Thesis (Ph. D.)--University of North Texas, 2002. / Includes bibliographical references (p. 166-173).

Diss.--Hambourg--Univ., 1997. / Bibliogr. p. 297-320. Index.

Cette étude se propose de dresser un tableau des relations d’Etat à Etat qu’ont entretenues le régime de Vichy et le Saint-Siège entre juillet 1940 et août 1944, par l’intermédiaire de leurs représentants diplomatiques : le nonce apostolique en France, Mgr Valeri et les deux ambassadeurs qui se sont succédé dans la Cité du Vatican, Wladimir d’Ormesson et Léon Bérard. Elle insiste sur l’importance de la caution que représentait, pour un gouvernement de plus en plus contesté, la présence d’un nonce auprès du maréchal Pétain et de son ambassadeur auprès du Souverain Pontife. Elle met en parallèle les attentes que nourrissait l’Etat français d’une action plus visible et tangible de la diplomatie vaticane et sa déception devant la réserve qu’observe cette dernière. Elle décrit également, en dépit des avances faites par Vichy à l’Eglise, la méfiance croissante provoquée au Vatican par la politique du régime : dérives autoritaires, mesures anti juives, alignement sur le Reich. Elle relate enfin le rapprochement qui s’opère avec la France libre et aboutit, après l’effondrement du régime et le retrait de son ambassadeur, à la reconnaissance du Gouvernement provisoire de la République. / This research study describes the interstate relations which the Vichy regime maintained with the Vatican between July 1940 and August 1944 on the diplomatic level : the apostolic nuncio in France , mgr Valeri, on one side and, on the other side, the French ambassadors accredited to the Holy See, Wladimir d’Ormesson followed by Léon Bérard in December 1940. It underlines how valuable were, for a more and more disputed and rejected government, the presences of a high ranked papal envoy close to marshal Pétain and conversely of a French plenipotentiary in the Vatican state. It worked as a voucher of legitimacy. The study points out the expectations of the “Etat français” towards a more visible and concrete action of Pius XII diplomacy and the disappointment prompted by its spinelessness. It emphasizes, in spite of the advances made in the direction of the Church, the growing mistrust created in Rome by the political line followed by the French leaders: authoritarian downward spiral, anti Jewish measures, submission to the 3rd Reich. It finally sketches out the gradual move of the Holy See towards the “France libre” which led, after the collapse of the regime and the forced resignation of its ambassador to the formal recognition of the de Gaulle government.

Wladimir Vogel's (1896-1984) interest in twelve-tone composition began to develop in 1936 after hearing a series of lectures by Willi Reich, a music critic and supporter of the new music of the Second Viennese School. The transition for Vogel from a large-scale orchestral “classical” style, influenced by his study with Ferruccio Busoni in Berlin in the early 1920s, to a new technique involving dodecaphony is apparent in his instrumental writing, the third and fourth movements of the Konzert für Violine und Orchester (1937), as well as in his vocal writing, the Madrigaux for mixed a cappella choir (1938/39). Vogel's twelve-tone works exhibit tertian structures which are particularly emphasized by triads located as consecutive pitches within the rows. Emphasis on tertian structures are not limited to small-scale segmentation of the rows but can also be seen in the structural and tonal organization of complete movements and works. A primary example is the Konzert für Violoncello und Orchester (Cello Concerto) (1955) in which, on a smaller scale, the presentation of the row emphasizes both diminished and minor triads, and at the macro level, the structural triadic relationships unify passages within individual movements as well as the concerto as a whole. Since the work is composed using the twelve-tone method, consideration is given to the structure of the serial components. In addition, the concerto is analyzed in terms of its cognitive features-those elements that are demonstrably related to traditional practice- such as tertian melodic/harmonic outlines reinforced by rhythmic features that are common to eighteenth- and nineteenth-century practice. The compositional features evident from the serial structure of the work are addressed in conjunction with references to traditional practice made evident through the serial technique. The findings in the analysis of the Cello Concerto support the argument that the inclusion of consonant sonorities and tertian structures in Vogel's works results in a certain degree of tonal coherence while the large-scale compositional framework is dodecaphonic.

