Mauve: How one man invented the colour that changed the world

In an essay, "The Books of Last Things", Delia Falconer discusses the emergence of a new genre in publishing - microhistories. She cites a number of recent titles in non-fiction and fiction - Longitude, Cod, Tulips, Pushkin's Button, Nathaniel's Nutmeg, Zarafa, The Surgeon of Crowthorne, The Potato, The Perfect Storm. Delia Falconer observes of this tradition: "One has the sense, reading these books, of a surprising weight, of pleasant shock. In part, it is because we are looking at things which are generally present around us, but modestly out of sight and mind - historical nitty gritty like cod, potatoes, longitudinal clocks - which the authors have thrust suddenly, like a Biblical visitation of frogs or locusts, in our face. Things like spice and buttons and clocks are generally seen to enable history on the large scale, but are not often viewed as its worthy subjects. And by the same grand logic of history, more unusual phenomena like cabinets of curiosities or glass-making or farm lore or sailors' knots are simply odd blips on its radar screen, interesting footnotes. These new books, microhistories, reverse the usual order of history, which argues from the general to the particular, in order to prove its inevitable progress. They start from the footnotes. But by reversing the process, and walking through the back door of history, you don't necessarily end up at the front of the same house." Delia Falconer speculates about the reasons for the popularity of microhistories. She concludes: "I would like to think that reading them is not simply an exercise in nostalgia, but a challenge to the present". In Mauve, Simon Garfield provides a new way of thinking and writing about the history of intellectual property. Instead of providing a grand historical narrative of intellectual property, he tells the story of a particular invention, and its exploitation. Simon Garfield relates how English chemist William Perkin accidentally discovered a way to mass-produce colour mauve in a factory. Working on a treatment for malaria in his London home laboratory, Perkin failed to produce artificial quinine. Instead he created a dark oily sludge that turned silk a beautiful light purple. The colour was unique and became the most desirable shade in the fashion houses of Paris and London. ... The book Mauve will have a number of contemporary resonances for intellectual property lawyers and academics. Simon Garfield emphasizes the difficulties inherent in commercialising an invention and managing intellectual property. He investigates the uneasy collaboration between industry and science. Simon Garfield suggests that complaints about the efficacy of patent offices are perennial. He also highlights the problems faced by courts and law-makers in accommodating new technologies within the logic of patent law. In his elegant microhistory of the colour mauve, Simon Garfield confirms the conclusion of Brad Sherman and Lionel Bently that many aspects of modern intellectual property law can only be understood through an understanding of the past: "The image of intellectual property law that developed during the 19th century and the narrative of identity which this engendered played and continue to play an important role in the way we think about and understand intellectual property law".

Modernismens förespråkare : Gösta Stenman och hans konstsalong

This dissertation, based on material from Stenman s vast private archive, examines the role played by Swedish-speaking Finnish art dealer Gösta Stenman (1888-1947) and his art gallery, Stenmans Konstsalong, in the Finnish and Swedish art worlds from 1911 to 1947. This archive is examined here for the first time. The analytical framework used for this empirical study derives from Pierre Bourdieu s sociological theories. An art-sociological approach allows for the inclusion of more mechanisms at work in the art world than are typically embraced in such inquiries. This approach provides a fuller understanding of how Stenman attained his standing and central role in the art world in Finland as well as Sweden; enabling us to appreciate how he came to occupy such a prominent position in current art historical writing. All of these issues constitute new areas of research. Taking his cues from the contemporary art world of Paris, Stenman became the year 1914 a modern art dealer like no other in the Nordic countries. This dissertation represents the first academic investigation into his operations, strategies, and objectives, offering insight into not only the art dealer himself but also the functioning of the art market one of the most vital aspects of the art world. A by-product of this work, is that the modern art market in Finland is portrayed, including essential issues related to its growth and development as well as how it altered the conditions under which art could be produced, exhibited and promoted and what this entailed for the art world at large, artists and patrons alike. This first systematic analysis of the operations of Stenman s Konstsalong offers greater understanding of the art worlds of Sweden and Finland in the early twentieth century. The work also looks at how an agent of the art market could move between the fields of art in Sweden and Finland. The manner in which Stenman promoted individual artists, including his relationships with Tyko Sallinen, Helene Schjerfbeck, Juho Mäkelä, Jalmari Ruokokoski, Siri Derkert, Esther Kjerner, Eva Bagge, and many others, also falls within this purview. Stenman s contract with Sallinen from 1913 stands out as a new phenomenon in Finnish art promotion, whereby an artistic career became established via a far-sighted, strategic promotional program. The case study of Stenman s promotion of Schjerfbeck in Sweden provides evidence of the increasingly advanced nature of Stenman s strategies. The title of the dissertation, The Promoter of Modernism, attempts to convey that Stenman was the consummate modernist, modern in his thoughts, his actions, and his approach to art. Keywords: Gösta Stenman, Stenmans konstsalong, Stenmans dotter, art market, modernism, collecting, Novembergruppen, Helene Schjerfbeck, Tyko Sallinen, Juho Mäkelä, Jalmari Ruokokoski, Wäinö Aaltonen, Siri Derkert, Åke Göransson, Esther Kjerner, Eva Bagge.

