<p>The topic of this essay is the strategic importance of the <em>Golan Heights</em> during the period <em>1967-1973, </em>specifically targeting the following<em> </em>questions;</p><p>-          <em>Why were the heights strategically important</em>?</p><p>-          <em>What are the gains of either of the states in controlling the Golan Heights?</em></p><p>A theoretical framework based on Jerker Widén´s and Jan Ångström´s <em>Militärteorins grunder</em> (The fundamentals in Military Theory) and its chapter regarding the strategic context will be used as an analytical framework.</p><p>The framework has been applied on the specific conditions of the Golan Heights during a given and limited period of time; stretching from 1967 to 1973, however, the study will <em>not</em> deal with the <em>war of attrition</em> in 1970 as the impact on the Golan Heights and the surrounding geographical strategically important area was limited if at all. The two wars waged during this particular time are used in an attempt to give a somewhat objective picture of the strategic importance of the area.</p><p>The conclusions are that the importance of the Golan heights during the selected period was significant as the Golan Heights provided a “strategic lock” both ways and provides a favourable area to deploy artillery, intelligence and surveillance sensors.</p> / <p>Denna uppsats behandlar främst de grundläggande teorierna kring strategi applicerade på referensobjektet Golanhöjderna under åren 1967-1973.</p><p>Syftet är att svara på frågorna:</p><p><em>Varför var höjderna viktiga ur ett strategiskt perspektiv?</em></p><p><em>Vilka fördelar vinner endera</em> <em>staten på att besitta dem?</em></p><p>Tidsrymden har valts med tanke på att det är under denna tid som de häftigaste striderna ägde rum på detta specifika terrängavsnitt. Utnötningskriget 1970 berörs ej då det inte berörde terrängavsnittet. De parter som behandlas är Israel och Syrien då dessa gränsar till varandra runt Golanhöjderna.</p><p>De bägge parternas planer och mål under stridigheterna kommer att analyseras enligt en deskriptivt-analyserande metod och även till viss del jämföras vad avser deras avsikter och önskade slutläge.</p><p>Den teoretiska referensramen, vilken skall fungera som ett analysverktyg, består huvudsakligen av sex belysande aspekter som tillsammans kan beskriva den strategiska bilden, hämtade ur Jerker Widéns och Jan Ångströms bok <em>Militärteorins grunder</em>. Utöver dessa sex aspekter kommer även manöverkrig, linjaritet samt rysk krigskonst att beskrivas. Dessa operationaliseras sedan på referensobjektet och leder fram till en diskussion som sedan mynnar ut i ett antal slutsatser.</p><p>De slutsatser som har dragits är att Golanhöjderna har en strategisk vikt i området 1967-1973 då de fungerade som ett ”strategiskt lås” för bägge sidor samt att höjderna var värdefulla ur underrättelse-/spaningshänseende.</p>

The topic of this essay is the strategic importance of the Golan Heights during the period 1967-1973, specifically targeting the following questions; -          Why were the heights strategically important? -          What are the gains of either of the states in controlling the Golan Heights? A theoretical framework based on Jerker Widén´s and Jan Ångström´s Militärteorins grunder (The fundamentals in Military Theory) and its chapter regarding the strategic context will be used as an analytical framework. The framework has been applied on the specific conditions of the Golan Heights during a given and limited period of time; stretching from 1967 to 1973, however, the study will not deal with the war of attrition in 1970 as the impact on the Golan Heights and the surrounding geographical strategically important area was limited if at all. The two wars waged during this particular time are used in an attempt to give a somewhat objective picture of the strategic importance of the area. The conclusions are that the importance of the Golan heights during the selected period was significant as the Golan Heights provided a “strategic lock” both ways and provides a favourable area to deploy artillery, intelligence and surveillance sensors. / Denna uppsats behandlar främst de grundläggande teorierna kring strategi applicerade på referensobjektet Golanhöjderna under åren 