878 resultados para Aphorisms and apothegms, German.
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Mode of access: Internet.
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Based on data from spoken narrative discourse in Yiddish, this paper analyses two structures common in Yiddish narrations: The placement of the finite verb in the first position of a declarative sentence, and topicalization.Like German, Yiddish word order is generally centered around a verb-second rule. However, both Yiddish and spoken German show configurations of word order that go against the rule, where the finite verb occupies the first position of the utterance. From a functional-pragmatic point of view, these structures can be said to serve special purposes in the interaction between speaker and listener, sometimes in particular discourse types.Differences and similarities in word order between Yiddish and German enable us to comment on the relationship between these two closely related languages.
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Western Yiddish, the spoken language of the traditional Jewish society in the German- and Dutch-speaking countries, was abandoned by its speakers at the end of the 18th in favour of the emerging standard varieties: Dutch and German, respectively. Remnants of Western Yiddish varieties, however, remained a medium of discourse in remote provinces and could be found well into the 19th and sometimes the 20th century in some South-western areas of Germany and Switzerland, the Alsace, some areas of the Netherlands and in parts of the German province of Westphalia. It appears that rural Jewish communities sometimes preserved in-group vernaculars, which were based on Western Yiddish. Sources discovered in 2004 in the town of Aurich prove that Jews living in East Frisia, a Low-German speaking peninsula in the North-west of Germany, used a variety based on Western Yiddish until the Second World War. It appears that until the Holocaust a number of small, close-knit Jewish communities East Frisia, which depended economically mainly on cattle-trading and butchery, kept certain specific cultural features, among them the vernacular which they spoke alongside Low German and Standard German. The sources consist of two amateur theatre plays, a memoir and two word lists written in 1902, 1928 and the 1980s, respectively. In the monograph these sources are documented and annotated as well as analyzed linguistically against the background of rural Jewish life in Northern Germany. The study focuses on traces of language contact with Low German, processes of language change and on the question of the function of the variety in day-to-day life in a rural Jewish community.
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The study examines the concept of cultural determinism in relation to the business interview, analysing differences in language use between English, French and West German native speakers. The approach is multi- and inter-disciplinary combining linguistic and business research methodologies. An analytical model based on pragmatic and speech act theory is developed to analyse language use in telephone market research interviews. The model aims to evaluate behavioural differences between English, French and West German respondents in the interview situation. The empirical research is based on a telephone survey of industrial managers, conducted in the three countries in the national language of each country. The telephone interviews are transcribed and compared across languages to discover how managers from each country use different language functions to reply to questions and requests. These differences are assessed in terms of specific cultural parameters: politeness, self-assuredness and fullness of response. Empirical and descriptive studies of national character are compared with the survey results, providing the basis for an evaluation of the relationship between management culture and national culture on a contrastive and comparative cross-cultural basis. The project conclusions focus on the implications of the findings both for business interviewing and for language teaching.