Isänmaa ja Ranska : Suomalainen frankofilia 1880-1914

In Finland the period 1880 -1914 constituted an essential phase in the creation of the great national project as well as it was a golden time of Francophilia. With Francophilia, i.e. French-mindedness, is here understood a collectively upheld strong sympathy towards France and French culture. However, the Francophilia of late nineteenth century Finland was free from apparent political intentions and remained a chosen disposition. The strength of its drive was not only based on the older European admiration of everything French, but also on the growing fascination for a novelty emerging besides the traditional influences of the Germanic culture. In Finnish society Francophilia mostly worked as an opposite force to the most confined conceptions of what was considered national ; as a consequence France came to denote more than a country and Francophilia contained an important symbolical meaning in the construction of the Finnish nation. The main tasks of the study are to introduce as the first large historical presentation of the subject a covering examination of the many descriptions of Paris-phases of assorted artists, authors, and intellectuals, to clarify the mental relationship of the Finnish intelligentsia to France prior to national independence, and finally to provide these developments with case studies of certain life paths. However, the examination is not biographical, because the starting point remains within the rhetoric arguments of Francophilia and patriotism as these appeared within the public sphere. Historical persons have thus been dealt with primarily as reflectors of the then-current French-minded mentality. Such Francophiles in Finland were first and foremost Werner Söderhjelm, Juhani Aho, L. Onerva and V. A. Koskenniemi. The networks of the Finnish cultural field are mostly displayed through these examples. In previous research the intensive relationship of Finnish artists and authors with France has not been connected with actual concepts of nationalism. The respective periods of the intellectuals in Paris have simply been viewed as devoid of ideological links with the contemporary advancement of the fatherland, or even as opposites to the patriotic pursuits in Finland. From the viewpoint of this study these now canonized creators of a Finnish culture are primarily seen as patriots and fellow countrymen, and only secondly as artists and artist s colleagues. The dissertation is constructed as both a regional survey of the idealization of France and a study of Finnish history through the mirror of Francophilia. As such France only held an instrumental role for the receiving culture, i.e. for the construction of Finland, as no "objective truths" were sought for in France. Keywords: France, francophilia, Finnishness, national project, Paris

Fatigue de-bond growth in adhesively bonded single lap joints

The fatigue de-bond growth studies have been conducted on adhesively bonded lap joint specimens between aluminium and aluminium with Redux-319A adhesive with a pre-defined crack of 3 mm at the bond end. The correlations between fracture parameters and the de-bond growth data are established using both numerical and experimental techniques. In the numerical method, geometrically non-linear finite element analyses were carried out on adhesively bonded joint specimen for various de-bond lengths measured from the lap end along the mid-bond line of the adhesive. The finite element results were post processed to estimate the SERR components G (I) and G (II) using the Modified Virtual Crack Closure Integral (MVCCI) procedure. In experimental work, specimens were fabricated and fatigue de-bond growth tests were conducted at a stress ratio R = -1. The results obtained from both numerical analyses and testing have been used to generate de-bond growth curve and establish de-bond growth law in the Paris regime for such joints. The de-bond growth rate is primarily function of mode-I SERR component G (I) since the rate of growth in shear mode is relatively small. The value of Paris exponent m is found to be 6.55. The high value of de-bond growth exponent in Paris regime is expected, since the adhesive is less ductile than conventional metallic materials. This study is important for estimating the life of adhesively bonded joints under both constant and variable amplitude fatigue loads.