1967-1973. Syftet är att svara på frågorna: Varför var höjderna viktiga ur ett strategiskt perspektiv? Vilka fördelar vinner endera staten på att besitta dem? Tidsrymden har valts med tanke på att det är under denna tid som de häftigaste striderna ägde rum på detta specifika terrängavsnitt. Utnötningskriget 1970 berörs ej då det inte berörde terrängavsnittet. De parter som behandlas är Israel och Syrien då dessa gränsar till varandra runt Golanhöjderna. De bägge parternas planer och mål under stridigheterna kommer att analyseras enligt en deskriptivt-analyserande metod och även till viss del jämföras vad avser deras avsikter och önskade slutläge. Den teoretiska referensramen, vilken skall fungera som ett analysverktyg, består huvudsakligen av sex belysande aspekter som tillsammans kan beskriva den strategiska bilden, hämtade ur Jerker Widéns och Jan Ångströms bok Militärteorins grunder. Utöver dessa sex aspekter kommer även manöverkrig, linjaritet samt rysk krigskonst att beskrivas. Dessa operationaliseras sedan på referensobjektet och leder fram till en diskussion som sedan mynnar ut i ett antal slutsatser. De slutsatser som har dragits är att Golanhöjderna har en strategisk vikt i området 1967-1973 då de fungerade som ett ”strategiskt lås” för bägge sidor samt att höjderna var värdefulla ur underrättelse-/spaningshänseende.

The thesis seeks to compare the role of pop art and popular culture in art in Great Britain and Czechoslovakia in the 50s and 60s of the 20th Century. We shall focus on the relationship of popular culture and art in both countries with regards to their different social and political backgrounds. In the beginning of the thesis we shall delimit some of the theoretical concepts such as popular culture or popular art. We shall also try to define the concept of art itself. The thesis will not omit to characterize the basic features of British and American pop art. The work will introduce quintessential representatives (individuals as well as groups) of pop art from the British and Czechoslovakian art scene of the selected time period. On those particular examples, we shall look for identical attributes or differences in their art works which should be conditioned by the specific cultural and social settings of the society. We should also take into consideration some of the art techniques or technologies used within pop art and also at least in general the relations to popular music, architecture and literature.

Cette thèse cherche à établir la portée de la sémantique de la guerre dans la philosophie de Xénophon. Son omniprésence est constatée, d’abord, lorsqu’on étudie l’apport de la rationalité militaire dans les domaines qui ont fait l’objet de ses réflexions, notamment l’éducation, l’éthique, la politique et l’économie. Mais on la constate aussi lorsqu’on étudie les analogies et les métaphores militaires que Xénophon emploie pour exprimer plusieurs aspects de sa philosophie. Le premier chapitre porte sur l’art militaire et sur la conception amorale et pragmatique que Xénophon se fait de la guerre elle-même, ce qui nous permet de jeter les bases des discussions des chapitres qui suivent, notamment en matière d’éducation, de politique et d’économie. Le deuxième chapitre porte sur la conception xénophontienne de la paideia, dans lequel je montre non seulement que le citoyen, le soldat, voire le chef militaire se forment en même temps, mais encore que la préparation pour la guerre est, d’après les modèles spartiate et perse, l’élément prédominant dans toutes les étapes de l’éducation. Le troisième chapitre montre l’apport de la rationalité militaire dans sa conception de l’État, notamment le fait que Xénophon transpose plusieurs éléments de l’art de camper à la structure de l’État, mais aussi le fait qu’il se sert de l’organisation militaire (stratiôtikê syntaxis) pour créer un système politico-économique strictement hiérarchisé. Le résultat : une structure étatique où prédominent, à l’instar de l’organisation du camp militaire, la sûreté, la surveillance constante, la rapidité, l’efficacité, la discipline et l’optimisation de l’espace et du temps. Le quatrième chapitre porte sur ce que j’ai appelé « administration militaire de l’oikos », c’est-à-dire que les fonctions des époux dans la maison ressemblent en tous