: On impressionistic narrating in Stig Claesson's writings with the novel Brev till en hembygdsgård as starting point – is to examine narrative techniques used by the Swedish author Stig Claesson, specifically some which fall within the broad field known as literary impressionism: e.g. omission, repetition, juxtaposition, episodic narration and how access to the narrator’s as well as individual characters' consciousness is handled. The method used for the study will be that of illustrative comparison. The analysis will seek its theoretical grounds in the works by Gerard Genette and Jonathan Culler. In the major parts of the study, narrative techniques used by Claesson in the novel Brev till en hembygdsgård (1974), is examined with the help of Robert Paul Lamb and James Nagel, and their studies concerning the crafts of Ernest Hemingway and Stephen Crane. In addition, other novels by Claesson are used in order to find, illustrate and then compare his craftsmanship with techniques already studied and described by scholars and critics. The main result from the analysis is that a need to trust the reader follows from Claesson’s choice of narrative techniques; by having the narrating instance mainly represent perception – without allowing the narrator, or the characters of the narrative, to interpret what’s rendered – the reader is left to experience sensation on her own. To assist the reader, Claesson binds together his episodic narration with a frequent use of juxtaposition, in which colors, objects and scenes already used, are re-used – hence having one scene charge the next, and so on, with previously evoked emotions. Furthermore, Claesson frequently uses omission in conjunction with repetition as a narrative technique; often when the narrator returns to an already used scene, she is excluding some of the information given to the reader earlier in exchange for some previously omitted information or for elements belonging to other scenes. The study finds that a consequence of Claesson’s combination of the above mentioned techniques, is that his texts calls for a reader to take an active part in creating meaning both from the text and from their own experience. Finally, the study suggests that Claesson, like any craftsman, recognized that once the work is done and delivered, it is up to the recipient to use it according to their own ability, imagination and discretion.

Aus der Berechnung der elektronischen Leitf¨ahigkeit nach ersten Prinzipien wird die Forderung nach Strukturmodellen mit geringerer Zustandsdichte an der Fermikante (Pseudogap) abgeleitet und in einer entsprechenden Molekulardynamik auf der Grundlage des Streukonzepts realisiert. Bei der Auswertung der Kubo-Greenwood Formel f¨ur fl¨ussige und amorphe ¨Ubergangsmetalle im Rahmen einer Superzellenmethode wird eine methodisch bedingte D¨ampfung eingef¨uhrt. Ein Superpositionskonzept f¨ur die methodischen und intrinsischen Widerstandsbeitr¨age erm¨oglicht eine Separation der intrinsischen Eigenschaften. Die Linear Muffin-Tin Orbital Methode wird zum Vergleich herangezogen. Es werden die Restwiderst¨ande der fl¨ussigen 3d-¨Ubergangsmetalle berechnet. Abweichungen vom Experiment deuten auf eine nicht richtig ber¨ucksichtigte strukturelle Ordnung und auf Spineffekte hin. Das Modell einer ungeordneten Spinausrichtung in fl¨ussigem Mangan und Eisen zeigt eine Korrektur in die Richtung des Experiments. Zur Ber¨ucksichtigung von Mehrk¨orperkr¨aften in ungeordneten Systemen wird ein Greensfunktionskonzept vorgestellt. Die Grundlage bildet eine Zerlegung der Bandenergie in der komplexen Energieebene in einen kurzreichweitigen Anteil und einem mittel- und langreichweitigen Gapenergiebeitrag. Die Gapenergie ist ein Integral ¨uber das Produkt zwischen Breite und Tiefe aller m¨oglichen Gaps im System. Die Minimierung der Gapenergie ist Verbunden mit der Ausbildung eines Minimums in der elektronischen Zustandsdichte bei der Fermikante. Die ¨Anderungen der Gapenergie bei Struktur¨anderung k¨onnen sehr effektiv ¨uber eine Streupfadoperatordarstellung f¨ur ausgew¨ahlte optimierte komplexe Energiepunkte berechnet werden. Der Realteil der Energiepunkte ist dabei die Fermienergie, der Imagin¨arteil korreliert mit der Breite eines effektiven, mittleren Pseudogaps im System. Bei einer zus¨atzlichen Ber¨ucksichtigung kurzreichweitiger repulsiver Terme wird eine Molekulardynamik m¨oglich. Es kann dabei der ¨Ubergang einer fl¨ussigen metallischen Phase zu einer festen, amorphen Phase mit ausgepr¨agtem Pseudogap simuliert werden.

Compelling research in international relations and international political economy on global warming suggests that one part of any meaningful effort to radically reverse current trends of increasing green house gas (GHG) emissions is shared policies among states that generate costs for such emissions in many if not most of the world’s regions. Effectively employing such policies involves gaining much more extensive global commitments and developing much stronger compliance mechanism than those currently found in the Kyoto Protocol. In other words, global warming raises the prospect that we need a global form of political authority that could coordinate the actions of states in order to address this environmental threat. This in turn suggests that any serious effort to mitigate climate change will entail new limits on the sovereignty of states. In this book I focus on the normative question of whether or not we have clear moral reasons to bind ourselves together in such a supranational form of political association. I argue that one can employ familiar liberal arguments for the moral legitimacy of political order at the state level to show that we do have a duty to support such a global political project. Even if one adopts the premises employed by the most influential forms of liberal scepticism to the ideas of global political and distributive justice, such as those advanced by John Rawls and Thomas Nagel, it is clear that the threat of global warming has expanded the scope of justice. We now have a global and demanding duty of justice to create the political conditions that would allow us to collectively address our impact on the Earth’s atmosphere.

Made available in DSpace on 2016-12-08T16:51:57Z (GMT). No. of bitstreams: 1 lara.pdf: 763931 bytes, checksum: ad900beabace23b47c5373832696ac94 (MD5) Previous issue date: 2012-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research proposes a study about the intersection between personal life and professional life in the work of the Odin Teatret actresses, Else Marie Laukvik, Iben Nagel Rasmussen, Julia Varley and Roberta Carreri. Were raised during the trajectory of each of the four actresses, moments where interference of personal life in professional life culminated in the creation of new methods of creation and training. One of the axes of this study was to think that the new methods created by the four actresses would allow to locate the space within each group and to identify different ways to practice understanding of the theater. Through analysis of the space established by every actress in the group, discusses gender relations involving these actresses do theater. Purpose of this study was also to bring to public the research of the actresses in an attempt to analyze his work to bring up discussions on the presence of women in theater history / Esta pesquisa propõe um estudo sobre intersecções entre vida pessoal e vida profissional no trabalho das atrizes do Odin Teatret, Else Marie Laukvik, Iben Nagel Rasmussen, Roberta Carreri e Julia Varley. Foram levantados durante a trajetória de cada uma das quatro atrizes, momentos onde interferências da vida pessoal na vida profissional culminaram na criação de novas metodologias de criação e treinamento. Um dos eixos deste estudo foi pensar que as novas metodologias de criadas pelas quatro atrizes possibilitariam localizar o espaço de cada uma delas dentro do grupo bem como identificar diferentes maneiras de compreensão da prática teatral. Através da análise do espaço estabelecido por cada uma das atrizes no grupo, discute relações de gênero que envolvem o fazer teatral destas atrizes. Também foi propósito deste trabalho trazer à público a pesquisa das atrizes do grupo, numa tentativa de analisando seu trabalho trazer à tona discussões sobre a presença das mulheres na história do teatro