Las claves narrativas del poema caballeresco en Ludovico Ariosto

Integran este número de la revista ponencias presentadas en Studia Hispanica Medievalia VIII: Actas de las IX Jornadas Internacionales de Literatura Española Medieval, 2008, y de Homenaje al Quinto Centenario de Amadis de Gaula

La compañía de los sofistas : Maquiavelo, objetor de Althusser

Resumen: El estudio de Maquiavelo fue recurrente en Louis Althusser. Maquiavelo le permitía repensar la acción política, sin que eso supusiera la existencia a priori de un sujeto a quién la teoría le reconociera axiomáticamente la capacidad de llevar a cabo esa acción. Este artículo ofrece un análisis de la conferencia dictada por Althusser en el Instituto de Ciencias Políticas de París, en 1977, en la que no sólo propone esta lectura del florentino, sino una concepción no acumulativa de historia, que posibilita una apropiación diferenciada de la antigüedad.

Direitos de propriedade intelectual e saúde pública: das normas de regulação às práticas de exame de patentes na área farmacêutica no Brasil.

Este trabalho discute o patenteamento farmacêutico no Brasil por meio de análises dos exames de patentes propriamente ditos, com a entrada em vigor da atual lei da propriedade industrial (Lei 9.279/1996). Para a compreensão de como funciona o exame de patentes, parte-se da apresentação de conceitos basilares da propriedade industrial. É dado destaque à importância das patentes como fonte de informação tecnológica (pesquisa bibliográfica em bancos de patentes e para a recuperação das informações contidas nestes documentos). Neste ponto, apresenta-se um estudo sobre as patentes relacionadas ao efavirenz, por tratar-se de um caso excepcional na discussão sobre propriedade industrial e saúde pública; já que ele foi o primeiro medicamento licenciado compulsoriamente pelo Governo brasileiro (dentro da política de controle da epidemia da Aids). Em seguida, o problema da associação entre os direitos de propriedade industrial e o acesso a medicamentos é abordado em dois capítulos relevantes: i) as questões sobre a atenteabilidade de polimorfos de fármacos; e ii) os procedimentos técnicos adotados no exame de patentes farmacêuticas no âmbito da Coordenação de Propriedade Intelectual da ANVISA (COOPI-ANVISA) e do Instituto Nacional da Propriedade Industrial (INPI). De fato, o primeiro tratado internacional relativo à propriedade industrial, a Convenção da União de Paris (CUP, de 1883), já propugnava o princípio da independência das patentes, ou seja, que cada país tem liberdade para decidir sobre a patenteabilidade ou não dos diferentes produtos e processos de invenção. Mais tarde, o Acordo TRIPS (de 1995) não vedará aos países a adoção de escopos de proteção distintos, visando o equilíbrio entre os interesses públicos e privados em diferentes domínios tecnológicos, nos diferentes países. Finalmente, a Declaração de Doha, de 2001, prevê dispositivos flexibilizadores de modo a favorecer precisamente políticas de saúde e acesso a medicamentos pela utilização de salvaguardas dos direitos de propriedade intelectual no exame de pedidos de patentes. Conclui-se, neste trabalho, que aspectos técnicos e jurídicos inerentes ao patenteamento aliados à capacidade política de decisão em favor da implementação de flexibilidades no exame de pedidos patentes de fármacos e medicamentos podem ser mais ou menos favoráveis à saúde pública.

