Considerando-se que qualquer relação de propriedade consiste em uma mentalidade, a presente investigação identifica na história os momentos que permitiram aos homens estabelecer as bases de sua concepção moderna. A recuperação dessa história é vista mediante a identificação, no período moderno, de três grandes movimentos combinados, embora assíncronos: rigidez-abstração, absolutização-relativização, estabilidade-mobilidade, movimentos estes que remetem a uma potente lógica organizadora da sociedade. A pesquisa analisa, a partir dessa lógica, as estratégias econômicas envolvendo a propriedade, em especial a imobiliária, e o papel do Estado na promoção dos negócios envolvendo a propriedade urbana através da prática do planejamento e do urbanismo com vistas à economia política do espaço. Inclui-se o estudo de diversas legislações sobre a propriedade urbana e instrumentos de política urbana envolvendo o fundiário: Estatuto da Cidade, Plano Diretor Estratégico, Zoneamento Urbano, Operação Urbana Consorciada, Direito de Superfície, Concessão Urbanística são algumas normativas analisadas. Através da lógica do possível-impossível, e de uma perspectiva da história como possibilidades, a contra-propriedade apresenta-se, face aos negócios, como possibilidade consciente do homem se situar acima dos diversos vestígios de animalidade que a noção de propriedade conserva. / This research situates the property relationship as a mind, and identifies the moments in the history that allowed men to lay the foundations of its modern. The recovery of this history is seen through the identification, in the modern period, of three large movements combined, while asynchronous: stiffness-abstractio, absolutarion-relativization, stability-mobility, which refer to a powerful organization society logic. From this logic, the research examines the economic strategies involving the property, especially real estate, and the States role in promoting business involving the urban property through the practice of urban planning and urban development under the view of the political economy of space. This moment includes various laws studies on urban property and urban planning instruments involving land: Estatuto da Cidade (Federal Act number 10.257/2001 Statue of the City), Plano Diretor Estratégico (Master Urban Planning), zoning, Urban Consortium Operation, Surface Right, Concessão Urbanística (Urban Grant) are some instruments analyzed. Through the logic of the possible-impossible, and a perspective of history as possibilities, the counter-property concept is formulated. Itss a conscious possibility that situates the human over several traces of animality that the notion of property preserves.

This thesis discusses a small, red granite, Egyptian royal portrait head in the collection of the Michael C. Carlos Museum in Atlanta, Georgia. The head is determined to be a fragment from a group depicting the king in front of the monumental figure of a divine animal, probably a ram or baboon. Scholars have attributed the head to the reigns of various New Kingdom pharaohs, including Horemheb and Seti I, but on more careful examination its style demonstrates that it dates to the reign of Ramesses II (1304-1237 B.C.).

<p>During the spring 2007 Estonia and Russia collided in the biggest international conflict among themselves since the break up of the Soviet Union. The conflict concerned about the issue of Estonia’s removal of a soviet bronze statue from central Tallinn to a garden of honour, due to Estonia thought that the statue represented oppression. Chaos developed in Tallinn with disturbances and plunder. The relations between Estonia and Russia became very strained, as Russia considered the movement of the statue wrong. This thesis has examined how the two parties have handled this international conflict through measure how international they are from an official perspective. An examination has been made to see how well the two nations follow the official perspective in a real case. To be able to measure internationalism, a model by Kjell Goldmann has been used, where the idealistic internationalist should follow a certain pat-tern; outward-looking, universalism, coexistence-orientated, moderate. The re-sult showed that Estonia follows the idealistic international pattern owing to a well developed cooperation and membership in international organizations. While Russia ended up in the opposite side, the non internationalist pattern, due to difficulties with cooperation and too much inward looking approach towards the own country.</p> / <p>Våren 2007 hamnade Estland och Ryssland i den största internationella konflikten sinsemellan sedan sönderfallet av Sovjetunionen. Konflikten handlade om att Estland flyttade en sovjetisk bronsstaty från centrala Tal-linn till en krigskyrkogård, då man tyckte att den symboliserade förtryck. I Tallinn blev det ett kaos med oroligheter och plundring som följd. Relatio-nerna mellan Estland och Ryssland blev mycket ansträngda, då Ryssland an-såg att det var fel av Estland att flytta statyn. Denna uppsats har undersökt hur de båda parterna hanterade denna internationella konflikt genom att först mäta hur internationella de var utifrån ett officiellt perspektiv. För att sedan studera om de handlade i en internationell konflikt utifrån den offici-ella bilden. För att kunna mäta internationalism har en modell av Kjell Goldmann använts, där den idealistiske internationalisten skall vara enligt följande mönster; utåtsträvande, universell, samarbetsorienterad och mode-rat. Resultatet visade att Estland följer det idealistiska internationella mönst-ret tack vare ett mycket utvecklat samarbete och medlemskap i olika inter-nationella organisationer. Medan Ryssland hamnade på motsatt icke idealis-tisk internationalistisk sida på grund av svårigheter för internationella sam-arbeten och för mycket inåtsträvan till det egna landet.</p>

Revision of the author's thesis (Ph. D.)--Stanford University, 1988. / Includes bibliographical references (p. 141-169) and indexes.