Facultad de Filosofía y Humanidades / Tesis autorizada con embargo, disponible en texto competo en 2013 / Tesis para optar al grado de Magíster en Filosofía mención Axiología y Filosofía Política / El presente trabajo tiene como objetivo general demostrar la falta de comprensión por parte de Lenin del fenómeno moderno de la separación (enajenación) de lo político (Estado político) con respecto a lo social, que tendría como consecuencias teóricas concretas la imposibilidad, de comprender el proceso de burocratización del “Estado Soviético”, y de plantear teóricamente la temática de la extinción del Estado. Para realizar lo anterior se justifica la importancia atribuida a los textos de Marx escritos en los años 1843 y 1844 (“Crítica de la Filosofía del Derecho de Hegel” en adelante “La Crítica”, “La cuestión judía”, “Para una crítica de la Filosofía del Derecho de Hegel. Introducción” y “Glosas críticas al artículo „El rey de Prusia y la reforma social. Por un prusiano”). No serán analizados ni los llamados “Manuscritos económico-filosóficos”, ni tampoco, los escritos de Marx posteriores a 1844. Solamente nos referiremos a estos últimos para mostrar: (1) la permanencia de conceptos como, por ejemplo, el de alienación/enajenación en los escritos llamados de madurez; y, (2) en qué medida las experiencias reales del movimiento obrero influyeron en el devenir intelectual del revolucionario alemán. Luego, se expone la teoría leninista del Estado que podemos encontrar en su texto “El Estado y la Revolución”. Se concluye que: (1) existen diferencias importantes en las diversas interpretaciones de los escritos llamados de juventud; tanto desde un punto de vista “epistemológico”, como de un punto de vista “político”; (2) Leninconfundióel fenómeno del Estado moderno con el hecho de que el pueblo se encontrase separado e imposibilitado de participar de las funciones estatales, pudiendo ser así oprimido por la clase dominante mediante el poder del Estado; (3) con respecto al problema de las formas políticas que permitirían la extinción de todo Estado, Lenin no encontraría una solución satisfactoria. Finalmente se deja abierta la siguiente pregunta: ¿no cabría preguntarse acaso, si la posibilidad de una crítica de “la filosofía política”, y por lo tanto de la posibilidad de una teoría del Estado, debería partir de la crítica de “la economía política”?

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Master of Arts / Department of Geography / John A. Harrington Jr / The objective of this thesis is classify climate for the Earth’s ocean areas. The classifica-tion task is accomplished in part by using monthly average sea surface temperature and precipita-tion data from 1980-2008. Coast-to-coast coverage of the needed data were obtained from the reanalysis product produced by the National Centers for Environmental Prediction and the National Center for Atmospheric Research. Köppen’s classification scheme was implemented in the ArcGIS suite of software, which was used to analyze and display all of the classified map products. Russell’s ‘climatic years’ concept was used and separate classifications were produce for each year of available data. Findings indicate that the oceans are very different from land areas when it comes to the location and extent of varying climate types. Some main findings include the idea that A, C, and E climates dominate the geography of the oceans and that there are zero continental, or D, climates. Also, the Southern Oscillation plays an important part in tropical ocean dynamics and climate, but summarizing twenty nine years of mapped patterns into a summary product removes any major effect from yearly climate system anomalies. A key finding is an argument that supports the establishment of a unique Southern Ocean surrounding Antarctica. There are polar, ET and EF, climate subtypes surrounding both the Arctic and Antarctic poles, but only the north has the well established Arctic Ocean. Oceanic E climate areas are more pronounced in the Southern Hemisphere with circumpolar rings around the Antarctic continent. Classification results support the idea of a Southern Ocean based on the spatial pattern of climate types and in view of the fact that that the climate of the Southern Ocean area is so different from the temperate, or C, climate and its subtypes. This research is important for many reasons, the primary being that climate classification helps us better understand the world around us. It is difficult to see change in the environment without first knowing what the state of the system used to be. Classification will also help depict the changes that have happened, when these shifts in climate occurred, and with that information we can better predict what the future will hold.