Comunidades: redutos de identidades culturais narrativas e práticas afirmativas

Esta tese Comunidades: redutos de identidades culturais, narrativas e práticas afirmativas, problematiza e questiona as identidades culturais no momento contemporâneo, refletindo em que medida o discurso sobre comunidades é aglutinador das novas tentativas de afirmação das identidades. Subentende - se que partiu do pressuposto de que há novas formas de reinvenção da identidade, ainda que os motivos para tal feito sejam os mais diversos. O presente projeto discute esta possibilidade através da investigação das práticas afirmativas e das narrativas elaboradas pelos sujeitos pertencentes a duas instituições distintas em duas regiões brasileiras O Rio de Janeiro e a Bahia. Teve como foco de análise o Centro Cultural Cartola na comunidade da Mangueira (RJ) e a Associação Sociocultural do Ilê Aiyê na comunidade do Curuzu (BA). Mapeou os cenários de tais instituições e identificou quais foram as lógicas histórico - culturais que serviram de lastro para o entendimento que os sujeitos fazem de si mesmos nesses locais e como pretendem através de re-interpretações particulares serem reapresentados. Adentrou ao exame dos produtos culturais que as instituições elegem como representações de seus movimentos e como elaboram novas formas de fazer-se sujeito e atingir sua emancipação. Compreendeu uma nova perspectiva para os movimentos que realizam e como avaliam suas potencialidades para enfrentar a condição de vulnerabilidade social. Várias foram as categorias atravessadoras do descortinar da paisagem teórica e dos cenários que emolduram a problemática desta pesquisa. Foi desenvolvida a partir do enfoque Fenomenológico aliado á Etnopesquisa, Microsociologia, Psicossociologia e os referenciais de Pierre Bourdieu e, especificamente os trabalhos do Laboratoire de Changement Sociale da Universidade de Paris VII, Denis Diderot. Por fim diferenciou-se as gramáticas específicas de cada movimento e redimensionou-se os termos de suas construções

Entre a arca do sigilo e o tribunal da posteridade: o (não) lugar do presente nas produções do Instituto Histórico e Geográfico Brasileiro

Esta tese investiga, através das produções do Instituto Histórico e Geográfico Brasileiro entre 1838 e 1889, sobretudo o seu periódico, os limites para a escrita da história do presente no século XIX. Os sócios, imbuídos de um discurso que por vezes legitimava essa prática por considerá-la pertinente em uma associação próxima ao imperador D. Pedro II, em geral a desqualificavam em prol de uma concepção moderna de história na qual o afastamento temporal, combinado à imparcialidade, era condição fundamental para se chegar à verdade dos fatos, e de contingências políticas do próprio tempo. Assim, a partir da análise do cotidiano da associação extraiu-se uma sequência de procedimentos que levou à consideração de que a força da censura foi muito maior do que a da permissividade em relação ao tratamento de fatos coetâneos naquele momento. A utilização de outras fontes de pesquisa, como memórias históricas e autobiografias produzidas fora do grêmio, além da análise das produções do Institut Historique de Paris, permitiu a ampliação da problemática e a conclusão de que se não havia um único conjunto de regras a partir do qual o historiador devia se pautar, mesmo no IHGB, fora dele essa diversidade era ainda maior e nisso incluía-se o problema da história contemporânea.

Rola Francji i Niemiec w procesie integracji europejskiej w latach 1992-2007

Francja i Niemcy przez stulecia walczyły o zdobycie władzy i przejęcie wpływów na kontynencie europejskim i traktowały siebie nawzajem jako największe zagrożenie. Jednak tragiczna pierwsza połowa XX wieku przyniosła z jednej strony pragnienie zapewnienia, iż okropności wojny już nigdy się nie powtórzą, a z drugiej strony poczucie, że nieodzowna jest zmiana dwustronnych stosunków panujących między Berlinem a Paryżem. Konieczność stworzenia przestrzeni wolności i współpracy doprowadziła niegdysiejszych wrogów do stworzenia idei integracji najważniejszych części gospodarki. Pomysł zjednoczenia krajów Europy Zachodniej przekształcił się w kolejnych latach w symbol zaangażowania francusko-niemieckiego. Dwie republiki stały się rdzeniem europejskiej współpracy i spiritus movens zmian politycznych, ekonomicznych i instytucjonalnych w powojennej Europie. Po upadku komunizmu w 1989 roku ich rola zyskała nowy wymiar w odmiennych warunkach geopolitycznych - od momentu podpisania Traktatu z Maastricht w 1992 roku francusko-niemiecki duet powiększył swe znaczenie i wpływ na politykę nowej Unii Europejskiej. Realizacja zapisów Traktatu z Maastricht i kolejnych dokumentów, w tym Traktatu z Lizbony, koncentracja na kwestiach reform instytucjonalnych, jak również przygotowania do wschodniego rozszerzenia UE mogą być rozpatrywane jedynie w odniesieniu do wspólnych działań prowadzonych przez nadreński tandem. Realizacja trzech filarów integracji: współpracy w wymiarze ekonomicznym i społecznym, wspólnej polityki zagranicznej i bezpieczeństwa, jak również współpracy policyjnej i sądowej w sprawach karnych, podkreślają znaczenie couple franco-allemand i zwracają uwagę na rolę lidera, jaką Paryż i Berlin odgrywają w dziedzinie integracji.

