Academic literature on the topic '1906-1950'
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Journal articles on the topic "1906-1950"
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Rigozo, Nivaor Rodolfo, Daniel J. R. Nordemann, Ezequiel Echer, and Luis Eduardo Antunes Vieira. "ENSO influence on tree ring data from Chile and Brazil." Geofísica Internacional 43, no. 2 (April 1, 2004): 287–94. http://dx.doi.org/10.22201/igeof.00167169p.2004.43.2.181.
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Se llevó a cabo un análisis espectral mediante el método de Ondículas en anillos de árboles de Brazil (27°11’S, 51°59’W) y Chile (49°12’S, 73°50’W) durante 1876-1994. También se aplicó este método a la Oscillación del Sur, SOI, representativa del ENSO, y a la Temperatura Media Superficial del Aire (GAST). Se seleccionó el rango de 2 a 8 años para su estudio. Como era de esperarse, se observan fluctuaciones en todos los datos, las cuales indican la existencia del ENSO. Se alternan amplitudes fuertes y débiles y corrimiento de frecuencias en las señales. Las señales más fuertes se observaron en la banda de 4-8 años en los árboles chilenos entre 1906-1920 y 1930-1950, y en los árboles brasileños en las bandas de 6-8 años alrededor de 1906 y 1950. El espectro de SOI presentó un mayor número de amplitudes intensas y el espectro de GAST mostró un alta intensidad solamente entre 1906 y 1928, en la banda de 5 a 8 años. Estos resultados muestran una clara evidencia de la influencia del ENSO en el crecimiento de los árboles.
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Jaenicke, Lothar. "Fabius Gross (1906–1950), a Protistologist Almost Lost from History." Protist 157, no. 2 (June 2006): 235–44. http://dx.doi.org/10.1016/j.protis.2006.02.002.
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Mabberley, David J. "Edred John Henry Corner, C.B.E. 12 January 1906 — 14 September 1996." Biographical Memoirs of Fellows of the Royal Society 45 (January 1999): 77–93. http://dx.doi.org/10.1098/rsbm.1999.0007.
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John Corner was one of the most colourful, and controversial, biologists of the century. Edred John Henry Corner was born on 12 January 1906 at 37 Harley Street, London, W.1., son of Edred Moss Corner M.A., M.B., M.C., F.R.C.S. (d. 1950), surgeon and surgical author, and his wife Henrietta, nëe Henderson (d. 1966).
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Burgmann, Beverley, Raymond A. Mohl, and Neil Betten. "Steel City. Urban and Ethnic Patterns in Gary, Indiana, 1906-1950." Labour History, no. 54 (1988): 138. http://dx.doi.org/10.2307/27504456.
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Pacyga, Dominic A., Raymond A. Mohl, and Neil Betten. "Steel City: Urban and Ethnic Patterns in Gary, Indiana, 1906-1950." American Historical Review 92, no. 1 (February 1987): 223. http://dx.doi.org/10.2307/1862950.
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Clarke, Clifford J., Raymond A. Mohl, and Neil Betten. "Steel City: Urban and Ethnic Patterns in Gary, Indiana, 1906-1950." International Migration Review 21, no. 3 (1987): 870. http://dx.doi.org/10.2307/2546634.
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Kusmer, Kenneth L., Raymond A. Mohl, and Neil Betten. "Steel City: Urban and Ethnic Patterns in Gary, Indiana, 1906-1950." Journal of American History 74, no. 1 (June 1987): 206. http://dx.doi.org/10.2307/1908590.
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Sasaki, Yoshi N., Ryosuke Washizu, Tamaki Yasuda, and Shoshiro Minobe. "Sea Level Variability around Japan during the Twentieth Century Simulated by a Regional Ocean Model." Journal of Climate 30, no. 14 (July 2017): 5585–95. http://dx.doi.org/10.1175/jcli-d-16-0497.1.
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Sea level variability around Japan from 1906 to 2010 is examined using a regional ocean model, along with observational data and the CMIP5 historical simulations. The regional model reproduces observed interdecadal sea level variability, for example, high sea level around 1950, low sea level in the 1970s, and sea level rise during the most recent three decades, along the Japanese coast. Sensitivity runs reveal that the high sea level around 1950 was induced by the wind stress curl changes over the North Pacific, characterized by a weakening of the Aleutian low. In contrast, the recent sea level rise is primarily caused by heat and freshwater flux forcings. That the wind-induced sea level rise along the Japanese coast around 1950 is as large as the recent sea level rise highlights the importance of natural variability in understanding regional sea level change on interdecadal time scales.
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Lucarezi, Anderson, and Lucas Zaparolli De Agustini. "As Gravuras Japonesas, de John G. Fletcher." Cadernos de Literatura em Tradução, no. 18 (September 30, 2017): 127–37. http://dx.doi.org/10.11606/issn.2359-5388.v0i18p127-137.
