1.1 billion people are today living without sustainable access to improved water. The debate over the water sector has been dominated by the discussion over whether public or private actors are the most competent to manage it. In this paper the arguments pro and contra the two positions are presented to try to overview the debate and to try to find new ways to approach the question of the people living without clean water. By examining possible alternatives towards the discussion of public and private actors, it might result in some new approaches on how to move closer towards a solution. One alternative is local, small- scale projects which focus on the situation of the targetgroup in most need. I have in this paper tried to find signs of that the debate is changing in a way that would bring positive outcomes for the people living without access to improved water. The debate is changing, both the private as well as the public sector is changing their ways of working and the alternative approach is increasing its influence. Hopefully the debate can move away from the discussion of ideology and acknowledge the strengths of each other to result in possible solutions of the water problems. With the increasing interest and concern for the question of water there is thus an opportunity for a change in the debate that would benefit the ones living without sustainable access to improved water.

This diploma thesis tackles the issue of key reforms of the Common Agricultural Policy (hereinafter "CAP") made by the European Union (hereinafter "EU") during the last years and includes the context and the reasons which led to it. Despite the range of positive results which the CAP of the EU brings, it is followed by controversy. Agriculture as a topic rouses emotions and remains to be a delicate theme which often divides politicians. Disputes concerning conception of the policy are lead not only on the European and domestic level but also on the grounds of international organisations. Those which I would like to emphasize are particularly negotiations before the World Trade Organisation which tries to liberalize the international trade. A focus of this thesis is put on analysis of the development after year 2003 when the last significant turnover of the policy took place. Since this turnover until today we are witnessing only gradual changes. The aim of this thesis to analyse and evaluate whether if and in what areas did the EU make a change in the policy which reacted on its's objective issues and critics. After a brief introduction of the policy, the first part of the thesis focuses on specific problematic issues of the CAP that are criticised. I will attempt to describe and explain selected...

Cette thèse examine comment les catégories de marché -ensembles qui partagent des similarités cognitives et culturelles- impactent la performance et l'évaluation des entreprises.Le consensus répandu dans la littérature indique que les organisations qui évoluent dans plus d'une catégorie sont sanctionnées tant au plan économique que social.Remettant en cause ce consensus actuel sur "l'impératif catégorique", cette thèse avance l'idée que les acteurs d'un marché ont un rôle plus complexe que simplement réprimer toute violation des catégories établies. Aussi dans ce contexte, être engagée dans plusieurs catégories de marché pour une organisation à la fois améliore son évaluation sociale mais réduit sa performance en cas de perceptions divergentes de ses affiliations catégorielles. Les données empiriques de cette thèse portent sur les cabinets d'avocats d'affaires dans trois grandes métropoles (New-York, Paris et Londres) au cours d'une décennie (2000-2010). Les cabinets d'avocats multi-services - ceux qui exercent dans plusieurs domaines du droit- obtiennent une meilleure évaluation de la part des clients tant au niveau global du cabinet que pour chacune de leurs spécialités juridiques. Toutefois, les désaccords entre clients en terme d'évaluation portant sur chacune des spécialités juridiques offertes détériorent la performance financière des cabinets. Cette thèse approfondit notre compréhension du rôle que jouent les catégories sur les marchés et les stratégies d'extensions catégorielles que les entreprises mettent en oeuvre. Ce travail contribue également aux études sur le champ juridique et a des implications pour la conduite stratégique des cabinets d'avocats d'affaires / This dissertation explores how market categories - clusters that share cognitive and cultural similarities - impact firms' performance and evaluation. Pervasive consensus in literature indicates organizations that do not fall into a single category suffer economic and social disadvantages.Unsettling this current consensus about the categorical imperative, this dissertation advocates that external audiences have a more complex role than simply patrolling the boundaries and sanctioning any infringement of established categories. They scrutinize categories in various ways depending on their needs. They infer some characteristics of firms from one category membership to another. They diverge about the category memberships and evaluation of firms. This dissertation provides evidence that in such cases, spanning categories both leads to positive social evaluations for organizations, but decreases performance in case of inconsistency across categories. Empirically I study the corporate legal services market in three major financial locations (New-York City, Paris and London) over a decade (2000-2010). My findings are twofold:(i) multi-category law firms- those that are engaged in several practice areas of law - receive better social evaluation from clients both at the firm level and at the practice area level; (ii) disagreement among clients' evaluation about law firms' practice areas undermines their financial performance. This dissertation deepens our understanding of the role that categorical structures play in markets and the category-stretching strategies firms implement to better navigate the "category map". This work contributes also to research in legal studies and has implications for law firms' business development

