Dissertations / Theses on the topic 'John of Paris'

In 1867, the budding naturalist and future father of our national parks, John Muir, embarked on his thousand-mile walk to the Gulf from Jeffersonville, Indiana, to Cedar Key, Florida. Almost 150 years later I undertook the same journey, retracing the wilderness advocate’s footsteps through the South to catalog all that has changed in a century and a half of progress, to try and better understand the inception of his environmental ethics, and to learn to see the world as he did, harmonious, interconnected, rejuvenating and imbued with a pervasive spirituality. The chapters of this thesis retell selected legs of that journey.

Comment utiliser la nature sans en perturber l'équilibre ou en flétrir la beauté ? C'est la question à laquelle John Muir (1838-1914), auteur américain d'origine écossaise, s'est efforcé de répondre tout au long de sa vie. Evoluant dans une culture principalement dévouée à l'utilitarisme et au matérialisme, John Muir exprime un point de vue atypique qui annonce la pensée écologique du vingtième siècle. Cet auteur est en effet un naturaliste de talent qui fonde sa réflexion sur de solides savoirs scientifiques. L'influence conjuguée de la religion chrétienne et des auteurs transcendantalistes l'amène par ailleurs à promouvoir un usage moral de la nature à l'heure de l'industrialisation et de l'urbanisation de la société américaine. Mais très vite se pose la question de la radicalité de la pensée muirienne. En se faisant le défenseur des parcs nationaux américains, Muir en vient à élaborer une conception plus consensuelle et moins exigeante de l'usage de la nature. Reste à savoir comment il parvient à concilier un usage récréatif ouvert à tous avec la notion écologique de la nature comme biosphère qui exige un changement radical dans les habitudes des Américains et dans les rapports qu'ils établissent avec la nature. C'est dans cette tension que résident les paradoxes et la richesse de l'œuvre de John Muir<br>How can one use nature without unsettling its equilibrium or impair its beauty? That is the question that John Muir (1838-1914), an American writer of Scottish background, tried to answer throughout his life. Given that he lived in a culture emphasising utilitarianism and materialism, John Muir set forth an usual viewpoint which announced twentieth-century ecological thinking. Muir was a talented naturalist whose work rested on a scientific knowledge of nature. Moreover the combined influence of Christianity and transcendentalism led him to promote a moral use of nature at a time when American society was becoming more industrial and more urban. So the question arises: was Muir a radical thinker? As he endeavoured to promote the US national park system, Muir came to develop a less demanding conception of the use of nature. But the question is, how did he manage to combine the promotion of recreation and the ecological notion of nature as biosphere which implies a radical change in the way American people ought to act as regards nature. These tensions and paradoxes are precisely what make John Muir's works interesting and challenging

<p>In this paper we investigate small and young companies’ motives for internationalization. There are many reasons for companies to engage in foreign direct investment. This study is based on theories including four categories of internationalization drivers that motivate firms to establish themselves abroad. Theses categories consist of market, resource, efficiency, and strategic resources seeking motives. A fifth category was added in order to include network seeking motives.</p><p>The survey was conducted using a web based questionnaire. The target population consisted of companies that are members of nine Swedish business incubators and science parks. E-mails were sent to representatives in the incubators and science parks and were then forwarded to the companies, asking them to participate in the study.</p><p>We conclude that the member companies of Swedish incubators and science parks responded most positively to network and market seeking motives. We therefore regard the companies as network seekers and market seekers. Four motives were by the responders associated with the highest degree of importance. Two were in the category of network seeking motives: starting new collaborations and staying close to main client or supplier. The other two were in the category of market seeking motives: reaching new markets and limitations of the home market.</p>

La réflexion sur la justice sociale suscite un grand intérêt dans la société contemporaine, que ce soit dans les débats sur les principes d'égalité, de liberté, dans les réflexions sur les institutions de l'Etat-Providence et sur la démocratie, ou encore dans les controverses sur le pluralisme et la tolérance. L'actualité de nos sociétés modernes marquées non seulement par l'inégalité et l'injustice, mais aussi par le pluralisme des conceptions du bien et des visions du monde, pousse de plus en plus l'exigence de justice sociale comme une préoccupation majeur des hommes. Mais comment mettre en oeuvre une telle requête quand l'économique domine le politique et impose ses lois, et que les grandes institutions politiques ou autres sont en crise de signification? Quels sont les principes qui permettent d'organiser une juste coexistence stable entre des citoyens qui peuvent affirmer publiquement leur différences tout en. . .