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John Gould Fletcher (1886-1950) nasceu em Little Rock, Arkansas, no seio de uma família abastada, o que lhe possibilitou estudar em Harvard. Com a morte do pai, em 1906, deixou a universidade para viver de herança e empreendeu uma longa viagem para a Europa, acabando por estabelecer-se em Londres, onde publicou, em 1913, cinco livros às próprias custas. Nessa época, tendo conhecido Ezra Pound, tornou-se ativo difusor da corrente estética do Imagismo.
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Officer, Lawrence H. "The Remarkable Efficiency of the Dollar-Sterling Gold Standard, 1890–1906." Journal of Economic History 49, no. 1 (March 1989): 1–41. http://dx.doi.org/10.1017/s0022050700007324.
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The article develops a model of gold-standard efficiency in the context of the theory of efficient asset markets. Efficiency is measured by the ratio of experienced disutility to the hypothetical loss under perfect gold arbitrage and neutral exchange-rate speculation. Dollar-sterling gold-point estimates for 1890 to 1906 are generated using the methodology of focusing on the dominant arbitrageurs, the prevailing exchange instrument, and the primary form of gold shipped. Gold- standard efficiency is remarkably high and only marginally below exchange- market efficiency from 1950 to 1966 under Bretton Woods.
Dissertations / Theses on the topic "1906-1950"
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Ardhana, I. Ketut. "Balinese puri in historical perspective : the role of Puri Satria and Puri Pamacutan in social and political changes in Badung, South Bali, 1906-1950." Thesis, Canberra, ACT : The Australian National University, 1993. http://hdl.handle.net/1885/111316.
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Balinese puris are the residences of the traditional ruling elite of Bali, the ksatria. The
puris provided the rajas and the lesser political leaders in Bali until the challenge to Satria
hegemony posed by Dutch colonialism. In Badung (South Bali), Dutch ascendancy was
marked by the massacre known as the puputan Badung, in 1906, which wiped out most of
the royal families of puri Denpasar and puri Pamacutan. After the puputan, puri Denpasar
and Pamacutan were replaced by puri Satria and puri Kanginan-Pamacutan respectively.
Very few studies have been made of the Balinese puris in Badung, after the fall of puri
Denpasar and Pamacutan so that the people of Badung themselves do not clearly understand
the political role of these puris.
This thesis is an attempt to study the rivalry between the resurgent puri Satria and its
main local antagonist, puri Pamacutan. The latter co-operated with the Dutch colonial
authority, while the survivors of the Badung massacre rebuilt puri Satria as a centre of
opposition to the Dutch.
The time frame (1906-1950) for this research reflects a period of turmoil and change in
Bali, from the Dutch invasion (of South Bali), to the Japanese occupation, through the
struggle for independence and the incorporation of Bali into the East Indonesian State to the
eventual union with the Republic of Indonesia.
The major topic of interest will be the strongly contrasting roles played by the
traditional leadership of the two puris in the maintenance of political hegemony through the
first half of the twentieth century.
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Huesca, Roland. "Paris à l'époque des ballets russes, 1909-1913 : histoire culturelle de l'esthétique." Strasbourg 2, 1997. http://www.theses.fr/1997STR20096.
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Dès leur première venue à Paris, en 1909, les ballets russes de Serge de Diaghilev remportent un véritable triomphe. Avec Giselle, le pavillon d'armide ou encore les sylphides, M. Fokine, le chorégraphe rencontre et exalte la tradition. Le tout-paris, toujours lié aux valeurs nobiliaires, aime retrouver sur scène les grandeurs et la beauté d'un classicisme chers à la France. Il apprécie également de voir les peintres russes présenter des décors aux couleurs vives et lumineuses dans un style impressionniste dont la capitale s'enorgueillit. Enfin, dans l'enthousiasme et la jubilation de leurs danses, les danseurs russes, recréent aussi les valeurs d'un orient mythique et rêvé depuis le XIXe siècle. Érotisme et fougue barbare prennent corps sous les pas et les gestes des danseurs. Les ballets russes attisent ainsi les fantasmes du clan le plus huppé de la capitale. Avec V. Nijinsky il en est tout autrement. Trois oeuvres : "L'après-midi d'un faune", jouée pour la première fois en 1912, comme jeux et le "Sacre du printemps", présentées en 1913, avivent les controverses. L'attrait pour la tradition fait place aux avant-gardes. Sous le sceau du "moderne", le jeune chorégraphe bouleverse les usages. Accusé d'obscénité dans la dernière scène du "faune", son évocation du printemps renouvelle l'expérience du sacré dans le tout nouveau théâtre des Champs-Élysées devenu à l'occasion le "véritable temps de l'art". La critique peine à rendre compte de ces nouveautés. Les transpositions sémantiques vont bon train. V. Nijinsky proposerait-il des chorégraphies cubistes? Profitant de l'émoi, le nationalisme esthétique francais, se sentant menacé, exprime sa volonté hégémonique et cherche, dans ses accusations, à légiférer l'ordre du goût. Entre triomphes et scandales, les ballets