Post-1945 Danish Piano Trio Literature: A Recording Dissertation

This recording dissertation surveys post-1945 literature written for piano trio (violin, violoncello and piano) by ten Danish composers. The literature was first considered for inclusion by searching a database provided by the Danish Music Information Center (www.mic.dk). Scores were rented from the publisher Edition Wilhelm Hansen AS, or purchased from the publisher Samfundet til Udgivelse af Dansk Musik. An additional score published by Viking Musikforlag was used as well. The music was then studied and evaluated for selection. During the selection process, the following criteria were considered: 1) quality of the compositions; 2) recognition of the composers at the national or international level; 3) whether the compositions had been previously recorded; and 4) variety of compositional styles. The selected works are written by Niels Viggo Bentzon, Vagn Holmboe, Anders Koppel, Herman D. Koppel, Bent Lorentzen, Anders Nordentoft, Per Norgard, Michael Nyvang, Karl Aage Rasmussen, and Poul Rovsing Olsen. The selected compositions were practiced, rehearsed, and performed under direct supervision of the composers and other expert musicians. In order to better understand the compositional style of each composer, relevant books, articles, and recordings were researched and studied. This recording dissertation is supported by a written document. A subjective preference for program balance was exercised to determine the order of recorded works. The written document is divided into chapters defined by composer, following the order of the recorded document, which include the composers' biographies and notes referring to the recorded compositions. The recording took place at the Manzius Gaarden, Birkerod, Denmark during three sessions: July 31-August 2, 2002, March 2 and 3, 2003, and June 2-4, 2003. The music for this dissertation was recorded by the members of the Jalina Trio; Line Fredens, violin, Janne Fredens, cello and Natsuki Fukasawa, piano. Aksel Trige, a well-respected recording engineer, was engaged for the recording and editing. Additionally, a Hamburg Steinway concert grand piano was rented and a Joseph Guarnerius filius Andreas Cremona violin (1706) was provided by the Augustinus Fonden, Denmark. The cellist used her own instrument, Vuillaume of Paris (c. 1850). The expense of this recording was partially paid by generous grants from the Augustinus Fonden, the Solist Foreningen af 1921, and the Dansk Musikerforbunds Kollective Rettighedsmidler. The compositions selected for this recording dissertation are assumed to be previously unrecorded, with the exception of Poul Rovsing Olsen's Trio II.

Fleuve glauque : les départements de la Seine, banlieue des romans « Spécial Police » de Frédéric Dard

This paper studies the representation of suburbs as a place of anguish in the “Special Police” novels (Fleuve Noir publisher, Paris) by Frédéric Dard. This anxiety, it is argued, is what lends this collection of 25 novels some of their essential qualities, their unhealthy climate and absolute darkness. Dard’s suburbs fit into the traditions of realism; but the atmosphere, characters and plots owe to the American hardboiled school and like in film noir, space is stylized and dramatized, and often used to express a judgment of moral nature. Spatial representations in these novels are part of a critique of civilization and constitute a comment on the social modernization and public intervention in the development of the French territory in the postwar period. The novels written by Frédéric Dard from the mid-1950s to mid-1960s offer a profoundly original representation of suburban angst and what was not yet known at the time as the suburban malaise. Avoiding clichés and excessively connoted referential spaces, Dard anchor these noir novels he called “novels of the night” in landscapes that are both biographical and intertextual. The West Suburbs of Paris and what was
to become the Yvelines department are at the centre of Dard’s novelistic geography, turning into a mythical and deadly space in which is negotiated an acculturation in France of the evil and ruined world described in American noir.

Uma só palavra: experiência de narrativa dramática: trabalho de projecto

Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Artes Performativas (Escritas de Cena).

Mandement... pour demander à Dieu par des prières publiques la santé de la reine

[Acte. 1726-08-15]

L'amour en commandite : Paris, Palais-royal, 8 novembre 1840 / par MM. de Leuven, Brunswick et d'Ennery

Collection : Répertoire dramatique des auteurs contemporains