Considerando-se que qualquer relação de propriedade consiste em uma mentalidade, a presente investigação identifica na história os momentos que permitiram aos homens estabelecer as bases de sua concepção moderna. A recuperação dessa história é vista mediante a identificação, no período moderno, de três grandes movimentos combinados, embora assíncronos: rigidez-abstração, absolutização-relativização, estabilidade-mobilidade, movimentos estes que remetem a uma potente lógica organizadora da sociedade. A pesquisa analisa, a partir dessa lógica, as estratégias econômicas envolvendo a propriedade, em especial a imobiliária, e o papel do Estado na promoção dos negócios envolvendo a propriedade urbana através da prática do planejamento e do urbanismo com vistas à economia política do espaço. Inclui-se o estudo de diversas legislações sobre a propriedade urbana e instrumentos de política urbana envolvendo o fundiário: Estatuto da Cidade, Plano Diretor Estratégico, Zoneamento Urbano, Operação Urbana Consorciada, Direito de Superfície, Concessão Urbanística são algumas normativas analisadas. Através da lógica do possível-impossível, e de uma perspectiva da história como possibilidades, a contra-propriedade apresenta-se, face aos negócios, como possibilidade consciente do homem se situar acima dos diversos vestígios de animalidade que a noção de propriedade conserva. / This research situates the property relationship as a mind, and identifies the moments in the history that allowed men to lay the foundations of its modern. The recovery of this history is seen through the identification, in the modern period, of three large movements combined, while asynchronous: stiffness-abstractio, absolutarion-relativization, stability-mobility, which refer to a powerful organization society logic. From this logic, the research examines the economic strategies involving the property, especially real estate, and the States role in promoting business involving the urban property through the practice of urban planning and urban development under the view of the political economy of space. This moment includes various laws studies on urban property and urban planning instruments involving land: Estatuto da Cidade (Federal Act number 10.257/2001 Statue of the City), Plano Diretor Estratégico (Master Urban Planning), zoning, Urban Consortium Operation, Surface Right, Concessão Urbanística (Urban Grant) are some instruments analyzed. Through the logic of the possible-impossible, and a perspective of history as possibilities, the counter-property concept is formulated. Itss a conscious possibility that situates the human over several traces of animality that the notion of property preserves.

Le sommeil profond, distinct du rêve qu’il accompagne, a bien souvent été occulté par ce dernier au sein des études philosophiques et historiques. La présente recherche, consacrée aux figures d’endormis et aux théories du sommeil à la Renaissance, propose de combler en partie cette lacune en partant de l'hypothèse selon laquelle le sommeil profond, bien qu’il échappe à la conscience, n'en demeure pas moins chargé de sens et de valeurs. L’imaginaire bifurque pour créer, en lieu et place d’une absence de connaissance, une source vive de métaphores. Placé au confluent des traditions chrétiennes et païennes, l’art de la Renaissance offre à l’interprétation une multiplicité de figures endormies. Métaphores visuelles, pétries par la littérature de l’époque, nourries de théories qu’elles transforment en retour. À travers elles, dormir constitue bien souvent l’indice du péché, car « l’oisiveté est mère de tous les vices ». Mais, la métaphore change avec la pose du dormeur, son lieu et son environnement également. Selon les œuvres, le sommeil devient l’emblème de l’enfance ou de la vieillesse (premiers et derniers sommeils), une métaphore d’ignorance et d’oubli (sommeil léthéen), la figure du secret et de la foi (repos contemplatif), du désespoir et de la mélancolie (sommeil de tristesse), de l’amour céleste et du ravissement (vacance de l’âme) ou bien du rapt et de la volupté (érotisme léthargique). L’énigme du sommeil donne forme aux questions insolubles qui ne cessent de nous mettre en éveil : images léthargiques de bonheur, d’amour et de mort qui n’en finissent pas de hanter l’imaginaire contemporain, « métaphores absolues » dont l’histoire ne cesse de s’inventer. / Scores of historical and philosophical studies have been devoted to dreams. However, the notion of deep sleep (as opposed to dreams) seems to have been thoroughly neglected. The present study attempts to fill this gap by analyzing representations of sleepers and theories of sleep in the Renaissance. My working hypothesis is that even though deep sleep appears to be located outside of the realm of consciousness, it amounts nonetheless to a heavily determined notion, both semantically and axiologically. Sleep seems to offer a form of imaginative diversion, as the absence of knowledge gives free rein to fanciful metaphors. At the crossroads of Christian and pagan traditions, Renaissance art offers a cornucopia of representations of sleep. They constitute visual metaphors, deeply influenced by the literature and theoretical writings of the period, on which they had in turn a tremendous impact. Thus, sleep is often equated with sin, as « idle hands are the devil's workshop », but its meaning also depends on the sleeper's attitude, location and context. For instance, sleep can be depicted as an emblem of early childhood or old age (first or last sleep), a metaphor for oblivion (Lethean sleep), a figure of ecstasy and faith (contemplative rest), an image of melancholy (sleep of sadness), of spiritual rapture (vacation of the soul) or sensual ravishment (lethargic eroticism). Whichever the case, sleep always remains an enigma, a Protean concept assuming the shape of virtually unanswerable questions : lethargic images of happiness, love and death that are still haunting the contemporary imagination, « absolute metaphors » constantly reinventing themselves and their history.

