The Nationalökonomische Gesellschaft (NOeG) was founded in June 1918 by a group of young scholars, mostly based in Vienna, as a forum for theoretical debate. Despite the prominent economists involved (e.g. Schumpeter, Mises, Mayer, Spann, Amonn) its activities soon petered out. The relaunch of the NOeG in 1927 originated from the necessity of the two strands of the Austrian school, led by Mayer and Mises, to find some tolerable arrangement; Spann and economists outside the University of Vienna were excluded. Around 1930 the NOeG and Vienna in general proved an attraction for many well-known economists from abroad, and many of the papers presented were printed and cited in first-rate journals. Yet with the emigration of many Austrian economists during the 1930s the NOeG mirrored the general decline of academic economics in Austria and the number and quality of the papers presented decreased. After the Anschluss 1938 the NOeG and its president Mayer were quick in dismissing its Jewish members and in the following adhered to a strategy of inconspicuous adaptation; its formal existence did not lead to any substantial activities. The post-war period was characterized by the restoration of the situation before 1938, with Mayer's continued presence at the university as well as at the NOeG a case in point. In the end, it led Austrian academic economics into a state of international isolation and "provincialization" much lamented by the émigré economists of the Austrian school.

Made available in DSpace on 2016-04-28T20:38:00Z (GMT). No. of bitstreams: 1 Fabiano Massarro Salvador.pdf: 1293848 bytes, checksum: 395d3d892b74d358404a6d6b5413bfaa (MD5) Previous issue date: 2011-12-02 / The questioning which takes course throughout the pages of this work is: What could there be of such great impact in Auto-de-Fé? In the process of the present work, Elias Canetti‟s novel provoked many doubts, reflections and problems; we realized that this author‟s work is involved by many problematics. In order to analyze his work, it was necessary to trail another path besides that of Psychoanalysis. The undertaking, in this sense, was made up of the historical analysis of different cultural periods, specially German ones. I thus ventured into the origin of the German Romantic Period, its history and main artists. Analyzing this movement, I noticed that it is very interesting and rich, principally for having been a time that served as stimulus to Freud. Even so, I realized that the journey would be incomplete if I focused only on Romantism. The questions of beautiful and sublime give space to other themes, more subjective ones, which are strange to the being. I believed it would be important to establish an interface with the Expressionist Movement, in which madness and the esthetics concerning the body would be quite different. The body, in the Expressionist movement, brought forth the marks of a shattered subjectivity. These choices were made with an aim to promote a wide reflection about the historical context in which Auto-de-Fé was imagined and developed by Canetti. This work was created when the austro-germanic culture was, in a certain way, expiring. The lights of the Austro-Hungarian Empire were beginning to die out, the Weimar Republic was a caricature of power encarnation. The growing antissemitism in Eastern European countries, with the uprising of the German National Socialist Party, already antecipating the sinister aspects to come, the Viennese nihilism showing that the Austrian society was sunk in obsolete values concerning man, art and society, and also the gathering of important arts names at this notable period. This and other factors led us to the conclusion that tha analysis of madness, of which Peter Kien will be a victim in Auto-de-Fé, is a sad metaphor of what was to come. Understanding the nearly prophetical aspect of Canetti‟s words would only be possible if we had as a guide the pages of German cultural history, a culture marked by the sign of dualism / O questionamento que irá se desenrolar nas páginas deste trabalho é: O que haveria de tão impactante na obra Auto-de-Fé? No decurso da confecção do trabalho, o romance de Elias Canetti suscitou muitas dúvidas, reflexões e problemas, e percebemos que as problemáticas que envolvem essa obra são inúmeras. Para analisarmos a obra de Elias Canetti, fez-se necessário percorrer outro caminho que não somente o da psicanálise. A empreitada, neste aspecto, foi sendo construída por meio de análises históricas de diferentes períodos culturais, predominantemente germânicos. Para tanto me detive nas raízes do Movimento Romântico Alemão, sua história e seus principais nomes. Analisando este movimento, notei como ele era interessante e rico, sobretudo por ser uma época que serviu de estímulo a Freud. Mesmo assim, percebi que o caminho ficaria incompleto se permanecesse somente no âmbito do Romantismo. As questões acerca do belo e sublime vão dando espaço para outras temáticas, questões mais subjetivas, estranhas ao ser. Acreditei que seria importante fazer uma interface com o Movimento Expressionista, onde a loucura e a estética acerca do corpo seriam bastante distintas. O corpo no Expressionismo traria as marcas de uma subjetividade em cacos. Essas escolhas foram feitas com o intuito de promover uma reflexão ampla acerca do contexto histórico em que a obra foi pensada e confeccionada por Canetti. Auto-de-Fé foi construída num contexto em que a cultura austrogermânica estava de alguma maneira fenecendo. As luzes do Império Austro-Húngaro começavam a bruxulear, a República de Weimar era uma caricatura da encarnação dos poderes. O antissemitismo crescente nos países do leste europeu, com a ascensão do Partido Nacional Socialista Alemão, já antecipando aspectos sinistros, o niilismo vienense mostrando como a sociedade austríaca estava imersa em valores obsoletos no que dizia respeito ao homem, arte e sociedade, e também a aglomeração de nomes desta notável época no que concerne as artes. Estes e outros fatores levaram-nos à conclusão de que a análise da loucura da qual Peter Kien será vítima em Auto-de-Fé é uma metáfora triste daquilo que estava por vir. Entender o caráter quase profético das palavras de Elias Canetti só seria possível, tendo como eixo norteador as páginas da história da cultura germânica, uma cultura marcada pelo signo da dualidade