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Continental red bed sequences are host, on a worldwide scale, to a characteristic style of mineralisation which is dominated by copper, lead, zinc, uranium and vanadium. This study examines the features of sediment-hosted ore deposits in the Permo-Triassic basins of Western Europe, with particular reference to the Cu-Pb-Zn-Ba mineralisation in the Cheshire Basin, northwest England, the Pb-Ba-F deposits of the Inner Moray Firth Basin, northeast Scotland, and the Pb-rich deposits of the Eifel and Oberpfalz regions, West Germany. The deposits occur primarily but not exclusively in fluvial and aeolian sandstones on the margins of deep, avolcanic sedimentary basins containing red beds, evaporites and occasionally hydrocarbons. The host sediments range in age from Permian to Rhaetian and often contain (or can be inferred to have originally contained) organic matter. Textural studies have shown that early diagenetic quartz overgrowths precede the main episode of sulphide deposition. Fluid inclusion and sulphur isotope data have significantly constrained the genetic hypotheses for the mineralisation and a model involving the expulsion of diagenetic fluids and basinal brines up the faulted margins of sedimentary basins is favoured. Consideration of the development of these sedimentary basins suggests that ore emplacement occurred during the tectonic stage of basin evolution or during basin inversion in the Tertiary. ð34S values for barite in the Cheshire Basin range from 13.8% to 19.3% and support the theory that the Upper Triassic evaporites were the principal sulphur source for the mineralisation and provided the means by which mineralising fluids became saline. In contrast, δ34S values for barite in the Inner Moray Firth Basin (mean δ34S = + 29%) are not consistent with simple derivation of sulphur from the evaporite horizons in the basin and it is likely that sulphur-rich Jurassic shales supplied the sulphur for the mineralisation at Elgin. Possible sources of sulphur for the mineralisation in West Germany include hydrothermal vein sulphides in the underlying Devonian sediments and evaporites in the overlying Muschelkalk. Textural studies of the deeply buried sandstones in the Cheshire Basin reveal widespread dissolution and replacement of detrital phases and support the theory that red bed diagenetic processes are responsible for the release of metals into pore fluids. The ore solutions are envisaged as being warm (60-150%C), saline (9-22 wt % equiv NaCl) fluids in which metals were transported as chloride complexes. The distribution of δ34S values for sulphides in the Cheshire Basin (-1.8% to + 16%), the Moray Firth Basin (-4.8% to + 27%) and the German Permo-Triassic Basins (-22.2% to -12.2%) preclude a magmatic source for the sulphides and support the contention that sulphide precipitation is thought to result principally from sulphate reduction processes, although a decrease in temperature of the ore fluid or reaction with carbonates may also be important. Methane is invoked as the principal reducing agent in the Cheshire Basin, whilst terrestrial organic debris and bacterial reduction processes are thought to have played a major part in the genesis of the German ore deposits.
Une étude générique du metteur en scène au théâtre:son émergence et son rôle moderne et contemporain
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The theatre director (metteur en scene in French) is a relatively new figure in theatre practice. It was not until the I820s that the term 'mise en scene' gained currency. The term 'director' was not in general use until the I880s. The emergence and the role of the director has been considered from a variety of perspectives, either through the history of theatre (Allevy, Jomaron, Sarrazac, Viala, Biet and Triau); the history of directing (Chinoy and Cole, Boll, Veinstein, Roubine); semiotic approaches to directing (Whitmore, Miller, Pavis); the semiotics of performance (De Marinis); generic approaches to the mise en scene (Thomasseau, Banu); post-dramatic approaches to theatre (Lehmann); approaches to performance process and the specifics of rehearsal methodology (Bradby and Williams, Giannachi and Luckhurst, Picon-Vallin, Styan). What the scholarly literature has not done so far is to map the parameters necessarily involved in the directing process, and to incorporate an analysis of the emergence of the theatre director during the modem period and consider its impact on contemporary performance practice. Directing relates primarily to the making of the performance guided by a director, a single figure charged with the authority to make binding artistic decisions. Each director may have her/his own personal approaches to the process of preparation prior to a show. This is exemplified, for example, by the variety of terms now used to describe the role and function of directing, from producer, to facilitator or outside eye. However, it is essential at the outset to make two observations, each of which contributes to a justification for a generic analysis (as opposed to a genetic approach). Firstly, a director does not work alone, and cooperation with others is involved at all stages of the process. Secondly, beyond individual variation, the role of the director remains twofold. The first is to guide the actors (meneur de jeu, directeur d'acteurs, coach); the second is to make a visual representation in the performance space (set designer, stage designer, costume designer, lighting designer, scenographe). The increasing place of scenography has brought contemporary theatre