Baigiamajame magistro darbe nagrinėjama XX a. žymių architektų ir inžinierių įtaka konstrukciniams statinių sprendiniams. Išnagrinėti pagrindiniai XX a. žymių architektų ir inžinierių darbo principai, kuriais remdamiesi jie darė įtaką konstrukciniams statinių sprendiniams. Baigiamajame darbe aptarti šių dviejų profesijų santykiai. Pateikiama XX a. architektūros ir inžinerijos raidos istorija. Išanalizuoti kelių architektūros stilių, dariusių įtaką konstrukcijoms, skirtumai, pateikiant jų ryšį su naujomis konstrukcijomis. Vertinant architektų ir inžinierių įtaką konstrukciniams statinių sprendiniams atsižvelgiama ne tik į jų objektus, bet ir į jų akademinę veiklą architektūros ir inžinerijos srityse. Darbe analizuojami objektai, kuriuose ryškiausiai atsispindi architektų ir inžinierių daroma įtaka naujų konstrukinių sprendinių nuosekliai integracijai į architektūrą, pabrėžiant konkrečius specialistų nuopelnus. Išnagrinėjus surinktą medžiagą, pateikiamas baigiamojo magistro darbo apibendrinimas ir išvados. / The influence of famous architects and engineers of the twenty-century for structural building’s decisions is analysed in this final master’s work. Their principals of work are analysed too. This final work talks about relations between architects and engineers, the process of architecture and engineering. Several architectonic styles differences, which made an influence to the structural, are analysed, as well as their relation with new structural. This final work talks not only about the objects of architects, but also about their academic activity in the sphere of architecture and engineering. This final work analyses objects, in which it can be seen the biggest influence of architects and engineers for the new structural decisions integration to the architecture. In this work there is a generalization and a conclusion.

This dissertation studies the cultural concept of “decadence” in Latin America during the nineteenth and twentieth century. It focuses on the reception of Cuban writer Julián del Casal (1863-1893) as an emblematic case. It approaches “decadence” in literary, sociological and historical terms, and relates its emergence (as cultural concept) to the legitimation crisis of colonialism brought about by the advent of industrial capitalism in the nineteenth century. The dissertation presents a comparative study of the relationship between fin de siècle and the twentieth century categorizations of the "decadent" and "degenerate" artist. Julián del Casal is analyzed as a cornerstone for such debates in three interrelated spheres: literary criticism in pre-Independence Cuba, including discussions on nationhood, art, culture, and literature; Latin American modernismo criticism, in particular the debates among writers and critics on the role of literature in fin-de-siècle Latin America; and twentieth-century literary reformulations of “decadence” among writers associated with the journal Orígenes. The dissertation combines theoretical approaches on the sociology of literature, cultural and Transatlantic theories of “decadence”, and close readings of archival material. This dissertation makes a contribution to bridging the gap between literary and cultural approaches to “decadence” as both a literary strategy and a cultural and political phenomenon. It asserts that, in order to understand the significance of “decadence” in Cuba and in the rest of Latin America, it is important to go beyond traditional approaches, which have circumscribed the study of “decadence” to the nineteenth-century, and have treated it merely as an aesthetic phenomenon. Instead, the dissertation highlights the significance of this concept, in the study of twentieth-century literature and politics, as a tool to revisit the impact of colonialism and nation-formation in Latin America.

À la différence d'autres phénomènes juridiques, le déplacement du droit d'un lieu à l'autre s'inscrit dans une analyse beaucoup plus ample que celle de droit comparé. Les États sont mis en concurrence dans de nombreux domaines : politiques économiques et fiscales, protection sociale, systèmes éducatifs, innovation, etc. Les systèmes juridiques se retrouvent également en compétition. Avec la mondialisation les échanges entre les systèmes juridiques se sont multipliés, ouvrant la voie à un recours plus fréquent à la démarche comparative. Par conséquent, la circulation du droit est un sujet qui a intéressé à la pensée juridique depuis toujours, mais qui ne commence à être traité que récemment. Pour le comprendre il convient de se rapporter à un cas spécifique, qui étant donné son caractère paradigmatique est celui de la réception du droit, de la doctrine et du régime constitutionnel français pendant les années trente en Colombie. Son examen servira comme support empirique d'un modèle explicatif du phénomène de la diffusion, d'un État à un autre, d'un droit formalisé et systématisé. / Unlike other legal phenomena, law's moving one place to another is part of a much broader analysis than that of comparative law. States are in competition in many areas: economic and fiscal policies, social protection, education systems, innovation, etc. Legal systems are also in competition. With globalization, exchanges between legal systems have proliferated, opening the way to more frequent use of comparative approach. Therefore, the circulation of law is a subject that always interested to legal thought, but it begins to be treated recently. To understand it should relate to a specific case, which given its paradigmatic character is that of reception of the law, the doctrine and the constitutional French regime during the thirties in Colombia. This review will serve as empirical support for a model explaining the phenomenon of diffusion from one state to another, of a formalized and systematized law.

La thèse, divisée en trois parties, constitue une introduction à l’univers musical de Giacomo Manzoni (Milan, 1932). La première partie aborde huit dimensions de l’œuvre du compositeur dans une perspective analytique (matériau, temps, dynamique, timbre, forme, figures sonores, espace et texte). Dans la deuxième partie, où figure une étude de Per Massimiliano Robespierre (1974) et de Doktor Faustus (1988), sont présentés les principaux axes de sa poétique : l’engagement et l’innovation. La dernière partie conceptualise la notion de matiérisme en tant que fondement de sa praxis compositionnelle. À ce propos, Atomtod (1964), sa troisième œuvre pour le théâtre musical, a été analysée. Des documents inédits, dont des esquisses de ses œuvres et une correspondance avec Luigi Nono, ont été commentés tout au long de la thèse. Les annexes incluent un catalogue chronologique et thématique des œuvres du compositeur, une édition critique bilingue des textes mis en musique, la traduction de son dernier livre (Parole per musica) et une discographie. / This thesis, which consists of three parts, represents an introduction to Giacomo Manzoni’s (Milan, 1932) musical ideas. First part deals with eight dimensions of his work from an analytical point of view (material, time, dynamics, timbre, form, sound shapes, space and text). In the second part, which contains an analysis of Per Massimiliano Robespierre (1974) and Doktor Faustus (1988), two main axes of his poetics were examined: commitment and innovation. Last part conceptualizes the notion of materialism in his poetics, as it constitutes the basis of his musical praxis. To this end, Atomtod (1964), his third work for the stage, was analysed. Unpublished documents, like sketches of his works and a correspondence with Luigi Nono, were commented throughout the thesis. Appendices include a chronological and thematic catalogue of his works, a bilingual critical edition of the texts which he set to music, a French translation of his last book (Parole per musica) and a discography.