Esta tese analisa a constituição singular do poeta Álvaro de Campos em relação aos outros heterônimos pessoanos, como uma questão de grau intensivo. Partindo do princípio camposiano da poesia como força, aplica-se a conceituação deleuziana para interpretar essa força como criação de platôs intensivos, criação de afectos e perceptos, e como constituição de um fora, portanto, aspectos constituintes do sujeito poético. Analisam-se cinco principais poemas como um mesmo perfil marcado pela rubrica da intensidade. Os poemas escolhidos são analisados em termos de platôs intensivos, a saber: 1) o platô da viagem, a bordo de um navio, em Opiário e num passeio pela cidade, em Ode Triunfal, 2) o platô avistado do cais, em Ode Marítima, 3) o platô do livro, em Saudação a Walt Whitman, 4) o platô do fora, no manifesto Ultimatum e por fim, 5) o platô da mansarda, em Tabacaria. Levantar-se-á em conta também todo o perfil intensivo camposiano para realçar as marcas da intensidade que o constitui e lhe fornece o perfil característico singular. Para empreender a análise, partiu-se da imagem do poeta à janela, como uma metáfora perceptiva, confrontando o mundo, dobrado para o exterior, e dele captando em figuras e ambientes, os acontecimentos que o afetam. Conclui-se que é essa alma à janela ou esse olhar perceptivo voltado para o fora, o que, ao incorporar as forças da alteridade, desenha para Álvaro de Campos a sua feição poética singular. / This thesis examines the peculiar poetic subjectivity in Álvaro de Campos, relating to the other heteronyms pessoanos as a matter of intensive degree. Starting from the Campos principle of poetry as a force, it applies deleuziano concepts to interpret that force in terms of intensive plateaus, affects and percepts and formation of an outside; therefore, as constituents aspects of poetic subject. Five major poems covering the three thematic stages on Álvaro de Camposs poetry are analyzed as a same profile marked by the rubric of intensity. The chosen poems are discussed in terms of intensive plateaus, namely: 1) the voyage on board of a ship in Opiário and a city tour in Ode Triumphal; 2) the plateau viewed from the pier in Ode Marítima; 3) the book plateau, in Ode to Walt Whitman, 4) the outsides plateau in Ultimatum manifest and finally, 5) the plateau of the mansard, in Tabacaria. It also examines the whole camposiano literary becoming aiming to highlight the intensive traces so that provide his peculiar profile. The analysis starts from the poets image at the window as a perceptive metaphor; he confronts the world bent outwards, and expresses by means of figures and features all events which affect him. We conclude that this \"soul to window, or perceptive look toward outside is what, by embodying the forces of alterity, may have allowed Álvaro de Campos its unique poetic garb.

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Doctor of Philosophy / Curriculum and Instruction Programs / Jana R. Fallin / This qualitative study sought to inquire into, identify and examine elements of musical expression as exemplified in jazz performance from a phenomenological approach. The purpose was to identify the various elements utilized by expert performers and listeners in perceiving musical expression, to determine whether or not these elements are held in common between performer and listener, and to explore the relation of personal experiences of the phenomenon with aesthetic philosophy and educational practice. Aesthetic concepts were drawn from the writings of Stephen Davies and Peter Kivy while jazz principles and foundations were drawn from Ted Gioia and Gunther Schuller. Ten subjects, five world-class jazz artists and five nationally recognized jazz critics, were selected based upon reputation and professional standing and interviewed in naturalistic settings of their own choosing (home, office, studio). Each subject listened to six recordings of the jazz standard My Funny Valentine as recorded by established jazz icons: Miles Davis, Paul Desmond, Gerry Mulligan, Bill Evans with Jim Hall, Sarah Vaughan, and Keith Jarrett. All were encouraged to comment in a stream-of-consciousness manner while listening to the examples. Additionally, fifteen statements drawn from the literature were read for subjects to rate on a five-point Lykert scale ranging from “totally agree” to “totally disagree”. Interviews were transcribed and coded into themes. Lykert responses were analyzed within group using means and ranges and between groups utilizing difference of means. Results, as interpreted by this researcher, reflect seven themes identified by performers (Sound, Individuality, Virtuosity and Intellect, Communication, Specific Musical Elements, Mood or Character, and Originality and Innovation) and six themes enumerated by critics Individuality, Virtuosity and Intellect, Communication, Specific Musical Elements, Mood or Character, and Originality and Innovation). No attempt was made at stratification of themes, as this was exploratory research. While both groups used the concept of sound, context placed it under the concept of individuality for critics while performers used it more specifically towards the establishment of mood. Lykert responses confirmed strong similarity of thought between the two groups.