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-14Bitstream added on 2014-06-13T18:49:08Z : No. of bitstreams: 1 ferreira_mfn_me_ia.pdf: 1519052 bytes, checksum: 1f3e287d5f56da812d7ec2580fd05f64 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O objetivo desta pesquisa é abordar as potencialidades cênicas do corpo acrobata durante o início do século XX na Rússia. Para tanto, foram adotadas como referência as experimentações cênicas do encenador epedagogo Vsévolod Emilievitch Meierhold, consolidadas nas duas encenações de Mistério-Bufo (1918 e1921), dramaturgia de Vladímir Maiakóvski. No primeiro capítulo, Opensamento russo eodesejo do corpo acrobata: final do século XIX einício do XX, o intuito é contextualizar efundamentar aaproximação das artes circenses eteatrais na Rússia em tal período. O capítulo aborda opensamento russo eoideal de “novo homem”, que encontrou sua expressão nas artes e na literatura. As atividades de Meierhold eMaiakóvski estão atreladas a essa conjuntura. No segundo capítulo, Ocorpo acrobata na pedagogia de V. E. Meierhold, oobjetivo é abordar o trabalho pedagógico meierholdiano nos anos que antecederam a Revolução de 1917, sob a ótica do processo de “cirquização” do teatro. Aobra de Meierhold apresenta um vasto material de investigação sobre oassunto eengendra não só transformações no espetáculo teatral como influencia diversos grupos eartistas do período. Por fim, no terceiro capítulo, A “cirquização” do teatro: Mistério-Bufo (1918 e1921), de Meierhold-Maiakóvski, procurou-se analisar acondição do corpo acrobata na obra enas encenações. Detecta-se nos espetáculos princípios eprocedimentos experimentados por Meierhold nos anos pré-revolucionários, bem como a apropriação eutilização de elementos circenses. Este trabalho revela que, na Rússia, grande parte dos artistas eintelectuais se voltou para as atividades circenses no início do século XX, já que nesse momento havia o desejo do “novo homem”, o herói eslavo harmônico e belo. A destreza, o vigor e a audácia do acrobata casa perfeitamente com tal ideia e, não por acaso, os... / The scope of this work is to discuss the acrobatic body‟s scenic potentialities during the beginning of the 20th century in Russia. To this end, it was adopted as a reference the scenic experimentations from the theater director and educator Vsevolod Emilievitch Meyerhold, which are consolidated in both staging of Mistery-Bouffe (1918 and 1921), dramaturgy of Vladimir Mayakovsky. In the first chapter, The Russian thought and the desire of the acrobatic body: end of 19th century and beginning of 20th century, the purpose is to contextualize and base the approach of the circus and theater arts in Russia in the mentioned period. The chapter addresses the Russian thought and the “new man” ideal, which has found its expression in the arts and literature. The activities of Meyerhold and Mayakovsky are coupled to this conjuncture. The second chapter, The acrobatic body in the pedagogy of V. E. Meyerhold, the purpose is to address the meyerholdian pedagogical work during the years that precede the Russian Revolution of 1917, from the perspective of the “circus-becoming” theater. Meyerhold‟s play shows a vast material of research about the subject and engenders, not only transformations in the theatrical play, but it also influences various groups and artists from that age. Finally, in the third chapter, The “cirquization” of the theater: Mystery-Bouffe (1918 and 1921), of Meyerhold-Mayakovsky, it was attempted to analyze the acrobatic body condition in the play and staging. There are in the plays principles and procedures already experimented by Meyerhold during the pre-Revolutionary years, as well as the ownership and usage of circus elements. This work reveals that in Russia, the majority of artists and the intelligentsia were focused on the circus activities in the beginning of the 20th century, since in that moment there was the desire of a “new man”, the harmonic and ... (Complete abstract click electronic access below)

This thesis introduces chosen works of contemporary German literature, which connects the historical milestone "Wende". The analysed authors and works are Claudia Rusch - Aufbau Ost, Ingo Schulze - Simple Storys, Yadé Kara - Selam Berlin and Wladimir Kaminer - Russendisko. It is an interdisciplinary literary-historical thesis, which compares the literary fiction (use of single literary tools) with the historical reality and its adaptation in technical publications. The historical insight and the inclusion of chosen works to the contemporary developmental trends of literature represent the theoretical introduction of thesis. The actual analysis of two pairs of writers and their works (Rusch - Schulze and Kara - Kaminer) takes the authors origin into consideration, mentions shortly their biography and relation to the work. The structural analysis of works follows, with the focus on literary interpretation of social and political events of the year 1989. The goal of the thesis was to point out the historical context, which determines understanding of analysed literary works. Powered by TCPDF (www.tcpdf.org)

Given the doubtfulness of the legal justification of Crimea’s declaration of independence on March 11 2014, which was followed by a referendum on March 16 that culminated in the peninsula’s treaty with Moscow to join the Russian Federation, Mr Putin used his speech on March 18 to put historical arguments forward in an effort to legitimise the Russian course of action in front of his own population. The speech counters the international community’s legal assessment, which classified Crimea’s accession to Russia as an annexation, with a historical legitimisation full of symbolism and mysticism that blatantly reinterprets Russian history and delegitimises the territorial integrity of Ukraine. This article analyses Putin’s attempt to justify Russia’s annexation of Crimea and tries to infer the mindset and aims that lie behind his historic-political argumentation.