russes proposent leurs spectacles. Une analyse phénoménologique de ces soirées permet de construire une histoire culturelle de l'esthetique. Les discours de la presse, les témoignages, les sources iconographiques ou les reconstitutions filmiques servent le travail herméneutique. Trois temps scandent la méthode proposée : décrire, construire et interpréter. Au gré des constructions, les représentations et les comportements artistiques de la Belle Époque apparaissent peu a peuOn their very first visit to paris, in 1909, S. De diaghilev's russian ballets met with a huge success. With such works as giselle, le pavillon d'armide or les sylphides, the choreographer, m. Fokine not only followed the rules of the dance tradition, but he also revived it. The parisian elite, who still craved on the values of the peerage, enjoyed seeing the greatness and the beauty of a appreciated to discover the russian painters' vividly coloured backdrops, which reminded them of the impressionistic style, a style that paris was proud to have been the centre of moreover, the russian dancers, full of enthusiasm and exultation, also recreated the values of a mythical orient, which has been dreamt of ever since the xixth century. The dancers' steps and gestures embodied a vision of eroticism and barbarous ardour. Thus, the russian ballets allowed the well-to-do parisians to meet their fantasies. Things changed with v. Nijinsky. Three of his works, l'apres-midi d'un faune, first played in 1912, jeux and le sacre du printemps both premiered in 1913, were highly controversial. Tradition gave way to the avant-garde. The young choreographer, considered a "modern" artist by all, id not follow the rules of ballet, but his rite of spring renewed the sense of sacred things. Critics id not know how to account for so many signs of novelty and semantic transpositions seem to have been only way out. Did v. Nijinksy create cubist choreographies? Taking the opportunity the supporters of the french aesthetic nationalism, who felt threatened, tried to impose their own sense of what beauty and good taste should be. The russian ballets with their various performances met triumphs a well as scandals. A phenomenological analysis of these dance evenings allows the elaboration of a cultural history of aesthetics what the press wrote, what people said, the pictures that were taken or the films which try to create the performances are useful to a hermeneutic work. Three steps mark the method used here : first there is a description,,then an elaboration is followed by the next one, the belle epoque's perceptions and representations of art are little unveiled
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Oliveira, Lucas Assis de. "Paradigmas eruditos e o nacional-popular na música brasileira. Dos anos de 1920 à Era de Ouro do Rádio." reponame:Repositório Institucional da UFC, 2016. http://www.repositorio.ufc.br/handle/riufc/18785.
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OLIVEIRA, Lucas Assis de. Paradigmas eruditos e o nacional-popular na música brasileira. Dos anos de 1920 à Era de Ouro do Rádio. 2016. 167f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em História, Fortaleza (CE), 2016.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-08-02T11:27:25Z No. of bitstreams: 1 2016_dis_laoliveira.pdf: 689337 bytes, checksum: 5500fa1a0b1215a84dbe9ac6cae43d5a (MD5)
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The present research refers to brazilian music, thought and established by musicologists and folklorists such as Mário de Andrade, Renato Almeida e Luiz Heitor Corrêa de Azevedo, from the 1920's to the "Golden Age of Radio". This analysis is held mainly in this literature, through bondings and filliations committed to the nationalization of erudite music. It comprehends the breach that separates and measures popular, performed in a pedagogical and doctrinal manner, since intellectuals seek an understanding of brazilian music history and the paradigms that should guide the recording of popular culture and also to perform a national and artistic music as a modern production. Finally, the research focuses on the criticisms the activities of the maestro Radames Gnattali as a way to face the understanding of Brazilian culture by the musicologists, failing to be tied to the concepts of popular or classical, focusing social and cultural dilemmas as the professional and national music.
Esta pesquisa diz respeito à música brasileira, pensada e instituída por musicólogos e folcloristas como Mário de Andrade, Renato Almeida e Luiz Heitor Corrêa de Azevedo, dos anos de 1920 à “Era de Ouro do Rádio”. A análise está detida, sobretudo, nessa literatura, através de laços e filiações empenhadas com a nacionalização da música erudita. Compreende a quebra que separa e dimensiona o popular, realizada de modo pedagógico e doutrinário, uma vez que os intelectuais buscam conformar um entendimento da História da Música Brasileira e os paradigmas que deveriam orientar o registro da cultura do povo, bem como realizar uma música artística nacional como fazer moderno. Por fim, a pesquisa se concentra nas críticas desferidas as atividades do maestro Radamés Gnattali, como forma de encarar o entendimento sobre a cultura brasileira por parte dos musicólogos, não conseguindo estar atada aos conceitos de popular ou erudito, concentrando os dilemas sociais e culturais quanto à profissionalização e à musica nacional.