The purpose of my thesis is to analyse the scope of application of the UN Convention on Contracts for the International Sale of Goods ("CISG"). The reason for my research is the wide use of the CISG in international trade. Therefore, it is necessary to know exactly when the CISG is applicable. The thesis is composed of four chapters, each of them dealing with a different aspect of international sales contracts. Chapter One is introductory and defines the basic concept of regular and international sales contract in Czech law and legal literature, taking into account the upcoming recodification of the Czech Civil Code. Chapter Two examines the basic approaches of legal regulation in private international law. After a brief theoretical introduction, special attention is paid to various Czech and international legal instruments governing contracts for the international sale of goods. In Chapter Three, I explore the basic requirements for application of the CISG. Using scholarly literature as well as case law, I characterise the concepts of sales contract, goods, place of business, contracting states and party autonomy. Consideration is also given to the material scope of application of the CISG. The existence of controversial issues related to this question is shown on the topic of interest for any sum...

Em The Logical Syntax of Language (1937) R. Carnap elabora o seu Princípio de Tolerância Lógica. Trata-se de um princípio lógico-filosófico de grande alcance, que condensa as posições mais consistentes do autor acerca do significado filosófico da pesquisa em lógica formal. A despeito do fracasso do projeto geral de uma filosofia sintática, esse princípio permaneceu como base de todo o pensamento posterior de Carnap. Mais do que isso, influenciou boa parte do melhor trabalho realizado em lógica até hoje, tendo deixado marcas duradouras sobre a filosofia analítica. Neste trabalho, buscamos examinar a origem do Princípio de Tolerância no pensamento de Carnap, como melhor caminho para estabelecer seu significado e implicações. / In The Logical Syntax of Language (1937) R. Carnap develops his Principle of Tolerance in Logic. This is a far-reaching principle for the whole philosophy of logic, and which sums up Carnaps most consistent tenets concerning the philosophical meaning of research in formal logic. Despite the failure of the general project of a syntactical philosophy, the Principle of Tolerance remained the basis for the whole of Carnaps subsequent thought. Moreover, it proved influential in a good deal of the most important work done in logic to this day; it also left permanent traces in analytic philosophy. In this work, we aim at examining the origins of the Tolerance Principle in Carnaps thought, as the best way to establish its significance and implications.

This is an analysis of how fin-de-siècle Vienna and its mayor, Karl Lueger, influenced the development of Adolf Hitler’s worldview. The works of many authors were consulted in conjunction with newspapers and memoirs of the period in order to gain a better understanding of what the environment of the Austrian capital was like in the fin-de-siècle period. Several of Vienna’s political, social, and artistic facets are analyzed in an attempt to prove that the general atmosphere of the city influenced Adolf Hitler greatly during his formative years. It is concluded that while Adolf Hitler’s Weltanschauung did not completely crystallize until after World War I, much of what contributed to his personal and political ideology resulted from his personal experiences in Vienna.