directors such as Wilson, Castellucci, Fabre to produce performances where the performance space becomes a semiotic dimension that displaces the primacy of the text. The play is not, therefore, the sole artistic vehicle for directing. This definition of directing obviously calls for a definition of what the making of the performance might be. The thesis defines the making of the performance as the activity of bringing a social event, by at least one performer, providing visual and/or textual meaning in a performance space. This definition enables us to evaluate four consistent parameters throughout theatre history: first, the social aspect associated to the performance event; second, the devising process which may be based on visual and/or textual elements; third, the presence of at least one performer in the show; fourth, the performance space (which is not simply related to the theatre stage). Although the thesis focuses primarily on theatre practice, such definition blurs the boundaries between theatre and other collaborative artistic disciplines (cinema, opera, music and dance). These parameters illustrate the possibility to undertake a generic analysis of directing, and resonate with the historical, political and artistic dimensions considered. Such a generic perspective on the role of the director addresses three significant questions: an historical question: how/why has the director emerged?; a sociopolitical question: how/why was the director a catalyst for the politicisation of theatre, and subsequently contributed to the rise of State-funded theatre policy?; and an artistic one: how/why the director has changed theatre practice and theory in the twentieth-century? Directing for the theatre as an artistic activity is a historically situated phenomenon. It would seem only natural from a contemporary perspective to associate the activity of directing to the function of the director. This is relativised, however, by the question of how the performance was produced before the modern period. The thesis demonstrates that the rise of the director is a progressive and historical phenomenon (Dort) rather than a mere invention (Viala, Sarrazac). A chronological analysis of the making of the performance throughout theatre history is the most useful way to open the study. In order to understand the emergence of the director, the research methodology assesses the interconnection of the four parameters above throughout four main periods of theatre history: the beginning of the Renaissance (meneur de jeu), the classical age (actor-manager and stage designer-manager), the modern period (director) and the contemporary period (director-facilitator, performer). This allows us properly to appraise the progressive emergence of the director, as well as to make an analysis of her/his modern and contemporary role. The first chapter argues that the physical separation between the performance space and its audience, which appeared in the early fifteenth-century, has been a crucial feature in the scenographic, aesthetic, political and social organisation of the performance. At the end of the Middle Ages, French farces which raised socio-political issues (see Bakhtin) made a clear division on a single outdoor stage (treteau) between the actors and the spectators, while religious plays (drame fiturgique, mystere) were mostly performed on various outdoor and opened multispaces. As long as the performance was liturgical or religious, and therefore confined within an acceptable framework, it was allowed. At the time, the French ecclesiastical and civil authorities tried, on several occasions, to prohibit staged performances. As a result, practitioners developed non-official indoor spaces, the Theatre de fa Trinite (1398) being the first French indoor theatre recognized by scholars. This self-exclusion from the open public space involved breaking the accepted rules by practitioners (e.g. Les Confreres de fa Passion), in terms of themes but also through individual input into a secular performance rather than the repetition of commonly known religious canvases. These developments heralded the authorised theatres that began to emerge from the mid-sixteenth century, which in some cases were subsidised in their construction. The construction of authorised indoor theatres associated with the development of printing led to a considerable increase in the production of dramatic texts for the stage. Profoundly affecting the reception of the dramatic text by the audience, the distance between the stage and the auditorium accompanied the changing relationship between practitioners and spectators. This distance gave rise to a major development of the role of the actor and of the stage designer. The second chapter looks at the significance of both the actor and set designer in the devising process of the performance from the sixteenth-century to the end of the nineteenth-century. The actor underwent an important shift in function in this period from the delivery of an unwritten text that is learned in the medieval oral tradition to a structured improvisation produced by the commedia dell 'arte. In this new form of theatre, a chef de troupe or an experienced actor shaped the story, but the text existed only through the improvisation of the actors. The preparation of those performances was, moreover, centred on acting technique and the individual skills of the actor. From this point, there is clear evidence that acting began to be the subject of a number of studies in the mid-sixteenth-century, and more significantly in the seventeenth-century, in Italy and France. This is revealed