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Šabasevičiūtė, Giedrė. "Du littéraire au religieux en passant par le politique : une trajectoire d'engagement intellectuel révolutionnaire : le cas de Sayyid Qutb (1906-1966)." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0022.
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Cette thèse s'interroge sur les conditions sociologiques dans lesquelles l'intellectuel égyptien Sayyid Qutb fut déchu de son statut d'intellectuel et effacé de l'histoire littéraire égyptienne. L'étude des cadres de cheminement de Qutb, à savoir son insertion dans le milieu littéraire dans les années 1930, suivi d'un basculement vers la contestation politique dans les années 1940 et de l'intégration à l'organisation des Frères musulmans dans les années 1950, pour aboutir à son incarcération et l'exécution en 1966, permet d'appréhender les articulations entre trois champs sociaux distincts : littéraire, religieux et politique. Cette thèse vise à situer les « ouvertures » entre ces champs, et les frontières qui émergent au cours des controverses avec al-Azhar ou les heurts avec les Frères musulmans. En adoptant une perspective microsociologique, centrée sur l'étude de l'évolution des réseaux intellectuels de Qutb, ce travail vise à documenter son rapprochement aux Frères musulmans. L'étude est divisée en trois parties. La première décrit l'émancipation progressive des écrivains par rapport à la religion dans le premier tiers du XXe siècle. A travers l'étude des interactions dans la presse et les livres, la deuxième partie se concentre sur les réseaux intellectuels de Qutb. La dernière partie est consacrée à l'étude des effets de la crise révolutionnaire sur le champ littéraire égyptien dans les années 1940-1950. Elle décrit à cet effet les conditions du basculement de Qutb vers la contestation de la monarchie et son expulsion du champ littéraire légitime, par deux campagnes anti-Frère lancées en 1954 et 1965The dissertation examines the sociological conditions in which the Egyptian intellectual Sayyid Qutb was stripped of his intellectual status and erased from Egyptian literary history. The study of key moments in Sayyid Qutb's intellectual path, namely his integration into Cairene literary networks in the 1930's, followed by his dissent against the monarchy in the 1940's, his joining the Muslim Brotherhood in the 1950's, and finally his imprisonment and execution in the 1960's, allows us to understand the links between three distinct social fields in Egypt: religion, literature and politics. Based on a microsociological perspective, this study aims to reconstruct Qutb's intellectual networks in order to document his gradual rapprochement to the Muslim Brotherhood. The study is divided into three parts and six chapters. The first part describes the gradual emancipation of writers vis-a-vis al-Azhar in the first third of the 20th century. It focuses on the legitimacy battles waged by writers and religious leaders, in order to define what is « modern » and « traditional ». The second part aims to reconstruct Qutb's intellectual networks through the study of his interactions in the press and books. The last part is devoted to examining the impact of the 1952 revolution/coup d'Etat on the Egyptian literary field. It focuses on the conditions in which Qutb publicly joins the protest against the political order and is banned from the intellectual history with the help of two anti-Muslim Brotherhood media campaigns, launched in 1954 and 1965
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Cavalcanti, Marly Gondim. "Anáĺise músico-literária dos poemas de Walt Whitman, Antônio Francisco da Costa e Silva e Léopold Sédar Senghor." Artois, 2006. http://www.theses.fr/2006ARTO0003.
