946 resultados para Owen, Wilfred Edward Salter


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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

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Kathy and Susie, members of the faculty, and staff of the School of Natural Resource Sciences, ladies and gentlemen. There are some things in this world that, try as we may, just cannot be adequately accomplished. One of those things, for me at least, is to express adequately what I feel about the passing of Dr. Edward (Ted) Elliot. Ted came to this University of Nebraska a few months before I arrived, and it was my distinct honor to count him among my friends at this great University. Ted was a man of exceptional scientific standing and wisdom, and his loss leaves a void in all of our lives that will not be readily filled.

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Edward M. Cook's new book makes an excellent addition to the growing list of "introductions" to the Dead Sea Scrolls. Aimed primarily at a Christian lay and clerical audience, it succeeds admirably in leading its readers through the labyrinthine world of Scroll scholarship and controversy. The book divides itself into two uneven parts. In the first part, chapters 1-4, Cook deals with the discovery of the Scrolls in 1947 and the subsequent history of their decipherment and (often delayed) publication. Cook's treatment of this controversial topic is the most fair and evenhanded I have ever read; he has done meticulous research, reading many accounts of the Scrolls, from Edmund Wilson's in the 1950's to the latest journal articles from 1993. The result is a highly readable account of the finding and purchase of the Scrolls, the appointment of an international team of scholars to decipher and publish them, the delays in publication (including the results of the Six Day War in 1967, when most of the Scroll fragments fell into Israeli hands), and the controversy surrounding then editor-in-chief John Strugnell and the release of the photographs in the late 1980's and early 1990's. Cook is objective and fair throughout, but particularly striking is his sympathetic portrayal of the original seven member editorial team.

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Programa de doctorado: Literatura y teoría de la literatura

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La Tesi di Dottorato prende in considerazione la collocazione storica e critica di G. E. Moore nel panorama filosofico europeo, con particolare riferimento al suo rapporto con il neo-hegelismo britanico prima e con il realismo poi. Al centro della Tesi si trova l'esame dell'intuizionismo etico di G. E. Moore.

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L'elaborato si incentra sulla figura di Wilfred Von Oven (1912-2008), addetto stampa personale di Joseph Goebbels che, a guerra finita, si trasferì in Argentina, dove lavorò come giornalista e visse fino alla morte. Il ritratto di Von Oven che viene presentato si basa su due principali documenti: un'intervista in lingua spagnola realizzata per la televisione argentina e conservata nell'Archivio Storico dell'Istituto Luce Cinecittà a Roma e la sua autobiografia in lingua tedesca, consultata presso la sede di Francoforte della Biblioteca Nazionale Tedesca. A partire da queste fonti, e da altri documenti, l'elaborato ricostruisce la biografia di Von Oven e analizza tratti della sua personalità e mentalità, con particolare riferimento alle posizioni nazionalsocialiste e revisioniste del suo pensiero. L'elaborato, in mancanza di documentazione in lingua italiana su Wilfred Von Oven, si propone di presentare i primi risultati di una ricerca su questo personaggio storico, ricerca che non può dirsi conclusa dati i molti punti interrogativi che rimangono intorno ad alcuni aspetti della vita e della mentalità di Von Oven.

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Reading absurdist plays as hopeful is rare because they are filled with portrayals of horror and despair. However, the tragedy of these plays can allow the audience to experience an atypical kind of hope, often during the final moments of the play. Though the conclusions of the plays are usually ambiguous, this ambiguity and lack of resolutiondoes not preclude hope. The characters persist through their suffering and react in ways that can allow a hopeful affect on the audience. The three absurdist playwrights, Samuel Beckett, Edward Albee, and Sam Shepard, express differing views of the tragic nature of the human condition. However, persistent through all of their work is the ability to view tragedy as having a hopeful affect on the audience. Though the plays do not necessitate a reading of hopefulness, their plays do not preclude this. These absurdist plays do not force the audience into despair, but instead leave open the option of experiencing an expectation and determination for life.

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