through the implementation of a system of notes written by the playwright to the actors (stage directions) in a range of plays (Gerard de Vivier, Comedie de la Fidelite Nuptiale, 1577). The thesis also focuses on Leoni de' Sommi (Quatro dialoghi, 1556 or 1565) who wrote about actors' techniques and introduced the meneur de jeu in Italy. The actor-manager (meneur de jeu), a professional actor, who scholars have compared to the director (see Strihan), trained the actors. Nothing, however, indicates that the actor-manager was directing the visual representation of the text in the performance space. From the end of the sixteenth-century, the dramatic text began to dominate the process of the performance and led to an expansion of acting techniques, such as the declamation. Stage designers carne from outside the theatre tradition and played a decisive role in the staging of religious celebrations (e.g. Actes des Apotres, 1536). In the sixteenth-century, both the proscenium arch and the borders, incorporated in the architecture of the new indoor theatres (theatre a l'italienne), contributed to create all kinds of illusions on the stage, principally the revival of perspective. This chapter shows ongoing audience demands for more elaborate visual effects on the stage. This led, throughout the classical age, and even more so during the eighteenth-century, to grant the stage design practitioner a major role in the making of the performance (see Ciceri). The second chapter demonstrates that the guidance of the actors and the scenographic conception, which are the artistic components of the role of the director, appear to have developed independently from one another until the nineteenth-century. The third chapter investigates the emergence of the director per se. The causes for this have been considered by a number of scholars, who have mainly identified two: the influence of Naturalism (illustrated by the Meiningen Company, Antoine, and Stanislavski) and the invention of electric lighting. The influence of the Naturalist movement on the emergence of the modem director in the late nineteenth-century is often considered as a radical factor in the history of theatre practice. Naturalism undoubtedly contributed to changes in staging, costume and lighting design, and to a more rigorous commitment to the harmonisation and visualisation of the overall production of the play. Although the art of theatre was dependent on the dramatic text, scholars (Osborne) demonstrate that the Naturalist directors did not strictly follow the playwright's indications written in the play in the late nineteenth-century. On the other hand, the main characteristic of directing in Naturalism at that time depended on a comprehensive understanding of the scenography, which had to respond to the requirements of verisimilitude. Electric lighting contributed to this by allowing for the construction of a visual narrative on stage. However, it was a master technician, rather than an emergent director, who was responsible for key operational decisions over how to use this emerging technology in venues such as the new Bayreuth theatre in 1876. Electric lighting reflects a normal technological evolution and cannot be considered as one of the main causes of the emergence of the director. Two further causes of the emergence of the director, not considered in previous studies, are the invention of cinema and the Symbolist movement (Lugne-Poe, Meyerhold). Cinema had an important technological influence on the practitioners of the Naturalist movement. In order to achieve a photographic truth on the stage (tableau, image), Naturalist directors strove to decorate the stage with the detailed elements that would be expected to be found if the situation were happening in reality. Film production had an influence on the work of actors (Walter). The filmmaker took over a primary role in the making of the film, as the source of the script, the filming process and the editing of the film. This role influenced the conception that theatre directors had of their own work. It is this concept of the director which influenced the development of the theatre director. As for the Symbolist movement, the director's approach was to dematerialise the text of the playwright, trying to expose the spirit, movement, colour and rhythm of the text. Therefore, the Symbolists disengaged themselves from the material aspect of the production, and contributed to give greater artistic autonomy to the role of the director. Although the emergence of the director finds its roots amongst the Naturalist practitioners (through a rigorous attempt to provide a strict visual interpretation of the text on stage), the Symbolist director heralded the modem perspective of the making of performance. The emergence of the director significantly changed theatre practice and theory. For instance, the rehearsal period became a clear work in progress, a platform for both developing practitioners' techniques and staging the show. This chapter explores and contrasts several practitioners' methods based on the two aspects proposed for the definition of the director (guidance of the actors and materialisation of a visual space). The fourth chapter argues that the role of the director became stronger, more prominent, and more hierarchical, through a more political and didactic approach to theatre as exemplified by the cases of France and Germany at the end of the nineteenth-century and through the First World War. This didactic perspective to theatre defines the notion of political theatre. Political theatre is often approached by the literature (Esslin, Willett) through