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Cette thèse examine la présence de la musique dans la polygraphie poétique de Walt Whitman, de Antônio Francisco da Costa et Silva et de Léopold Sédar Senghor. Bien qu'ils soient de différentes époques, qui s'étendent du XIX siècle au XXème ; de différentes cultures (américaine, brésilienne, française et senegalaise) ; et encore de différentes langues (anglais, portugais et français), ils témoignent de procédures similaires de création, en ce sens que les trois font appel à un lexique sonore musical comme élément essentiel dans la composition de leurs œuvres. Ici la musique n'est point un ornament. Cet art dynamogénique constitue le point de départ pour le dialogue entre les trois auteurs. Chez eux, les formes musicales débouchent sur un univers sonore musical appuyé sur l'intertextualité. En conséquence, en l'une ou l'autre, la musique s'affirme nettement une pratique alternative pour l'étude et pour l'analyse des textes sur une base d'opération interartistique. Cette thèse se fonde également sur une approche quanti qualitative. Cette recherche a utilisé le logiciel Stablex. Ce programme prend en charge le traitement thématique et automatique des textes et possibilite une analyse de centaines de poèmes mis ensuite en tableaux synoptiques et en tableaux de concordance avec la fréquence des occurrences dûment validées en contexte. Le passage par l'informatique a ainsi fourni de précieux repères numériques à valeur descriptif, sur le vocabulaire socio sémantique et musical de la poésie de Whitman, de Da Costa e Silva et de Senghor. Peut-être aussi sur la pente de leur imaginaire respectifThis thesis examines the presence of the music in the poligraphic poetics of Walt Whitman, Antonio Francisco da Costa e Silva and Léopold Sédar Senghor ; They are different about time of literary production , about culture and about language, but they are also similar in the creative process in requesting the sound-musical lexicon as integrant and essential element, not characterized as a literary decoration. As an art of dynamogenic character music constitutes the starting point for the dialogue among the three authors selected in the sense of the musical forms, of the mentions to the sound-musical universe and of the intertextuality with musical works. So, music appears as an alternative for studying and for analysing literary works founded in the interartistic relationship. This thesis leans on in the quantiqualitative approach, requiring the computational program called Stablex, appropriate for the treatment an automatic processing of texts for the lexical and textual analysis. This program also makes possible the simultaneous work with hundreds of texts, supplying statistical-descriptive information, besides lexicons and tables, determining the importance and weight of the items selected for the research in an objective and scientific way
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Piat, Julien. "L'expérimentation syntaxique dans l'écriture du Nouveau Roman (1950-1960) : Beckett, Pinget, Simon." Grenoble 3, 2007. http://www.theses.fr/2007GRE39057.
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Les romans publiés par Beckett, Pinget et Simon dans les années 1950, créent un indéniable effet de "lecture difficile". Un tel effet s'explique principalement par le travail très net sur les formes langagières auquel se livrent des textes qui sont autant de manifestes pratiques d'une volonté d'écrire autrement le roman et sont emblématiques des diverses entreprises regroupées par la critique sous l'étiquette de "Nouveau Roman". Si l'on peut parler à leur sujet d'expérimentation syntaxique, c'est qu'ils présentent une série de traits mettant à mal l'unité écrite de la phrase, notion bien souvent critiquée, mais graphiquement pertinente : elle correspond à une conscience épilinguistique largement partagée, et elle seule permet de rendre compte des opérations de discontinuité syntaxique, prédicative et énonciative multipliées dans le corpus. On montre cependant comment les difficultés de lecture sont ici largement levées par la reconnaissance spontanée de patrons stylistiques, ancrés dans l'histoire des formes de la modernité romanesque et définissant un roman phénoménologique. Analyser ces textes en partant de la catégorie de phrase permet non seulement de comprendre ce que peut être une écriture de la conscience et du temps, mais aussi de replacer les entreprises de Beckett, Pinget et Simon dans un moment de la poétique du roman et de la langue littéraireOne cannot read Beckett, Pinget and Simon's first novels without a sense that they are "difficult texts". As practical manifestoes, these works, which are also representative of the French "New Novel" and imply a strong will to discover new generical paths, carry on an in-depth syntactical experimentation, based on a series of operations that put the sentence-unit at stake. The sentence has indeed–in spite of all the debates it has raised–an indeniable graphic relevance. Not only does it match with the most widely shared epilinguitic schemes, but it alone accounts for the phenomena of syntactic, predicative and enunciative discontinuity the corpus shows. Difficulties of reading are nevertheless partially or totally overcome when one identifies the stylistic patterns progressively developed by modern novelistic prose in its attempt to define a phenomenological writing. Focusing on the sentence level makes us able to bring to light how Beckett, Pinget and Simon "write" consciousness and time, and gives us a valuable insight on their situation in a particular moment of the poetics of the novel and of the literary use of language
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Celotto, Emanuela. "Albert Camus : démocratie et totalitarisme." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030038.
