<p> </p><p><em>For Whom the Bell Tolls</em> is Ernest Hemingway's story of the Spanish Civil War. This war has often been seen as a conflict between good and evil, and the novel is frequently viewed as a way of illustrating the brotherhood of man in its portrayal of how Robert Jordan fights as a volunteer for the republicans against the fascists. This essay shows that Jordan actually loses his faith in the war. I instead propose that his determination to perform his mission is regained through Maria, and that he integrates with her as he finishes his mission. Initially, Jordan becomes alienated because he discovers the hopelessness and immorality of the republican struggle. The fascists are really not true enemies, and the republicans seem to have become the very evil that they originally set out to destroy. His faith in his mission is regained through Maria, and the completion of his mission becomes entwined with his integration with her. It becomes clear that she, a character whose thematic importance has often been neglected, is a part of the natural world. By becoming a part of nature, Jordan can thus become an eternal part of her. As he finishes his mission, his integration with nature intensifies. As he awaits death after having finished his mission, he literally becomes a part of nature and thematically a part of Maria, and even though he will die, the lovers are united. This, I suggest, is the complete integration that Jordan experiences.</p><p> </p><p> </p>

For Whom the Bell Tolls is Ernest Hemingway's story of the Spanish Civil War. This war has often been seen as a conflict between good and evil, and the novel is frequently viewed as a way of illustrating the brotherhood of man in its portrayal of how Robert Jordan fights as a volunteer for the republicans against the fascists. This essay shows that Jordan actually loses his faith in the war. I instead propose that his determination to perform his mission is regained through Maria, and that he integrates with her as he finishes his mission. Initially, Jordan becomes alienated because he discovers the hopelessness and immorality of the republican struggle. The fascists are really not true enemies, and the republicans seem to have become the very evil that they originally set out to destroy. His faith in his mission is regained through Maria, and the completion of his mission becomes entwined with his integration with her. It becomes clear that she, a character whose thematic importance has often been neglected, is a part of the natural world. By becoming a part of nature, Jordan can thus become an eternal part of her. As he finishes his mission, his integration with nature intensifies. As he awaits death after having finished his mission, he literally becomes a part of nature and thematically a part of Maria, and even though he will die, the lovers are united. This, I suggest, is the complete integration that Jordan experiences.

This essay examines commitment and abandonment structured as two binary opposites informing For Whom the Bell Tolls. The intention behind this structuring is to highlight Hemingway’s message of the novel, set forth by the epigraph by Donne; everyone is part of mankind and every death diminishes everyone equally. The consistent structuring of characters can be seen by the fact that everyone who is committed, loyal and honest is punished while the reverse is true for people who abandon, desert and betray. The one exception to this is Pilar who, because of the role as a liberated woman given to her by Hemingway, is not included in this general categorization.

Nemokumas bendrai suprantamas kaip finansinio arba turto balanso nepakankamumas t. y. kaip negalėjimas susimokėti skolų suėjus jų grąžinimo terminui ir/arba kai skolininko įsipareigojimai viršija visą jo turimą turtą. Nors nemokumas yra be galo dažnai vartojama kategorija, tiek Lietuvos, tiek daugelio užsienio valstybių teisėje nėra įtvirtintos vienareikšmės nemokumo sampratos. Toks vieningos nemokumo sampratos nebuvimas lemia teisinį neaiškumą bei komplikuoja subjektų susiduriančių su finansiniais sunkumais padėtį. Šiame magistro darbe analizuojama nemokumo instituto samprata Lietuvos bei užsienio valstybių teisėje. Pirmiausia nemokumas analizuojamas kaip bendrinė ir teisinė kategorija. Aptariama nemokumo sampratos istorija, nemokumui būdingi bruožai, įvardijami nemokumo ir panašių teisinių santykių, tame tarpe ir bankroto skirtumai. Antroje dalyje analizuojama nemokumo kaip pagrindo nemokumo procedūroms pradėti samprata Lietuvos teisėje. Trečioje darbo dalyje lyginami atskirų užsienio valstybių nemokumo sampratos teisiniai aspektai. Galiausiai suformuluojamos pagrindinės darbo išvados bei pateikiami siūlymai kaip būtų galima pagerinti esamą nemokumo sampratos teisinį reguliavimą bei išspręsti iš jo kylančias praktines problemas. / Insolvency is generally defined as a cash flow or balance sheet insufficiency, i.e. inability to pay one’s debts as they fall due and/or when liabilities exceed debts. Even though the term of insolvency is used very often in the law of Lithuania and other countries, there is no unanimous understanding of this notion. This results in legal uncertainty and severely complicates situation of those who are facing financial difficulties. The notion of insolvency in the legal system of Lithuania and other countries is analyzed in this master thesis. Firstly, the notion of insolvency is analyzed as an appellative and legal category. In this part the history of insolvency, main features, differences from similar notions including bankruptcy are discussed. In the second part of the thesis, notion of insolvency as a legal basis for insolvency procedures in Lithuania is analyzed. In the third part, legal aspects of the notion of insolvency in different countries are compared. Finally, conclusions and suggestions are formulated aiming to improve the existing situation and provide guidelines for solving practical problems.