a Marxist interpretation of the great German directors' productions (Reinhardt, Piscator, Brecht). These directors certainly had a great influence on many directors after the Second World War, such as Jean Vilar, Judith Molina, Jean-Louis Barrault, Roger Planchon, Augusto Boal, and others. This chapter demonstrates, moreover, that the director was confirmed through both ontological and educational approaches to the process of making the performance, and consequently became a central and paternal figure in the organisational and structural processes practiced within her/his theatre company. In this way, the stance taken by the director influenced the State authorities in establishing theatrical policy. This is an entirely novel scholarly contribution to the study of the director. The German and French States were not indifferent to the development of political theatre. A network of public theatres was thus developed in the inter-war period, and more significantly after the Second World War. The fifth chapter shows how State theatre policies establish its sources in the development of political theatre, and more specifically in the German theatre trade union movement (Volksbiihne) and the great directors at the end of the nineteenth-century. French political theatre was more influenced by playwrights and actors (Romain Rolland, Louise Michel, Louis Lumet, Emile Berny). French theatre policy was based primarily on theatre directors who decentralised their activities in France during both the inter-war period and the German occupation. After the Second World War, the government established, through directors, a strong network of public theatres. Directors became both the artistic director and the executive director of those institutionalised theatres. The institution was, however, seriously shaken by the social and political upheaval of 1968. It is the link between the State and the institution in which established directors were entangled that was challenged by the young emerging directors who rejected institutionalised responsibility in favour of the autonomy of the artist in the 1960s. This process is elucidated in chapter five. The final chapter defines the contemporary role of the director in contrasting thework of a number of significant young theatre practitioners in the 1960s such as Peter Brook, Ariane Mnouchkine, The Living Theater, Jerzy Grotowski, Augusto Boal, Eugenio Barba, all of whom decided early on to detach their companies from any form of public funding. This chapter also demonstrates how they promoted new forms of performance such as the performance of the self. First, these practitioners explored new performance spaces outside the traditional theatre building. Producing performances in a non-dedicated theatre place (warehouse, street, etc.) was a more frequent practice in the 1960s than before. However, the recent development of cybertheatre questions both the separation of the audience and the practitioners and the place of the director's role since the 1990s. Secondly, the role of the director has been multifaceted since the 1960s. On the one hand, those directors, despite all their different working methods, explored western and non-western acting techniques based on both personal input and collective creation. They challenged theatrical conventions of both the character and the process of making the performance. On the other hand, recent observations and studies distinguish the two main functions of the director, the acting coach and the scenographe, both having found new developments in cinema, television, and in various others events. Thirdly, the contemporary director challenges the performance of the text. In this sense, Antonin Artaud was a visionary. His theatre illustrates the need for the consideration of the totality of the text, as well as that of theatrical production. By contrasting the theories of Artaud, based on a non-dramatic form of theatre, with one of his plays (Le Jet de Sang), this chapter demonstrates how Artaud examined the process of making the performance as a performance. Live art and autobiographical performance, both taken as directing the se(f, reinforce this suggestion. Finally, since the 1990s, autobiographical performance or the performance of the self is a growing practical and theoretical perspective in both performance studies and psychology-related studies. This relates to the premise that each individual is making a representation (through memory, interpretation, etc.) of her/his own life (performativity). This last section explores the links between the place of the director in contemporary theatre and performers in autobiographical practices. The role of the traditional actor is challenged through non-identification of the character in the play, while performers (such as Chris Burden, Ron Athey, Orlan, Franko B, Sterlac) have, likewise, explored their own story/life as a performance. The thesis demonstrates the validity of the four parameters (performer, performance space, devising process, social event) defining a generic approach to the director. A generic perspective on the role of the director would encompass: a historical dimension relative to the reasons for and stages of the 'emergence' of the director; a socio-political analysis concerning the relationship between the director, her/his institutionalisation, and the political realm; and the relationship between performance theory, practice and the contemporary role of the director. Such a generic approach is a new departure in theatre research and might resonate in the study of other collaborative artistic practices.