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Cette thèse propose une lecture de la création de Camus sous l’angle démocratique et antitotalitaire pour démontrer l’aspect innovant de sa pensée qui est plus que jamais d’actualité. Cent ans après la naissance de l’écrivain prix Nobel de littérature, son œuvre ouvre de nouveaux axes de réflexion à mi-chemin entre la philosophie, la science-politique et la littérature. Après une introduction générale aux concepts de totalitarisme et de démocratie, nous passerons plus spécifiquement à l’étude de l’auteur. Nous esquisserons un portrait de Camus en tant que journaliste engagé dans les batailles de son temps et nous aborderons une analyse comparative entre Camus et les intellectuels ou penseurs qui ont influencé sa pensée démocratique et inspiré sa réflexion sur les totalitarismes. Ensuite, nous focaliserons l’analyse sur certaines œuvres : les essais journalistiques (Actuelles I, II, III) et philosophiques (L’Homme révolté) ; les œuvres de fiction, comme La Peste, ainsi que trois pièces de théâtre Caligula, Les Justes et L’État de siège. En nous basant sur ce choix d’œuvres, nous examineront la technique adoptée par Camus pour transférer dans la fiction le débat démocratique contre les totalitarismes de son époque. Enfin, nous étudierons du point de vue lexicologique les termes de totalitarisme et démocratie, ainsi que tous leurs synonymes entrant dans le champ sémantique du débat antitotalitaireThis thesis proposes a reading of Camus’ creation from the democratic and antitotalitarian perspective in order to demonstrate the innovative aspect of his thought, which is more actual than ever. One hundred years after the birth of the writer, Nobel Prize for literature, his work opens up new lines of thought halfway between philosophy, science, politics and literature. After a general introduction to the concepts of totalitarianism and democracy, we will proceed to the more specifically study of the author. We sketch a portrait of Camus as a committed journalist in the battles of his time and we will discuss a comparative analysis between Camus and intellectuals and thinkers who influenced his democratic thought and inspired his thinking on totalitarianism. Then, we will focus the analysis on certain works : journalistic (Actuelles I, II, III ) and philosophical essays (The Rebel), fictional works, such as The Plague, and three plays Caligula, The Just Assassins and The State of siege. Based on this selection of works, we will examine the technique adopted by Camus to transfer into the fictional the democratic debate against the totalitarianism of his era. Finally, we will study from a lexicological point of view the terms of totalitarianism and democracy, and all their synonyms within the semantic field of anti-totalitarian debate
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Leroux, Marie-Caroline. "Sept romans dans l'histoire : entre utopie et révolution." Amiens, 2006. http://www.theses.fr/2006AMIE0013.
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Ce travail de littérature comparée est axé sur 7 romans latino-américains polarisés entre l’Europe et l’aire caraïbe : Son vacas, somos puercos(C. Boullosa), El siglo de las luces(A. Carpentier), La tejedora de coronas(G. Espinosa), Rasero(F. Rebolledo), La noche oscura del Niño Avilés et El camino de Yyaloide(E. Rodríguez Juliá), La isla de Róbinson(A. Uslar Pietri). Le corpus se veut le reflet de la gamme des possibles au sein d’un genre protéiforme: le roman historique. La période abordée par ces textes s’étend de la fin du 17e à la première moitié du 19e. Tous les romans, en amont ou en aval de la Révolution française, témoins des convulsions de l’Histoire ou englués dans le temps suspendu, s’articulent autour des notions d’Utopie et de Révolution. Qu’ils s’interpénètrent ou s’excluent mutuellement, les 2 termes se révèleront indéfectiblement liés. Dans chacun des textes, leur combinaison définit en effet le mouvement de l’Histoire, entre la stagnation, le cercle, la spirale et la chuteThis work of comparative literature is centered on seven latinoamerican novels torn between Europe and the caribean area : Son vacas, somos puercos (C. Boullosa), El siglo de las luces (A. Carpentier), La tejedora de coronas (G. Espinosa), Rasero (F. Rebolledo), La noche oscura del Niño Avilés and El camino de Yyaloide (E. Rodríguez Juliá), La isla de Róbinson (A. Uslar Pietri). This corpus reflects the diversity of a multifaceted literary genus : historical novel. It covers a period of more than two centuries (late 17th - first half of the 19th). All novels, upstream or downstream from the French Revolution, either witness of History’s convulsions or stucked in a suspended time, are about the same notions : Utopia and Revolution. Wether they interpenetrate or mutually exclude each other, the two terms are irreparably tied. They combine and offer at last, in each of these works, a different motion for History, between stagnation, circle, spiral and fall
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Taillefer, Hélène. "L'intelligence artificielle comme figure de la dystopie dans Nineteen eighty-four, de George Orwell, le Dépeupleur, de Samuel Beckett, et Neuromancer, de William Gibson." Mémoire, 2009. http://www.archipel.uqam.ca/2229/1/M10931.pdf.