Aldo Crommelynck (1931-2008) a animé l'atelier Crommelynck à Paris de 1956 à 1986, en compagnie de son frère Piero, puis a travaillé seul entre Paris et New York en partenariat avec Pace Editions, jusqu'en 1998. Sa collaboration avec les peintres modernes, dont Picasso à Mougins, a inauguré une carrière internationale auprès d'une quarantaine d'artistes contemporains. Sa maîtrise de l'eau-forte s'est intégrée au milieu artistique international, entre Paris, Londres et New York, dans un contexte profitable au marché de l'art. Son nom est associé à un mouvement de retour à la taille­douce qui coïncide avec le goût des artistes issus du Pop pour le travail de la main et pour la figuration du quotidien. D'autres, issus du minimalisme et du néo-expressionnisme, verront en lui le dépositaire d'un certain métier de la gravure identifié à Paris. Cette thèse entend déterminer ce que fut le «style Crommelynck», dans toutes ses dimensions<br>Aldo Crommelynck (1931-2008) run the Crommelynck studio, in Paris from 1956 to 1986, with his brother Piero, and then worked alone between Paris and New York in partnership with Pace Editions until 1998. His collaboration with modem painters, including Picasso in Mougins, preceded his international career with forty or so contemporary artists. His mastery of etching well integrated into the artistic world of Paris, London and New York, in a context profitable to the art market. His name is associated with the revival of printmaking in the United States that coincided with the taste of the artists coming from Pop Art for handmade creation and for the representation of daily life. Others, who came afterwards, impregnated with Minimalism or Neo-expressionism, saw him as the repository of a certain etching craft identified with Paris. This thesis intends to determine what was the « Crommerlynck style » in all its dimensions

This thesis examines the ministry of John Fletcher (1729-85), vicar of Madeley, Shropshire (vic. 1760-85) as a case study on the Church of England and Methodism in the eighteenth century. Studies of Fletcher have tended to focus either on his contribution to Methodist theology or on his designation as Wesley's successor as the leader of the Methodists. The parish of Madeley has been, for the most part, peripheral to Fletcher studies. The present thesis, however, has aimed to examine Fletcher in his parochial context; to study both what the parish tells us about Fletcher, but also what Fletcher tells us about the parish, and more specifically, about the church in the eighteenth century in a local context. The main argument of this thesis is that Fletcher's ministry at Madeley was representative of a variation of a pro-Anglican Methodism--localized, centred upon the parish church, and rooted in the Doctrines and Liturgy of the Church of England. Three recent publications have provided a triad for understanding Fletcher: (1) in his industrial context; (2) in his theological context; and (3), in his relationship with leaders in the Evangelical Revival. This thesis has sought to examine a fourth component: Fletcher's work as an ordained clergyman of the Church of England, that is, in his ecclesial and ministerial context. The main body of the thesis focuses on two primary aspects of Fletcher's parish ministry: his stated duties and his diligence in carrying out other responsibilities and meeting other needs which arose, including addressing the various tensions which developed during his incumbency. Fletcher's background and his call to parochial ministry as well as the religious history of Madeley are outlined first (Chapter 1). There are three chapters which examine his performance of stated duties: worship services and preaching (Chapter 2); pastoral care andeducation (Chapter 5); and confrontation of erroneous doctrine (Chapter 6). Fletcher's ministry also included a scheme of church extension, represented primarily by his development of religious societies on which other aspects of his parochial duty built (Chapter 3). His evangelicalism and commitment to his parish simultaneously raised tensions between Fletcher and his parishioners (provoked by his 'enthusiasm' or zeal), and between Fletcher and John Wesley, whose variations of Methodism had similar aims, but different models of practice. A chapter is devoted specifically to these issues (Chapter 4).Fletcher's chapel meetings formed an auxiliary arm of the church, operating as outposts throughout his parish. His parishioners considered his ministerial model a 'Methodist' one even though it was not technically part of Wesley's Connexion (other than the fact that his itinerants were guests in the parish). In all, it is the conclusion of this thesis that Fletcher's pastoral ministry represents some of the best work of Anglicanism in the eighteenth century, demonstrating that despite the manifest challenges of industrializing society, residual dissent, and competition from the church's rivals, the Establishment was not incapable of competing in the religious marketplace.