points à celles du chef militaire ; j’analyse également l’association entre le concept militaire de taxis et l’art économique lui-même, ce qui permet à Xénophon d’appliquer les règles de l’organisation de l’armée à l’aménagement intérieur de la maison. Le cinquième chapitre porte sur la métaphore du combat, qui désigne le rapport éthique de l’homme avec lui-même, c’est-à-dire l’effort de dominer ses propres désirs et plaisirs afin de ne pas tomber dans le vice. L’analyse de cette métaphore nous conduit à l’étude d’un aspect fondamental de l’éthique xénophontienne : les concepts de liberté et de servitude. Le sixième chapitre porte sur les métaphores de l’alliance et de la victoire en matière de bienfaits à partir de l’analyse préalable des concepts de philia et de symmakhia. De façon générale, les trois derniers chapitres montrent que les analogies et les métaphores militaires ne sont pas que de simples figures de rhétorique, mais plutôt des éléments constitutifs de la pensée de Xénophon. La thèse conclut au caractère essentiel et fondamental de la sémantique de la guerre dans l’expression philosophique de Xénophon, contribuant simultanément à remplir le fossé qui existe encore aujourd’hui entre Xénophon le soldat et l’historien et Xénophon le philosophe. / This thesis aims to explore the profound impact of the semantics of war in Xenophon’s philosophy. Its pervasive influence is examined, firstly, through an analysis of the military rationale’s contribution to various domains within Xenophon’s contemplation, including education, ethics, politics, and economics. The ubiquity of this influence is also evident in the examination of the military analogies and metaphors employed by Xenophon to convey various facets of his philosophical thought. The first chapter delves into Xenophon’s conception and understanding of the art of war, as well as his amoral and pragmatic view of war itself. This foundation establishes the groundwork for subsequent discussions, particularly those concerning education, politics, and economics. The second chapter explores Xenophon’s conception of paideia, revealing that the citizen, soldier, and military commander are concurrently shaped. It emphasizes the Spartan and Persian models, where preparation for war plays a predominant role in all the stages of an ideal paideia. The third chapter demonstrates the impact of the military rationale on Xenophon’s conception of the State, illustrating how elements of the art of camping are transposed to the structure of the State. It further reveals the utilization of the military organization (stratiôtikê syntaxis) to create a strictly hierarchized political and economic system. This results in a state structure characterized by security, constant surveillance, swiftness, efficiency, discipline, and strict timeliness and spatial organization—similar to the military camp. The fourth chapter explores what I have called the “military administration of the oikos,” illustrating the parallels between the functions of spouses and military commanders. The analysis delves into the association between the military concept of taxis and oikonomia, where Xenophon applies army organizational rules to house planning and interior layout. The fifth chapter focuses on the combat metaphor, describing the ethical relationship of the individual with oneself, that is, the efforts to control the violence of one’s own desires and the urgency of pleasures to avoid falling into vice. This analysis leads to an exploration of a fundamental aspect of Xenophontic ethics: the concepts of freedom and servitude. The sixth chapter focuses on two other types of metaphor: an analysis of the concepts of philia and symmakhia leads to an exploration of the metaphors of the ‘alliance’ and ‘the victory over friends in terms of good deeds.’ The last three chapters collectively demonstrate that military analogies and metaphors are not mere figures of speech but rather constitutive elements, that is, part of the very fabric of Xenophon’s philosophical thought. In conclusion, this thesis underscores the essential and fundamental character of the semantics of war in Xenophon’s philosophical expression, thus helping to bridge the existing gap between Xenophon, the soldier and historian, and Xenophon, the philosopher.