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Kornai János rendszerparadigma-fogalmából és az ott felsorolt közgazdászok névsorából kiindulva, a tanulmány kiemel néhány mozzanatot ennek eszmetörténeti előzményeiből. A hatvanas évek szociológiai irodalmában időszerűtlennek tartották a nagy elmélet létrehozását, a nyolcvanas évek társadalomtudományában viszont már a hagyományos nagy rendszeralkotás és elbeszélésmód visszatérését méltatták. Adam Smith közgazdaságtanát a társadalmi érintkezés átfogó elmélete részének szánta, amely tartalmazza a jog, politika és erkölcs elveit és történetét. Ezt szemlélteti a kereskedelmi társadalom paradoxonának elemzése és annak bemutatása, hogyan vezetett a fényűzés a szabadság helyreállításához és a rendszeres kormányzat létrejöttéhez. Marx és a német történeti iskola egyaránt törekedett a társadalom történeti fejlődéstörvényeinek feltárására, noha kölcsönösen elutasították egymás felfogásának többi elemét. Schumpeter életművét az a törekvés határozta meg, hogy összekapcsolja az elméleti analízist és a történeti leírást, hogy a gazdasági fejlődés elemzéséből kiindulva megalkossa a társadalmi élet különböző területeinek interdependenciáját bemutató elméletet. / === / The study starts from János Kornai's concept of a system paradigm and the list of economists there to lift certain elements from its antecedents in intellectual history. The sociological writers of the 1960s thought it was inopportune to create a grand theory, while the social scientists of the 1980s were busy celebrating the return of the great traditional system-creating process and its mode of narration. Adam Smith presented his economics as part of a comprehensive theory of social organization that would cover the principles and history of law, politics and morality. This is illustrated by his analysis of the paradox of commercial society and his demonstration of how wealth led to the restoration of liberty and the establishment of regular governance. Marx and the German historical school both strove to identify laws of the historical development of society, although they each rejected the other elements of the other's concept. Schumpeter's oeuvre was marked by an effort to combine theoretical analysis with historical description, so that from an analysis of economic development he could arrive at a theory presenting the interdependence of the various areas of social activity.
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Der Beitrag wägt die Vor- und Nachteile des dualen Berufsbildungswesens in Deutschland gegen die sehr viel weniger geregelte Ausbildung in Großbritannien ab. Es werden die Interessen dargelegt, die Arbeitgeber daran hindern bzw. ermutigen; eine betriebsspezifische oder aber eine allgemein anwendbare Aus- oder Fortbildung anzubieten. Verglichen werden Muster einer Interventionspolitik und wirtschaftlicher Regulierung mit denen eines Prinzips des freien Marktes, beides in parlamentarischen Systemen. Der Vergleich der britischen und der deutschen Entwicklung zeigt die unterschiedlichen Voraussetzungen beider Gesellschaften, die auch einer Übertragung des dualen Berufsbildungssystems entgegenstehen. (DIPF/Orig.)
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Joris Ivens’ experimental film Regen and the music Hanns Eisler composed for it represent individually two major achievements in the artistic career of both the Dutch director and the German composer. Their union yielded a peculiar audiovisual product for at least two main reasons: on the one hand the music was composed more than ten years later, on the other hand, a result of a research project, Eisler’s composition responded to specific theoretical intentions that ‘commercial’ film music does not generally have. It is mostly because of the latter aspect that we can look at ‘Eisler’s Regen’ with a unique analytic perspective aimed to highlight traces of continuity in both the video and the music under three complementary viewpoints: narrative, rhythmic and formal. The outcome of such an analysis is meant to give proof of a highly integrated audiovisual creation that is rarely found in the history of experimental cinema.