This thesis provides an overview of the engagement with the material culture of Assyria, unearthed in the Middle East from 1845 onwards by British and French archaeologists. It sets the artistic discovery of Assyria within the visual culture of the period through reference not only to painting but also to illustrated newspapers, books, journals, performances and popular entertainments. The thesis presents a more vigorous, interlinked, and widespread engagement than previous studies have indicated, primarily by providing a comprehensive corpus of artistic responses. The artistic connections between Britain and France were close. Works influenced by Assyria were published, exhibited and reviewed in the contemporary press, on both sides of the English Channel. Some artists, such as Gustave Doré, successfully maintained careers in both London and Paris. It is therefore often meaningless to speak of a wholly ‘French’ or ‘British’ reception, since these responses were coloured by artistic crosscurrents that operated in both directions, a crucial theme to be explored in this dissertation. In Britain, print culture also transported to the regions, away from large metropolitan centres, knowledge of Assyria and Assyrian-inspired art through its appeal to the market for biblical images. Assyria benefited from the explosion in graphical communication. This thesis examines the artistic response to Assyria within a chronological framework. It begins with an overview of the initial period in the 1850s that traces the first British discoveries. Chapter Two explores the different artistic turn Assyria took in the 1860s. Chapter Three deals with the French reception in the second half of the nineteenth century. Chapter Four concludes the British reception up to 1900, and Chapter Five deals with the twentieth century. The thesis contends that far from being a niche subject engaged with a particular group of artists, Assyrian art was a major rediscovery that affected all fields of visual culture in the nineteenth century.

The emergence of Progressivism at the beginning of the twentieth century influenced many aspects of American society. One of those aspects was urban parks. In the latter half of the nineteenth century Frederick Law Olmsted led a nationwide implementation of "Victorian" parks. These parks featured broad expanses of turf, waterways, and trees. Olmsted and the other Victorian park leaders designed the parks to cultivate Victorian values of self-restraint and independence among the citizenry. With the rise of Progressivism the ideals of the middle class changed. Led by Theodore Roosevelt, millions of Americans embraced the "strenuous life" and its emphasis on strength and leadership. Consequently, parks changed. The new Progressive park design favored athletic facilities over places for repose. Audubon Park in New Orleans was built just as this change was occurring, and therefore provides us an opportunity to study this moment in American history in detail.

Positioned between writing and drawing, the diagram is proposed by John Berger as an alternative strategy for articulating encounters with landscape. A diagrammatic approach offers a schematic vocabulary that can compress time and offer a spatial reading of information. Situated within the contemporary field of direct data visualisation, my practice-led research interprets Berger’s ‘Field’ essay as a guide to producing four field | studies within a suburban park in Canberra. My seasonal investigations demonstrate how applying the conventions of the pictorial list, dot-distribution map, routing diagram and colour-wheel reveals subtle ecological and biographical narratives.