Ce travail constitue la première thèse intégralement consacrée à l’exposition internationale de musique et de théâtre qui s’est tenue à Vienne en 1892. Il s’inscrit dans la continuité des recherches menées sur les expositions universelles et analyse le cadre général de l’exposition depuis sa genèse jusqu’à sa clôture, la scénographie, les différents événements et les principaux acteurs afin d’en comprendre le fonctionnement, la densité mais aussi la complexité. Une place importante est accordée aux échos que l’exposition rencontra dans la presse autrichienne et française. Parallèlement, il associe une étude des enjeux identitaires de l’exposition avec une analyse du point de vue de l’histoire de la vie musicale et de l’histoire des sciences musicales. Les contradictions entre l’idée de départ du projet et sa réalisation finale sont prises en compte, tout comme la diversité du public, la place des peuples de l’Empire ou encore celle des pays lointains présentés dans la section ethnographique. Ces interactions permettent d’aborder la « culture viennoise » comme réponse aux tensions de la fin de siècle et d’analyser les procédés mis en œuvre pour la définir. La question de la réception de l’exposition soulève aussi celle de la mise en scène du passé viennois et d’une tradition viennoise revisitée (reconstruction du vieux Vienne, renaissance du théâtre populaire) face aux transformations issues de l’industrialisation et de la transformation de la société. En croisant ces approches, il s’agit d’analyser en profondeur les enjeux et les conséquences de ce projet, dans le cadre d’une histoire culturelle sensible à leur dimension politique, artistique et scientifique. / This work is the first thesis entirely devoted to the international exhibition of music and theater organized in Vienna in 1892. It is in line with the research carried out on universal exhibitions and analyses the general framework of the exhibition from its genesis to its closure, the scenography, the various events and those involved in order to understand its functioning, its density but also its complexity. An important place is given to the repercussions that the exhibition will have on the Austrian and French press. This thesis aims at the same time to combine a study of the identity issues of this exhibition with analysis from the point of view of the history of musical life and the history of musical sciences. The contradictions between the initial idea of the project and its final realization are taken into account, as well as the diversity of the public, the place of the peoples of the Empire or that of distant countries presented in the ethnographic department. These interactions make it possible to approach “Viennese culture” as a response to the tensions of the end of the century and to analyse the processes used to define it. The question of the reception of the exhibition also raises the question of the staging of the Viennese past and a revisited Viennese tradition (reconstruction of the old Vienna, rebirth of popular theater) in face of the transformations resulting from industrialization and the transformation of society. By joining these approaches, it will be possible to analyze in depth the stakes and consequences of this project, within the framework of a cultural history responsive to their political, artistic and scientific dimension.

La thèse porte sur la famille Batthyány, qui a joué un important rôle au XVIIIe siècle à la Cour de Vienne, à la Diète, dans l’Armée et dans l’Eglise, par ses représentants : le palatin Louis –Ernest (1696-1765), le cardinal primat Joseph (1727-1799), l’évêque de Transylvanie Ignace (1741-1798) et par Charles Joseph (1697-1772), feld-maréchal de l’Armée autrichienne, tous, conseillers de Charles VI, de Marie-Thérèse et de Joseph II. La monographie familiale étudie les élites et analyse les mécanismes de fonctionnement de la politique de la Maison d’Autriche des Habsbourg. La thèse est structurée sur trois niveaux : la Cour de Vienne, le Royaume de Hongrie et la Transylvanie et développée dans quatre chapitres : I. Les Batthyány une famille des magnats ; II. Dominer ; III. Dominer et servir : les Batthyány, le Royaume de Saint Etienne et la Maison d’Autriche ; IV. Servir : les Batthyány et la dynastie des Habsbourg. La principale conclusion : les Batthyány appartienne aux élites européennes par les alliances, les faits et les acquis dans des multiples domaines. / The thesis treats the Batthyány family’s role in the eighteenth century and its’ involvement in Vienna’s Court, Diet, Army and Church structures, through its’ representatives: palatine Louis-Ernest (1696-1765), cardinal Joseph (1727-1799) primate of the Catholic Church, Ignace (1741-1798), Transylvania bishop and Charles-Joseph (1797-1772), field-marshal of the Austrian army. In addition, all have been advisors to Charles VI, Maria Theresa, and Joseph II. The family’s monography studies the existent elites and analyses the political mechanisms inside the Austrian Habsburg Court. The thesis revolves around three axes: the Vienna Court, the Hungarian Kingdom and Transylvania, developed into four chapters: “I. Batthyány, a magnates family„; “II. Domination„; “III. Dominating and serving: Batthyány, Kingdom of Saint Stephen and the House of Austria„; “IV. Serving- Batthyány and the Habsburg dynasty„. The main conclusion: the Batthyánys belong to European elites through their alliances and their involvement in various domains.