Aus Punkt 1: "Warum lohnt sich Semiotik gerade im Bereich Usability und Design? Mehr noch, die Semiotik als übergreifende Perspektive ist hier gar nicht zu vermeiden. (Vermeidbar ist allenfalls der Soziolekt bzw. Technolekt der akademischen Semiotik, nicht aber ein semiotisches Arbeiten selbst.) Das Denken vieler Designer ist eher visuell geprägt. Diese Ausrichtung auf non-verbale Formen und Handlungen scheint der Semiotik entgegen zu stehen. Die Semiotik hat zwar eine starke Tradition in der Linguistik, aber diese stellt nur eine von mehreren gleichwertigen Zugängen dar: Man denke etwa an die Medizin (wo visuelle und sonstige Symptome als Zeichen gedeutet werden), an die Malerei (wo es Repräsentationen für ästhetische, soziale und politische Entsprechungen gibt), an die Gestik (wo jede kleinere oder größere Bewegung eines Muskels mit Bedeutungen verknüpft ist) oder an die Musik (wo sehr abstrakte Tonfolgen mit emotionaler Dynamik verbunden sind) – dazu etwa Eco (2002), Nöth (2000), Hucklenbroich (2003), Mazzola (2003) sowie Grammer (2004). ..."

Since Presocratic Greece, suicide in the West has been “known” and controlled, both politically and discursively. Groups as diverse as theologians and literary critics have propagated many different views of self-killing, but, determining its cause and moralizing about it, they have commonly exerted interpretive power over suicide, making it nameable, explicable, and predominantly reprehensible. The four modernist authors that I consider in this dissertation -- Ernest Hemingway, Joseph Conrad, Virginia Woolf, and William Faulkner -- break completely with the tradition of knowing suicide by insisting on its inscrutability, refusing to judge it, and ultimately rendering it “almost unnamable,” identifiable but indefinable. In For Whom the Bell Tolls, Victory, Mrs. Dalloway, and The Sound and the Fury, respectively, these authors portray illustrative, but by no means definitive, modernist self-killings; they construct a distinctive representational space around suicide, one free of causal, moral, theoretical or thematic meaning and, I argue, imbued with the power to disrupt interpretation. “‘Almost Unnamable’: Suicide in the Modernist Novel” examines the power of self-killing’s representational space in early twentieth-century fiction, arguing for its importance not only to the history of suicide in the West but also to the portrayal of death in the twentieth-century novel. / text

Aus Punkt 1: "Warum lohnt sich Semiotik gerade im Bereich Usability und Design? Mehr noch, die Semiotik als übergreifende Perspektive ist hier gar nicht zu vermeiden. (Vermeidbar ist allenfalls der Soziolekt bzw. Technolekt der akademischen Semiotik, nicht aber ein semiotisches Arbeiten selbst.) Das Denken vieler Designer ist eher visuell geprägt. Diese Ausrichtung auf non-verbale Formen und Handlungen scheint der Semiotik entgegen zu stehen. Die Semiotik hat zwar eine starke Tradition in der Linguistik, aber diese stellt nur eine von mehreren gleichwertigen Zugängen dar: Man denke etwa an die Medizin (wo visuelle und sonstige Symptome als Zeichen gedeutet werden), an die Malerei (wo es Repräsentationen für ästhetische, soziale und politische Entsprechungen gibt), an die Gestik (wo jede kleinere oder größere Bewegung eines Muskels mit Bedeutungen verknüpft ist) oder an die Musik (wo sehr abstrakte Tonfolgen mit emotionaler Dynamik verbunden sind) – dazu etwa Eco (2002), Nöth (2000), Hucklenbroich (2003), Mazzola (2003) sowie Grammer (2004). ..."