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Ce mémoire porte sur la figure de l'intelligence artificielle, en ce qu'elle permet d'incarner les craintes et les angoisses mises au jour par la critique sociale véhiculée dans les fictions dystopiques. Il analyse les manifestations d'êtres-machines et de structures de contrôle social créés par l'humanité, et dont la conduite témoigne d'une forme d'intelligence; il montre ainsi en quoi certaines structures sociales se calquent sur les machines pensantes imaginées. S'appuyant sur une approche pluridisciplinaire qui fait notamment appel aux domaines de la cybernétique, de la biologie et de la science politique, cette étude de la dystopie se concentre plus particulièrement sur le corpus littéraire suivant: Nineteen Eighty-Four, de George Orwell, Le Dépeupleur, de Samuel Beckett, et Neuromancer, de William Gibson. Prenant ses racines dans l'utopie, la dystopie a été façonnée au XIXe siècle à partir des craintes et des désillusions liées à une industrialisation qui modifiait radicalement le mode de vie humain. Dans ce type de fictions, les rapports de force entre l'humanité et ses outils -ses créations -basculent, car la technique y permet la transmission d'un ascendant sur l'être humain. Cette emprise se voit exacerbée par la machine pensante, dont l'accession à la vie autorise un niveau d'indépendance et d'initiative inaccessible à ses prédécesseurs. Ce faisant, l'intelligence
artificielle permet d'imager le déplacement de point focal qui s'opère quand l'outil devient une fin en soi, de même qu'elle illustre les potentialités asservissantes d'une utilisation inconsidérée de la technique. À l'image de l'être artificiel, les structures machiniques de la dystopie acquièrent
suffisamment d'autonomie pour pouvoir, elles aussi, attenter à la souveraineté de l'individu. L'humain, noyé au sein de ces structures qui le submergent, n'est alors plus qu'une composante insignifiante dont la spécificité se fait systématiquement gommer par la machine sociale. En définitive, qu'il s'agisse d'un être ou d'un système, la figure de l'intelligence artificielle apparaît comme un sujet agissant, qui incarne la propension de la dystopie à réduire l'individu à l'état de pion. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Dystopie, Intelligence artificielle, Cybernétique, George Orwell, Samuel Beckett, William Gibson.
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Holthaus, Stephan. "Zwischen Gewissen und Gewinn: die Wirtschafts- und Sozialordnung des „Freiburger Bonhoeffer-Kreises“ und ihre christliche Begründung." Diss., 2014. http://hdl.handle.net/10500/18835.
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Text in GermanDie wirtschaftspolitische Konzeption der Bundesrepublik Deutschland wird seit 1948 als „Soziale Marktwirtschaft“ bezeichnet. Es beruht auf den Prinzipien des Leistungswettbewerbs, geregelt durch staatliche Ordnungen und ergänzt durch einen sozialen Ausgleich. Die „Soziale Marktwirtschaft“ geht dabei einen Mittelweg zwischen einer liberalen laissezfaire Wirtschaftsordnung und einer staatlichen Planwirtschaft. Vorliegende Arbeit untersucht zum ersten Mal im Detail ein Vorläuferdokument der Sozialen Marktwirtschaft, die „Freiburger Denkschrift“ aus dem Jahr 1943. In dieser Nachkriegsordnung, eine Auftragsarbeit der „Bekennenden Kirche“, finden sich alle Grundprinzipien der später eingeführten Sozialen Marktwirtschaft, eingebettet in ein umfangreiches christliches Reformprogramm für den Wiederaufbau Deutschlands. Die Arbeit analysiert den Hintergrund der Verfasser und die Inhalte der Denkschrift. Konkret wird gezeigt, welche Überzeugungen der christlichen Ethik sich in den wirtschaftspolitischen Forderungen der Denkschrift niedergeschlagen haben. Außerdem wird die Denkschrift in den biographischen Kontext der Verfasser und die zeitgeschichtlichen theologischen Zusammenhänge eingeordnet, denn viele Thesen des Dokuments reflektieren Diskussionsprozesse der damaligen Zeit. Zudem kann gezeigt werden, dass in die Freiburger Denkschrift sowohl protestantische wie auch römisch-katholische Elemente Eingang gefunden haben.
Since 1948 the economic system of the Federal Republic of Germany is called “Social Market Economy”. It is based on the principles of competitive markets, ensured by governmental competition policy and supplemented by social insurance and public assistance. The “Social Market Economy” takes a middle road between a liberal laissez-faire economy and a a centrally planned economy. The current study examines for the first time in detail the document that preceded the “Social Market Economy,” the 1943 “Freiburg Memorandum”. In this work, commissioned by the Confessing Church of the Third Reich as a post-war system, all fundamental principles of the later “Social Market Economy” can be found embedded in a comprehensive Christian reform program for the reconstruction of Germany. This dissertation analyzes the background of the authors and the contents of the memorandum. We will show specifically which convictions of Christian ethics were incorporated into the economic-political requests of the document. In addition the memorandum will be connected to the biographical context of the authors and the theological context of their time, as many theses put forward in the document reflect discussions that were in progress at that time. Also, it can be shown that Protestant as well as Roman-Catholic elements found entrance into the “Freiburg Memorandum”.
Philosophy, Practical & Systematic Theology
M.Th. (Theological Ethics)
Books on the topic "1906-1950"
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Szymański, Stanisław. Muzea Polskiego Towarzystwa Krajoznawczego, 1906-1950. Warszawa: Wydawn. PTTK "Kraj", 1990.
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Clary, Raymond H. The making of Golden Gate Park, 1906-1950. San Francisco, Calif: Don't Call It Frisco Press, 1987.