「情報」與「決策」存在著高度的密切關係，「情報」正確而及時則相對提高「決策」的正確性；反之，則降低「決策」的正確性。但同一個「情報」對不同的個人而言，會產出不同的「決策」結果，此即是「決策」不僅與「情報」有關，亦與個人的「認知」條件有著密切的關係。 　　因此，本文透過孫子兵法「情報」與「決策」的關係，架構出孫子的決策邏輯與位階性，再以此建構出情報決策「象限理論」，企圖系統性地解釋「情報」條件與決策者「認知」條件的複雜關係，並藉由第二次美伊戰爭的決策過程作為例證，說明導致決策錯誤的重要因素。並由「象限理論」中第一象限區域，及美伊戰爭決策缺失中，檢討並演繹出「國家安全決策新思維」，文中指出一個專業且中立的情報機關，除了要提升情報信息的客觀性外，更要避免、改變決策者先入為主的錯誤認知。經由本文所提出的「象限理論」、「決策方程式」、「個案分析」、「國家安全決策新思維」，將有助於瞭解並加速決策產出的質量與效能，進而有利於優質決策的產出。 / There is highly relationship between intelligence and decision-making. The correct and on time intelligence will make a good policy; but the wrong or slow intelligence will make a bad policy, on the contrary. The same intelligence for different individuals will result in different decision-making, which means decision-making has high relationship with intelligence and personal cognition. For this reason, this article constructs The Quadrangular Theory of Intelligence and Decision-making based on The Art of Sun-tzu theory, to explain the complicated relation between intelligence and personal cognition, as well as to state the important factor which leads to the wrong decision-making in the Second Gulf War. This article also point out an important concept: the professional and intelligence agencies will not only improve the objectively intelligence, but also will avoid policymaker's prejudiced cognition. The Quadrangular Theory of Intelligence and Decision-making will help to understand the whole situation and accelerate the high quality and high efficiency decision-making process.

Entre 1954 et 1962, la guerre d’indépendance ou d’Algérie, selon que l’on se place du côté de la victoire ou de la défaite, marque durablement plusieurs générations d’artistes internationaux, tout en traversant et bousculant des questionnements esthétiques quant à la représentation de l’innommable. Cette thèse, qui récolte les traces de cette déchirure franco-algérienne au travers du prisme de l’art, révèle l’importance d’un sujet historique, ignoré par l’histoire de l’art, dont les répercussions sur la politique contemporaine de la France sont encore perceptibles. Terreau d’une génération d’artistes en devenir, qui confortera son engagement social et artistique dans les évènements de Mai 68, mais aussi d’artistes de l’hybridité postcoloniale, qui revendiquent une modernité non hiérarchisée et l’écriture d’une histoire du non dit, la guerre d’Algérie revêt des enjeux fondamentaux dans la construction contemporaine de la scène artistique française et algérienne. Or, alors que la prescription historique d’une cinquantaine d’années est maintenant révolue, il semble que les conflits mémoriaux inhérents à cette défaite française continuent à entraver l’écriture et l’exposition sereines d’une séquence historique, qui apparaît pourtant matricielle dans la construction de la France contemporaine. Aussi, cette étude se propose de porter un regard critique sur la place des représentations de cette « non-histoire » dans les institutions muséales françaises et tente alors de mesurer l’impact d’une histoire encore non consensuelle dans la création artistique actuelle, aujourd’hui percutée par des enjeux de mémoire et politique, et qui de fait interroge la notion même d’identité(s). / From 1954 to 1962, the Independence War or Algerian War — depending on whether the story is narrated from the perspective of the victors or the defeated — touched many generations of international artist, while also penetrating and pushing aesthetic questions about representations of the unspeakable. By tracing the scar of this break between France and Algeria through the prism of art, this thesis reveals the importance of a crucial historical moment, hitherto unexamined by art history, which continues to bear upon contemporary politics in France. Offering exploratory themes not only to a generation of budding artists who affirmed their social and artistic commitments during the events of Mai 68, but also to artists from postcolonial world who proclaimed a modernity without hierarchy and the writing of unsaid histories, the Algerian War produced some of the fundamental issues underpinning the contemporary French and Algerian art worlds. With the historic prescription of a fifty years’ deferral now being over, the conflicted memories of the French defeat continue to trouble the undisturbed writing and exhibition of this sequence of historical events, formative key to construction of contemporary France. Consequently, this study proposes a critical examination of the representation of this “non history” in the French museum. In so doing, it estimates the impact of a “non-consensual” history on contemporary artistic practice touched by issues of memory and politics, and which interrogate notions of identity(ies).