The present thesis investigates the music and career of Jeffrey Lewis (born 1942). The thesis is broadly divided into three sections. First is an account of the composer’s life, told mainly through an overview of his works, but also through a sketch of his early years in South Wales, his studies in Cardiff, Darmstadt, Kraków and Paris, his academic career in Leeds and Bangor, and his subsequent early retirement from academia. There follows a more detailed study of six works from the period 1978 – 1985, during which certain features of Lewis’s musical language came to the fore, perhaps most notably a very individual and instantly recognisable use of modal language. After an Epilogue, the thesis concludes with an Appendix in the form of a Catalogue in which all Lewis’s known compositions are listed, together with details of performances, broadcasts and recordings. Lewis’s music often plays with our temporal expectations; the close interrelationship between texture, structure, harmony and melody, and its effect upon our perception of the passage of time, are explored in the main analyses. These are conducted partly by means of comparison with other works by Lewis or his contemporaries. Memoria is examined in relation to a similarly tranquil score, Naaotwá Lalá, by Giles Swayne. The following chapter discusses the extra-musical inspiration for Epitaph for Abelard and Heloise, whose relationship to Tableau is then explored in the next. The difficulties of creating a large-scale structure that unifies the work’s various harmonic elements are also investigated. The analysis of Carmen Paschale considers it in relation to Lewis’s other choral music, whilst the final analytical chapter compares and contrasts two three-movement works, the Piano Trio and the Fantasy for solo piano. Lewis’s melodic writing in the Piano Trio is discussed in relation to that of James MacMillan, and the origins of the first movement of Fantasy in Oliver Knussen’s Sonya’s Lullaby are explored. In the Epilogue, the possible reasons for Lewis’s current neglect are explored, various influences on Lewis’s musical thinking are laid out, and his achievements are assessed.

Ecological planning relies on a keen awareness of relationships between biophysical and social processes, then uses this knowledge for decision making in accommodating for human needs. The value of this planning process allows for design intervention while also ensuring a sustained use of the landscape, with these insights blending skill and artistry into place-making. In the 1960s, environmental concerns galvanized a generation of landscape architects who first codified ecological planning as a rationale for decisions with environmental stewardship. While this is the accepted canon, in the early 20th century during a period of experimentation and exploration, the Olmsted Brothers landscape architecture firm was using ecological principles as foundations for landscape architecture practice. This thesis challenges current discourse and accepted history, presenting evidence that the Olmsted Brothers' work in the 1920s predated many modern ecological theories and applications, and is an important addition to the historiography of ecological planning. This thesis largely focuses on Frederick Law Olmsted, Jr. as the central historical figure, offering a more in-depth understanding of the evolution of the firm, and fills the gap of the Olmsted legacy. As the children of Frederick Law Olmsted, Sr., Frederick Law Olmsted, Jr. (1870-1957) along with his brother John Charles Olmsted (1852-1920) co-founded the Olmsted Brothers and created one of the most prolific landscape architecture practices, developing projects in all aspects of landscape design. The Olmsted Brothers' work in California accounts for over 200 projects, and ranks among the highest number of their 5000 designs developed in the United States. In the early 20th century, the city of Los Angeles offered significant ecological, cultural, and technological challenges for the firm, with the city's unbridled urbanization and proliferate use of water and automobility. Rich in solutions, the firm's built and proposed designs over the course of 20 years revealed the discipline of landscape architecture in its richest and most scalar form. From small scale gardens, residential communities, park and parkway systems, to open space and watershed planning, the Olmsted Brothers created public spaces that worked in relationship to the ecology of the region during a critical juncture in the history of regional planning in Southern California. A range of methods were utilized in this thesis. Primary data provided both qualitative and quantitative material for study and was extracted from letters, reports and writing, drawings, photos, plans and maps. Over 20,000 primary documents, written by the firm's principals, provided the basis for analysis, and in a new way, this thesis interprets not only the written documents, but related construction documents developed from 1914 - 1931. As part of its data collection, an original contribution of this study is a comprehensive corpus of Olmsted Brothers source material from their work in Los Angeles. Methodologies sought to modify these documents into a spatial understanding of their work through digital analysis and re-creation of designs. The Olmsted Brothers' design solutions provide insights into today's ongoing concerns about water management, sustainable urban planning, and multifunctional landscapes. Their design proposals solved multiple problems with the design, accounting for not only vast geography, but complex cultural and natural systems within it. The value of their ideas reflects landscape architecture solutions as hybrid, dynamic, and strategic, offering 21st century practitioners paradigms in an ever-changing ecology.

