Globale Finanz- und Wirtschaftskrise : Ursachen, Verantwortung, Konsequenzen. Dokumentation der öffentlichen Vorträge am 16. Juni 2006

Die Weltwirtschaftskrise des Jahres 1929 beendete ein „goldenes Zeitalter“. Sie veränderte nachhaltig die internationale Völkergemeinschaft, unter anderem in Bezug auf den Welthandel, die Finanzströme und die Arbeitslosigkeit. Die Auswirkungen unserer heutigen Krise scheinen vergleichbar, die Ausgangslage, Ursachen und Verantwortung sind jedoch grundverschieden.
Kein Lehrbuch und keine Vorlesung haben uns auf diese Krisenform vorbereitet. Auch liegen keine wirtschaftspolitischen Erfahrungen vor, die als Grundlage zur Bewältigung einer Krise in dieser Dimension dienen könnten. Aber wir können– obgleich die Krise andauert – schon heute beobachten, dass die Konsequenzen anders ausfallen und zu langfristigen, einschneidenden Veränderungen führen.
Mit unserer Fachveranstaltung bieten wir Erklärungsansätze und diskutieren über Verantwortung und Konsequenzen. Drei Beiträge führen aus unterschiedlichen Perspektiven in das Thema ein.

Office building for J.N. Stricklin, Jr., Cheraw, SC

This is a mounted photo of the office building for J.N. Stricklin, Jr. in Cheraw, S.C. The building was designed by V.H. Kendall, Jr., contractor was H. J. Rushing, and the building was completed October 1953.

Annual message of his excellency Franklin J. Moses, Jr., Governor of South Carolina, to the General Assembly at the regular session of 1872-73

Governor Moses calls on South Carolinians to endeavor to become a respected member of the United States following the U.S. Civil War. His message addresses the status of the national debt, South Carolina public education, the South Carolina Orphan Asylum, the South Carolina Lunatic Asylum, the state penitentiary, the state’s quarantine of small pox, the revenue-generating phosphate deposits in the state, immigration to the state, the state’s flagship university, current state legislation, and the state militia.

Consolidation. An account of parties in the United States, from the convention of 1787, to the present period

This document is an account of a convention of South Carolina state representatives following the drafting of the Declaration of Independence. There were three parties involved in the convention and the account is based on the notes of Mr. Luther Martin who attended as well Mr. Justice Yates’ account. The first party wished to abolish all state governments and have one uniform monarchical government for the continent that would be restricted and limited. The second party did not wish to abolish state governments to give their own state some importance. The third party was advocating for a federal government in conjunction with state government. This document is an account of the convention.

Europa : paisagem e pensamento : um excurso sobre Teixeira de Pascoaes, Friedrich Hölderlin, José Marinho e Martin Heidegger

Tese de doutoramento, Filosofia (Filosofia em Portugal), Universidade de Lisboa, Faculdade de Letras, 2014

The Contemporary Group, April 21, 1968

Concert program for The Contemporary Group, April 21, 1968

Hollywood and world cinema influences: tracing intertextuality in the works of two contemporary filmmakers from Francophone Africa; Mahamat Saleh Haroun and Abderrahmane Sissako