Die Wissensgesellschaft gilt spätestens seit der im Jahr 2000 durch die EU propagierten Lissabon-Strategie als Strategie der europäischen Städte und Regionen zu mehr Wachstum und Beschäftigung. Die Masterarbeit „Europäische Metropolregionen in der Wissensgesellschaft“ greift dieses Leitbild auf und untersucht anhand der Metropolregionen Wien, Berlin und London inwieweit sich das Thema Wissen in den strategischen Planungsdokumenten der Metropolregionen wieder findet. Die Untersuchung erfolgt anhand von entwickelten Handlungsfeldern einer wissensbasierten Entwicklung von Metropolregionen. Neben den Themen Hochqualifizierte Arbeitskräfte und Wissensinfrastrukturen spielt insbesondere die räumliche Nähe eine entscheidende Rolle für regionale Innovationssysteme. Durch Kompetenzfelder und Netzwerkstrukturen an bestimmten Wissensstandorten lassen sich durch regionale Wirtschaftsförderung Clusterungen stimulieren. Anhand des Beispiels Wien wird vertiefend untersucht, ob sich die in den Strategiedokumenten (Strategieplan 2004, Stadtentwicklungsplan 2005, Wiener Strategie für Forschung, Technologie und Innovation 2007) beschlossenen Ziele auch durch Maßnahmen der Stadtentwicklung und Wirtschaftsförderung wieder finden. Darüber hinaus werden insbesondere die unterschiedlichen Governance-Ebenen der Metropolregion und ihr Beitrag zur Förderung der einzelnen Handlungsfelder analysiert.

<p>This dissertation explores the meaning of art and religion in fin-de-siècle Vienna through the symphonies of the composer Gustav Mahler (1860-1911) and the philosophical and dramatic works of the poet Siegfried Lipiner (1856-1911). Using as a framework aesthetic discourses concerning the ability of music to be "read" as a narrative text, this study highlights the significant role of both poet and composer in the cultural and intellectual world of Vienna at the end of the nineteenth century. In this study, I compare and contrast Lipiner's vision of religious renewal with the redemptive narratives in the programs of Mahler's first four symphonies, which were composed during a period when the poet and composer shared a close friendship and intellectual exchange. Furthermore, I also discuss Mahler and Lipiner's works in relation to the writings of the Polish Romantic poet, Adam Mickiewicz (1798-1835), the philosopher Friedrich Nietzsche (1844-1900), and the composer and cultural critic, Richard Wagner (1813-1883), demonstrating how the images of the heroic martyr, the Übermensch and the Volk, play a role in the re-conception of man's relationship to the divine, which is central to Mahler and Lipiner's idea of redemption. However, I also claim that the political and cultural climate of Vienna around 1900 played an important role in their interpretation of these ideas. Despite their public conversion and cultural assimilation, Mahler and Lipiner's Jewish heritage distinctly shaped their interest in artistic-religious redemption both to cope with their own personal feelings of alienation in the society in which they lived, and as a cure for the existential malaise of their time. This study demonstrates not only the significant impact of Lipiner's aesthetic-religious philosophy on Mahler's music, but also portrays their vision of redemption as an re-envisioning of man's relationship to God, which stands in contrast to the modern trend of secularism, and reflects a little-explored dimension of aesthetic and religious culture in fin-de-siècle Vienna.</p> / Dissertation

Thesis (Th. M.)--Dallas Theological Seminary, 2001. / Includes bibliographical references (leaves 52-53).