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Mestrado em Controlo de Gestão e dos Negócios
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En 1989, la Pologne, la Hongrie, la Tchécoslovaquie et la République démocratique allemande (RDA) furent secouées par des mouvements de protestations qui précipitèrent la dissolution de leur régime communiste. Il est souvent admis, dans l’historiographie comme dans la mémoire populaire, que les intellectuels, dont plusieurs écrivains, ont joué un rôle déterminant lors de ces bouleversements. Or, l’analyse de la révolution en Allemagne de l’Est et des prises de position de son intelligentsia littéraire démontre qu’une telle conclusion s’applique mal à cet État : les auteurs phares de la RDA, qui se sont pourtant présentés pendant et après la révolution comme des victimes et des opposants au régime, n’ont jamais partagé les revendications anticommunistes de leurs concitoyens et ont conservé un discours socialiste. Ce mémoire entend expliquer cette réaction particulière des écrivains les mieux établis de l’Allemagne de l’Est – soit Christa Wolf, Heiner Müller, Stefan Heym, Volker Braun et Christoph Hein. En étudiant leurs textes non fictifs et en analysant la relation qu’ils entretenaient avec le régime, la population et l’idéologie promue en RDA, nous démontrerons que ces auteurs avaient développé, avant l’ouverture du mur de Berlin, une stratégie d’action alliant loyauté socialiste et critique de l’autoritarisme, ce qui leur avait permis de cumuler un important capital social et culturel. À l’automne 1989 et lors du processus de réunification allemande, l’intelligentsia littéraire a en fait agi en fonction de cette même stratégie ; celle-ci, toutefois, n’était pas adaptée aux nouvelles conditions sociales.
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En 1989, la Pologne, la Hongrie, la Tchécoslovaquie et la République démocratique allemande (RDA) furent secouées par des mouvements de protestations qui précipitèrent la dissolution de leur régime communiste. Il est souvent admis, dans l’historiographie comme dans la mémoire populaire, que les intellectuels, dont plusieurs écrivains, ont joué un rôle déterminant lors de ces bouleversements. Or, l’analyse de la révolution en Allemagne de l’Est et des prises de position de son intelligentsia littéraire démontre qu’une telle conclusion s’applique mal à cet État : les auteurs phares de la RDA, qui se sont pourtant présentés pendant et après la révolution comme des victimes et des opposants au régime, n’ont jamais partagé les revendications anticommunistes de leurs concitoyens et ont conservé un discours socialiste. Ce mémoire entend expliquer cette réaction particulière des écrivains les mieux établis de l’Allemagne de l’Est – soit Christa Wolf, Heiner Müller, Stefan Heym, Volker Braun et Christoph Hein. En étudiant leurs textes non fictifs et en analysant la relation qu’ils entretenaient avec le régime, la population et l’idéologie promue en RDA, nous démontrerons que ces auteurs avaient développé, avant l’ouverture du mur de Berlin, une stratégie d’action alliant loyauté socialiste et critique de l’autoritarisme, ce qui leur avait permis de cumuler un important capital social et culturel. À l’automne 1989 et lors du processus de réunification allemande, l’intelligentsia littéraire a en fait agi en fonction de cette même stratégie ; celle-ci, toutefois, n’était pas adaptée aux nouvelles conditions sociales.