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

Im September 2020 wurde in Berlin eine Friedensstatue aufgestellt. Die japanische Regierung versuchte, die Aufstellung der Statue zu verhindern, doch letzten Endes durfte sie bleiben. Basierend auf teilnehmender Beobachtung und Interviews stellt dieser Artikel vor, welche Hintergründe und Motive das zivilgesellschaftliche Bündnis, das die Statue aufstellte, hatte, welche Bedeutung sie der Statue zuschreiben und wie die Statue durch spontane Interaktionen mit der lokalen Bevölkerung in Berlin neue Bedeutungen erlangte. Der Artikel fasst die Ereignisse im Zusammenhang mit der Aufstellung der Statue zusammen und untersucht, wie der Konflikt zwischen einem nationalen und einem transnationalen Verständnis der Erfahrung der „Trostfrauen“ konkret in Berlin ausgetragen wurde. / In September 2020 a Statue of Peace was installed in the German capital Berlin. The Japanese government attempted to prevent the installation of the statue, but in the end, it was allowed to remain. Based on participant observation and interviews, this article introduces the background and motives of the coalition of civic groups that installed the statue, how they frame the statue’s meaning, and how the statue has acquired new meanings through unplanned interactions with the local population in Berlin. Summarizing the events related to the installation of the statue, this article examines how the conflict between a national and a transnational understanding of the “comfort women” experience played out in Berlin.

Ce travail vise à étudier les techniques de fixation des statues sur leurs bases dans le monde grec, depuis la fin du VIIe s. jusqu’à la fin de l’époque hellénistique, à partir des bases inscrites. Il se fonde sur l’étude d’un corpus de 387 monuments ayant conservé des traces de fixation, à Delphes, Délos et Athènes, décrits et analysés dans un catalogue dédié. La première partie est consacrée à l’établissement d’une chrono-typologie des techniques de fixation visant à les caractériser en fonction du matériau, de la taille et du type de figure, et à les dater. La seconde partie s’attache à l’interprétation des traces de fixation en comme empreintes de la statue disparue. On a d’abord déterminé le type d’informations qu’elles pouvaient apporter sur elle, comme son matériau et sa taille, mais aussi son type et surtout sa position. On s’est ensuite intéressé aux bases signées, afin de dégager des traditions artisanales propres à des régions ou des ateliers, en croisant la fixation utilisée et les positions révélées par les traces. Enfin, on s’est interrogé sur les évolutions de l’utilisation des matériaux ; on a pu dégager le rôle des contextes d’exposition à partir de l’époque classique, et contribuer à élucider le retour du marbre à partir du IIe s. Cette étude entend par là contribuer aux recherches sur les techniques de fabrication autant qu’à celles sur la sculpture dans son contexte. / The study examines the techniques used to attach statues to their bases in the Greek world from the end of the 7th c. BC to the end of the Hellenistic period. Starting from bases bearing inscriptions, it builds on a corpus of 387 monuments from Delphi, Delos and Athens, showing traces of attachment. Their description and analysis can be found in a separated catalogue. In the first part of the study, a chrono‐typology was elaborated, identifying and dating each technique according to the material, the size and the type of the figures. In the second part, the traces of attachment were interpreted as signs of the missing statue. First, we showed that these traces brought information on its material and its size but also its type and its position. Then we focused on signed bases and proceeded to a cross‐examination of the kind of technique used and the position revealed by the traces in order to identify artisanal traditions specific to regions or workshops. Finally, we considered the reasons for using marble or bronze for statues; we thus showed the importance of the setting context from the classical period onward, as exemplified by the come-back of marble sculpture in the 2nd c. BC. The study is thus intended as a contribution to research both on attachment techniques and sculpture in its context.

第22回名古屋大学年代測定総合研究センターシンポジウム平成21(2009)年度報告