This thesis argues that Heidegger’s thought offers crucial insights into the structural challenges that modernity poses to being an ethical and religious person. I argue that these difficulties come down to an instrumentalist conception of truth, a denial or repression of finitude as the condition of meaningfulness, and a philosophical anthropology that is both too subjectivistic and too objectivistic. Yet while Heidegger was good on the diagnosis, he was reluctant to give more than digressive and opaque prescriptions to these problems. My thesis seeks to respond to this lacuna by putting Heidegger’s critical observations in the service of articulating a positive religious ethics. To that end, it seeks to locate—as well as redefine from an ontological perspective—the human dispositions and practices that expose truth in a non-instrumental light, that show finitude as a positive condition of meaningfulness, and that reveal the essence of the human being in non-subjectivist and non- objectivist terms. I argue that these include listening and gratitude—dispositions and practices I claim should form the backbone of any religious ethics, and yet which I also claim should not be limited to those who believe in a personal, theistic God. My thesis contributes to the fields of modern theology and Heidegger Studies in four ways. First, it shows that Heidegger’s critics (such as Levinas and Adorno) are wrong to oppose ontology to ethics. Second, it shows that Heidegger’s critics (such as Marion and Jonas) are wrong to oppose ontology to theology. Third, it shows that Heidegger’s own ambivalence about the ethical and theological relevance of his thought allows for the development of a deeply ethical and theological posture. And fourth, it offers a unique, post-Heideggerian interpretation of gratitude, one in which it is understood as a structure of Dasein that is both “always already” and “not yet” operative.

Le « clair-obscur », tirant son origine du terme italien « chiaroscuro », est considéré comme l’un des plus importants éléments dans l’art et la littérature. En examinant dans les tableaux la lumière et les ombres, deux composants opposés, les peintres ainsi que les critiques d’art du XVIIe et du XVIIIe siècles font preuve d’un grand enthousiasme de dévoiler leurs secrets. L’instauration de l’Académie, le grand débat sur le colorisme et la naissance de la critique d’art en France sont des occasions particulières pour approfondir leurs études du clair-obscur.Parmi les critiques d’art du XVIIIe siècle, c’est Diderot qui souligne les effets du clair-obscur dans ses Salons. Par rapport à d’autres salonniers contemporains, seul Diderot philosophe-écrivain expose ses propres idées esthétiques concernant le clair-obscur et transmet ses effets poétiques aux lecteurs, en suscitant de fortes « émotions ». Cette originalité littéraire des Salons contribue donc à l’évolution de la critique d’art des siècles suivants. / The « clair-obscur », from the Italian term « chiaroscuro », is considered one of the most important elements in art and literature. By examining the two opposing components of light and shadow in paintings, the painters and art critics in the seventeenth and eighteenth centuries show great enthusiasm about revealing their secrets. The establishment of “Academy”, the great discussion on coloration and the birth of art criticism in France are special opportunities for further study of chiaroscuro.Among the art critics of the eighteenth century, it is Diderot who emphasizes the effects of chiaroscuro in his Salons. Compared with other contemporary « salonniers », only Diderot as a philosopher and writer, exposes his own aesthetic ideas regarding chiaroscuro and passes on the poetic effects of this to his readers, arousing strong « emotions ». This literary originality of the Salons contributes thus to the development of art criticism in the following centuries.