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author, Bieś Andrzej Paweł, and Słowik Wiesław author, eds. Jezuici polscy w Australii: Południowa Australia 1870-1906, Wiktoria 1950-2012. Kraków: Wydawnictwo WAM, 2012.
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Neil, Betten, ed. Steel city: Urban and ethnic patterns in Gary, Indiana, 1906-1950. New York: Holmes & Meier, 1986.
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H, Falk Peter, Bien Andrea Ansell, and National Academy of Design (U.S.), eds. The Annual exhibition record of the National Academy of Design, 1901-1950: Incorporating the annual exhibitions, 1901-1950 and the winter exhibitions, 1906-1932. Madison, CT: Sound View Press, 1990.
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Tożsamość narodowa społeczeństwa polskiego po okresie zaborów: Rozważania na przykładzie archeologii w Polskim Towarzystwie Krajoznawczym w latach 1906-1950. Włocławek: Wydawnictwo Państwowej Wyższej Szkoły Zawodowej we Włocławku, 2013.
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Adler, Gerhard, Aniela Jaffé, and Jung C. G. Letters of C. G. Jung: Volume I, 1906-1950. Taylor & Francis Group, 2015.
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Sharman, Nick. "The ‘Disaster’ of the Spanish-American War of 1898 and the Algeciras Conference of 1906." In Britain’s Informal Empire in Spain, 1830-1950, 85–101. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-77950-4_4.
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"ADDENDA 1906–1950." In C.G. Jung Letters, Volume 2, xxvii—xlviii. Princeton University Press, 2021. http://dx.doi.org/10.2307/j.ctv1qgnq5k.6.
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"LETTERS: 1906-1950. Part I." In C.G. Jung Letters, Volume 1, 1–280. Princeton University Press, 1992. http://dx.doi.org/10.1515/9780691234632-004.
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"LETTERS: 1906-1950. Part II." In C.G. Jung Letters, Volume 1, 281–574. Princeton University Press, 1992. http://dx.doi.org/10.1515/9780691234632-005.
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"The Politics of Long-Distance Trade (1906–1950)." In Custom and Politics in Urban Africa, 126–68. Routledge, 2013. http://dx.doi.org/10.4324/9781315017037-11.
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"The Politics of Long-Distance Trade {1906-1950)." In Custom and Politics in Urban Africa, 114–76. Routledge, 2013. http://dx.doi.org/10.4324/9781315017204-6.
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Rothstein, William G. "Medical Care, 1900–1950." In American Medical Schools and the Practice of Medicine. Oxford University Press, 1987. http://dx.doi.org/10.1093/oso/9780195041866.003.0015.
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During the first half of the twentieth century, both mortality rates and the incidence of infectious diseases declined, due primarily to public health measures and a higher standard of living. Developments in surgery and drug therapy improved medical care and increased the amount of specialization among physicians. On the other hand, fewer physicians were available to care for the sick because of a decline in the per capita number of medical school graduates. The urban poor continued to receive most of their care from outpatient departments in public and private hospitals, while a growing number of the middle classes became paying inpatients in private hospitals. Hospitals expanded their educational activities to include internships and residency programs. In the first half of the century, physicians became less accessible to much of the population. The number of physicians per capita decreased substantially from 1900 to 1930 and remained at that level until 1950. The greatest impact of this decline occurred in rural areas: between 1906 and 1923, communities of under 5,000 population experienced about a 25 percent reduction in the physician-population ratio, while cities of 50,000 or more experienced a decline of less than 8 percent. Young physicians especially preferred the cities. In 1906 in communities of fewer than 1,000 persons, the proportion of graduates from 1901 to 1905 who practiced in those communities exceeded the proportion of all physicians who practiced in those communities by a ratio of 1.17 to 1. By 1923 in the same size communities, the proportion of graduates of the classes of 1916 to 1920 who practiced there compared to the proportion of all physicians who practiced there dropped to a ratio of 0.58 to 1. Thus rural communities changed from locations preferred by younger physicians to locations avoided by them. The same ratio in cities of over 100,000 population increased from 0.99 to 1 in 1906 to 1.36 to 1 in 1923, which indicated the growing popularity of large cities for young physicians. Several factors accounted for the preference of physicians for towns and cities. Urban physicians earned more than rural ones and had greater opportunities to Specialize.
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"2. “The latins from Manhattan”: Confronting Race and Building Community in Jim Crow Baseball, 1906-1950." In Mambo Montage, 73–96. Columbia University Press, 2001. http://dx.doi.org/10.7312/lao-11274-004.
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Contreras, Carlos. "The Tax Man Cometh: Local Authorities and the Battle Over Taxes in Peru, 1885-1906." In Political Cultures in the Andes, 1750-1950, 116–36. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822386612-008.
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