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This thesis is focused on improving the calibration accuracy of sub-millimeter astronomical observations. The wavelength range covered by observational radio astronomy has been extended to sub-millimeter and far infrared with the advancement of receiver technology in recent years. Sub-millimeter observations carried out with airborne and ground-based telescopes typically suffer from 10% to 90% attenuation of the astronomical source signals by the terrestrial atmosphere. The amount of attenuation can be derived from the measured brightness of the atmospheric emission. In order to do this, the knowledge of the atmospheric temperature and chemical composition, as well as the frequency-dependent optical depth at each place along the line of sight is required. The altitude-dependent air temperature and composition are estimated using a parametrized static atmospheric model, which is described in Chapter 2, because direct measurements are technically and financially infeasible. The frequency dependent optical depth of the atmosphere is computed with a radiative transfer model based on the theories of quantum mechanics and, in addition, some empirical formulae. The choice, application, and improvement of third party radiative transfer models are discussed in Chapter 3. The application of the calibration procedure, which is described in Chapter 4, to the astronomical data observed with the SubMillimeter Array Receiver for Two Frequencies (SMART), and the German REceiver for Astronomy at Terahertz Frequencies (GREAT), is presented in Chapters 5 and 6. The brightnesses of atmospheric emission were fitted consistently to the simultaneous multi-band observation data from GREAT at 1.2 ∼ 1.4 and 1.8 ∼ 1.9 THz with a single set of parameters of the static atmospheric model. On the other hand, the cause of the inconsistency between the model parameters fitted from the 490 and 810 GHz data of SMART is found to be the lack of calibration of the effective cold load temperature. Besides the correctness of atmospheric modeling, the stability of the receiver is also important to achieving optimal calibration accuracy. The stabilities of SMART and GREAT are analyzed with a special calibration procedure, namely the “load calibration". The effects of the drift and fluctuation of the receiver gain and noise temperature on calibration accuracy are discussed in Chapters 5 and 6. Alternative observing strategies are proposed to combat receiver instability. The methods and conclusions presented in this thesis are applicable to the atmospheric calibration of sub-millimeter astronomical observations up to at least 4.7 THz (the H channel frequency of GREAT) for observations carried out from ∼ 4 to 14 km altitude. The procedures for receiver gain calibration and stability test are applicable to other instruments using the same calibration approach as that for SMART and GREAT. The structure of the high performance, modular, and extensible calibration program used and further developed for this thesis work is presented in the Appendix C.
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Annually, the association publishes a journal, The Proceedings, which consists of papers presented at the annual meeting. The First Decade of the Charleston Library Society by Anne King Gregorie Chinese Exclusion Acts, 1880-1904 by Ruth Boyd – Newberry High School The Germans and the German-Swiss in South Carolina, 1732-1765: Their Contribution to the Province by Gilbert P. Voigt – Wittenberg College Some Unexploited Fields in South Carolina History by D. D. Wallace – Wofford College
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ResumenLas guerras en el siglo XXI son la continuación de conflictos armados internos surgidos a mediados del siglo XX, y otras son el resultado de la segunda gran descolonización en algunos territoriosde Asia y África ocurridos por la misma época. En ambos casos se reflejan problemas estructurales de los estados, generalmente los llamados del tercer mundo. Después de la caída del muro de Berlín y la unificación alemana a finales de los 80, el inicio de la lucha contra el narcotráfico y la actual lucha contra el terror a finales de los 90 e inicios del 2000. Los países en situación de guerra interna reciben apoyo de actores de la comunidad internacional, comolos que les interesa negociar conflictos y como los que deben contribuir a la paz y la seguridad internacional. Filipinas, estado ubicado en el sudeste asiático, sostiene un conflicto armado interno de casi 60 años. Durante el 2010, ha sostenido un proceso de paz entre el gobierno nacional y la guerrillamusulmana MILF (Frente Moro de Liberación Nacional), en donde varios actores de la comunidad internacional como los Estados Unidos, los países vecinos y la Unión Europea han jugado un papel importante para el restablecimiento de la paz.Palabras clave: paz, conflictos armados internos, comunidad internacional, negociación, Filipinas. AbstractWars during the 21st century are extension of Internal Armed Conflicts which began in the middle of the 20th century. Others conflicts are the result of the second de-colonization of some Asian and African territories. In both cases, they reflect the state’s structural problems; commonly known as the “third world.” After the fall of the Berlin Wall and the German unification in the late 1980s, the beginning of war against drug trafficking and the war against terrorism in the late 1990s and early 2000s, the countries in a Internal Armed Conflict situation have received International Aid from states that are interested in resolution of wars and their own interest in global peace and security.The Philippines is a country in southeastern Asia. It has been involved in an Internal Armed Conflict for more than 50 years. In 2010, the National Government and the Moro Islamic Liberation Fronthave developed a round tables/ peace panels, where some international community actors such as the United States, neighboring countries, and European Union, have played a very important role for establishment of peace.Keywords: peace, internal armed conflicts, international community, negotiation, Filipines.