A proposta principal desta dissertação é analisar a recepção que o crítico teatral Sábato Magaldi ofereceu no Jornal da Tarde às primeiras montagens das peças de Antonio Bivar, Leilah Assunção, José Vicente de Paula, Consuelo de Castro e Isabel Câmara e quais as questões em evidencia na cena teatral paulista e carioca, durante a segunda metade da década de 60, que levaram Sábato Magaldi a considerá-los representantes da Nova Dramaturgia Brasileira. O trabalho possui três capítulos. No primeiro, procuramos apontar aspectos históricos da constituição da imprensa como esfera pública e da crítica teatral nos jornais diários do Rio de Janeiro e São Paulo entre os séculos XIX e XX. O segundo, por sua vez, aborda o legado de Sábato Magaldi para a crítica nacional, além de recuperar os principais debates teóricos envolvendo os críticos e a classe teatral paulista durante a década de 60. Por fim, o último capítulo, construído a partir de uma acervo documental amplo, trata da recepção que o crítico do Jornal da Tarde deu às montagens dos chamados novos dramaturgos / The main goal of this essay is to analyze the reception given by the theater critic Sábato Magaldi at the Jornal da Tarde newspaper to the first stagings of the plays by Antonio Bivar, Leilah Assunção, José Vicente de Paula, Consuelo de Castro e Isabel Câmara. Also, which are the relevant issues on both Rio de Janeiro and São Paulo theater scenes, during the second half of the 1960\'s, that lead Sábato Magaldi to single the above mentioned authors as representants of Brazilian new dramaturgy. The essay has three chapters. The first tries to identify historic aspects of the constitution of the press as public sphere and of the theater critic on Rio de Janeiro and Sao Paulo daily newspapers between the centuries 19 and 20. The second approaches Sábato Magaldy\'s legacy to the national critics, and recovers the main theoretical debates involving critics and theater workers during the 1960\'s. At last, the third chapter, built upon a wide collection of documents, addresses the reception provided by the critic of the Jornal da Tarde to the stagings of the so-called new dramaturgists

Cette recherche se propose d’étudier la notion de « métrique » au sein de l’œuvre poétique et critique de Franco Fortini. Ce concept fera l’objet d’une analyse esthétique croisée aux domaines de l’éthique et de la politique. Le travail s’articule autour des différentes significations des concepts de métrique et de biographie, un couple de concepts utilisé par Fortini comme titre d’un poème publié dans « Officina » en 1955 et lors d’une conférence présentée à Genève en 1980. Nous avons divisé notre recherche en trois parties. Dans la première partie, nous avons examiné les concepts clés du parcours poétique et intellectuel de Fortini – à savoir l’histoire, la littérature, la forme et la figure – analysés selon leurs significations respectives dans le parcours biographique de l’auteur. Dans la deuxième partie, nous avons ensuite analysé les essais sur la métrique publiés vers la fin des années cinquante, pour sonder le lien entre « liberté » et « nécessité » à la lumière de la dialectique entre individu et collectivité. Cette partie tisse aussi une comparaison entre la théorie du vers et la pratique de composition chez Pasolini, les Novissimi et Amelia Rosselli, et développe une étude anthropologique sur la relation entre le rythme et le mètre à partir de l’œuvre de Ernesto De Martino. La troisième et dernière partie, enfin, expose les limites d’une métrique conçue comme « mesure arithmétique », en approfondissant la réflexion sur la forme à la lumière de la critique du rythme d’Henri Meschonnic, comparée au travail de traduction de Fortini. L’étude de ce rapport nous a ainsi permis d’évaluer l’impact des modèles de Brecht et de Goethe sur le choix formel de l’auteur. / The research investigates the notion of “metrics” in Franco Fortini’s works, extending aesthetic inquiry to ethics and politics. The work is based on the different variations of the couple metrics and biography, used by Fortini as a title for both a poem published in 1955 and a conference paper presented at the University of Geneva in 1980: these dates set the time span of the research. The thesis is composed of three parts. The first one examines the key concepts of Fortini’s poetic and intellectual path – history, literature, form and figure – in the different meanings that they assume along his biographical trajectory. The second part analyses the essays of the late 1950s about metrics and stylistic criticism, verifying the relationship between «freedom» and «necessity» in a dialectic between the individual and the community. The second part also hosts a confrontation with the theory of verse and compositional practice of Pasolini, the Novissimi and Amelia Rosselli. The third and last part shows the limits of a metric conceived as an «arithmetic measure»: in order to delve into the theory of form, I confront Meschonnic’s critique of rhythm with Fortini’s translations. The study of these latter allows us to estimate the impact of models such as Brecht and Goethe on the formal choices of the author.