Don’t tell me the moon is shining; show me the glint of light on broken glass Anton Chekhov Representations of Africa in cinema are almost as old as cinema itself and date back to Hollywood’s silent era. Most early examples feature the continent as a mere exotic backdrop and include The Sheik (Melford 1921), soon followed, in 1926, by George Fitzmaurice’s Son of the Sheik starring Rudolph Valentino. The next decade brought Van Dyke’s Tarzan movies, Robert Stevenson’s King Solomon’s Mines (1937), and, on the European side, Duvivier’s Pépé le Moko (1936). For representations of Francophone Africa by Africans themselves, the viewing public more or less had to wait, however, until decolonisation in the 1960s (with, for example, Sembene Ousmane’s Borom Sarret and La Noire de…, both released in 1966 and, in 1968, Mandabi). Since then Francophone African cinema has come a long way and has diversified into various strands. Between Borom Sarret and Mahamat-Saleh Haroun’s 2006 Daratt, Saison sèche - or the same director’s Un homme qui crie, almost half a century has elapsed. Over this period, films inevitably have addressed a spectrum of visual, ideological and political tropes. They range from unadorned depictions of the newly independent states and their societies to highly aestheticised productions, not to mention surreal and poetic visions as displayed for instance in Djibril Diop Mambéty’s Touki Bouki (1973). Most of the early films send an overt socio-political message which is a clear and explicit denunciation of a corrupt state of affairs (Souleymane Cissé’s Baara, 1977). They aim to trigger strong emotional and political responses from the viewer, in unambiguous support for the film-maker’s stand. Sembene himself declared: “I consider cinema a means of political action” (Murphy 2000: 221). Similarly, the Mauritanian director Med Hondo wishes to “take up this technical medium and to make it a mouthpiece on behalf of [his] fellow Africans and Arabs” (Jeffries 2002: 11). All this echoes the claims of the Fédération Panafricaine des Cinéastes (FEPACI, founded in 1969), an organisation “dedicated to the liberation of Africa”. In sharp contrast to the incipient momentum given Francophonie by Bourguiba, the Nigerien Hamani Diori and the Senegalese Senghor, who invoked a worldwide communauté organique francophone, FEPACI called for “the creation of an aesthetics of disalienation… [using] didactic... forms to denounce the alienation of countries that were politically independent but culturally and economically dependent on the West” (Diawara 1996: 40). Sembene’s Xala (1974) became the blueprint for this, to this day the best-known vein of Francophone African cinema. Thus considered, this pedigree seems a million miles from mainstream global cinema with its overriding mission to entertain. A question therefore arises: to what extent can a cinema that sprang from such beginnings be seen to interface in any meaningful way with a global film industry that, overwhelmingly and for a century, has indeed entertained the world – with Hollywood at its centre?

José Saramago e os jornais: os anos de 1968 a 1975

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Jornalismo.

Portugal (1928-1968) : Um Filme de J. Leitão de Barros

Apoio financeiro da FCT e do FSE no âmbito do III Quadro Comunitário de Apoio

Perceptions of aging across 26 cultures and their culture-level associates

College students (N = 3,435) in 26 cultures reported their perceptions of age-related changes in physical cognitive, and socioemotional areas of functioning and rated societal views of aging within their culture. There was widespread cross-cultural consensus regarding the expected direction of aging trajectories with (a) perceived declines in societal views of aging, physical attractiveness, the ability to perform everyday tasks, and new learning; (b) perceived increases in wisdom, knowledge, and received respect; and (c) perceived stability in family authority and life satisfaction. Cross-cultural variations in aging perceptions were associated with culture-level indicators of population aging, education levels, values, and national character stereotypes. These associations were stronger for societal views on aging and perceptions of socioemotional changes than for perceptions of physical and cognitive changes. A consideration of culture-level variables also suggested that previously reported differences in aging perceptions between Asian and Western countries may be related to differences in population structure.

La pesquería marítima peruana durante 1968

Presenta las estadística de 1968 de la pesquería marítima referente a desembarques, consumo fresco de pescado, producción industrial, exportaciones y de la harina de pescado.

La madurez sexual de la anchoveta (Engraulis rigens J.) en los periodos reproductivos 1961/1968

Información sobre la madurez sexual de la Anchoveta peruana, que ha sido estudiado por el examen macroscópico de las gónadas durante 1961-1968, el material se recogió en Chimbote, Callao e Ilo y se comparó con datos similares de Chile. Las etapas más avanzadas de la madurez sexual fueron la base de la evaluación. El análisis pone de relieve las diferencias de tiempo de la temporada de desove entre las localidades en relación con la longitud y la edad. Los datos de Chimbote y Callao indican que la actividad sexual se extiende de agosto a marzo. Se producen dos picos de desove, uno en septiembre y otro en febrero. por otro lado, los datos de Ilo y Chile demuestran que la época de desove en la zona sur comienza en julio y termina en febrero. Estos resultados también demuestran dos puntos interesantes en relación con la longitud y la edad de anchovetas: el pico a la madurez sexual en verano es tan intenso como en el invierno, pero el predominante de pequeñas anchovetas durante el verano hace dificil de detectar la situación real y las anchovetas mayores desove durante un período más largo y con mayor intensidad que los más jóvenes. Por último, las anchovetas en la etapa más avanzada de madurez fueron más abundantes durante 1964, 1967 y que durante el resto de año cerca de Callao y Chimbote.