This dissertation is devoted to a monographic processing of the work of sculptress Maria Bartuszová (1936, Prague - 1996, Košice). Methodologically, it is mainly based on the compilation and evaluation of knowledge from the in-depth research of the first list of works of M. Bartuszová "Catalogue Raisonné 2012-2018", Collection of drawings and photographs from the Archive of M. Bartuszová, biography, exhibitions and bibliography. It is divided into four chapters, in which it deals with the sculpture of M. Bartuszová, its transformations in the period of her ceramics studies at the Academy of Fine Arts, Design and Architecture during the 1950s in Prague, continues by tracking her sculptural beginnings since 1961, and it deals with the circumstances of her relocation to Košice where she lived most of her life. It tracks her work during the normalization period of the 1970s until the end of the 1980s, when the totalitarian regime ended with the Velvet revolution. It explores the reasons why her work was little exhibited and also why it was little known and reflected by the professional circles. Based on the process of assembling parts of the organism of her oeuvre reconstructs technological experimental procedures, original terminology of the sculptor, creative intentions, dating of works and their...

Aristotle stated in his Poetics that theatre’s dual purpose was to educate and entertain. Centuries later the Roman Horace and Indian Bharata echoed his same sentiments. I intend to realize all three theorist’s ideas on the theatre by creating an original educational and entertaining work and bringing it to performance. The audience will retain information without being aware of learning if it is presented in a pleasurable way. The most important geopolitical relationship of this century will be between China and America. In order to educate the American public about the culture of The Middle Kingdom, I propose to write and direct my own play, condensing all three thousand years of Chinese literature into a one hundred and ten minute performance. I will benefit from the personal nature of this thesis by experiencing every stage of a play’s production: from idea to page to performance. My thesis will be made of three major parts: conceiving and writing the play, a journal of directing the debut production, and a third section made of choices, influences, and reflection on the entire experience. In this manner, the ideas swirling in my head may be made clear to others reading this thesis. The play itself will be a comical distillation of ten selected works of Chinese literature. Four non-gender specific American actors will seem to make up the show as it performs in a tongue-in-cheek way. Taking my stated goal of entertaining and educating the audience to heart, the overarching plot of the play will center on the four actors teaching the audience about the literature and culture of China by acting out scenes and telling stories. The information in the scenes will be targeted to a normal American citizen’s educational level with liberal doses of humor added. The four actors will be playing fictionalized versions of themselves and at times iv breaking character by explaining and setting up the theatricality of the piece to the audience. Part of the fun of the show will be seeing how these actors explain a subject as obtuse as Chinese literature to Americans. Perhaps a cooking metaphor is the best way to think of the play: I will chop up raw Chinese literature, the actors will boil it onstage, the theatregoer will consume the mix, and exit the theatre full of entertaining intellectual nourishment. My experiences directing and producing the finished play will be recorded in a journal as a resource for future directors. I imagine directing the play will be the most challenging aspect of this thesis. How is the play changed when other people interact with it? How will the audience receive it? In addition, Committee Chair Mark Routhier and my thesis Committee Members, Mark Brotherton and Tan Huaixiang, will also give written responses to the play’s performances. The play will be performed October 10-13, 2013 in the University of Central Florida’s Performing Arts Complex Studio 2 classroom. In the final section I will write a reflection on the entire process. This will serve the dual purpose of giving me a place to collect my thoughts and giving others a special insight to the growth they might experience when producing this play. Foremost among my influences in writing a play with this subject matter are the style and tone of The Reduced Shakespeare Company