The thesis examines the international law pertaining to the use of force by states, in general, and to the use of force in self-defence, in particular. The main question addressed is whether the use of force, which was purported to be in self-defence, by the United States, the United Kingdom and their allies against al Qaeda, the Taliban and Afghanistan, beginning on 7 October 2001, was lawful. The thesis focuses not only on this specific use of force, but also on the changing nature of conflict, the definition of terrorism and on the historical evolution of limitations on the use of force, from antiquity until 2006. In the six chapters which trace the epochs of international law, the progression of five inter-related concepts is followed: limitations on the resort to force generally, the use of force in self-defence, pre-emptive self-defence, the use of forcible measures short of war, and the use of force in response to non-state actors. This historical analysis includes a particular emphasis on understanding the meaning of the 'inherent right of self-defence', which was preserved by Article 51 of the United Nations' Charter. This analysis is then applied to the use of force against Afghanistan which occurred in 2001. Following the terrorist attacks of 11 September, the US and the UK notified the United Nations Security Council of their resort to force in self-defence under Article 51. Each element of Article 51 is analysed and the thesis concludes that there are significant doubts as to the lawfulness of that decision to employ force. In addition to the self-defence justification, other possible grounds for intervention are also examined, such as humanitarian intervention, Security Council authorisation and intervention by invitation. This thesis challenges the common assumption that the use of force against Afghanistan was an example of states exercising their inherent right to self-defence. It argues that if this particular use of force is not challenged, it will lead to an expansion of the right of self-defence which will hinder rather than enhance international peace and security. Finally, this thesis draws on recent examples to illustrate the point that the use of force against Afghanistan could become a dangerous precedent for the use of force in self-defence.

Superati «novant’anni d’impazienza» e dopo un lungo periodo votato all’autocommento e all’esplorazione delle proprie intenzioni, Raffaele La Capria ha raccolto le sue opere in due Meridiani curati da Silvio Perrella. La Capria ne ha celebrato l’uscita nella prolusione inaugurale di Salerno Letteratura, poi confluita nel breve autoritratto narrativo "Introduzione a me stesso" (2014). In questa sede, l’autore è tornato su alcuni punti essenziali della sua riflessione sulla scrittura, come la relazione, reciproca e ineludibile, fra tradizione e contemporaneità. All’epilogo del «romanzo involontario» di una vita, La Capria guarda retrospettivamente alla propria esperienza come ad un’autentica educazione intellettuale. Perciò, muovendo da un’intervista inedita del 2015, riportata integralmente in appendice, la tesi ha l’obiettivo di ricostruire l’apprendistato letterario di La Capria dai primi anni Trenta, quando l’autore ancora frequentava il ginnasio, fino all’inizio dei Sessanta, quando ottenne il premio che ne avrebbe assicurato il successo. Il percorso, che riesamina l’intera bibliografia lacapriana nella sua varietà e nella sua stratificazione, si articola in una serie di fasi interdipendenti: la partecipazione indiretta alle iniziative dei GUF (intorno alle riviste «IX maggio» e «Pattuglia»); l’incursione nel giornalismo e l’impegno culturale nell’immediato dopoguerra (sulle pagine di «Latitudine» e di «SUD»); l’attività di traduttore dal francese e dall’inglese (da André Gide a T.S. Eliot); l’impiego alla RAI come autore e conduttore radiofonico (con trasmissioni dedicate a Orwell, Stevenson, Saroyan e Faulkner); la collaborazione con «Il Gatto Selvatico», la rivista dell’ENI voluta da Enrico Mattei e diretta da Attilio Bertolucci; e le vicende editoriali dei suoi primi due romanzi, “Un giorno d’impazienza” (1952) e “Ferito a morte” (1961), fino alla conquista dello Strega. La rilettura dell’opera di uno scrittore semi-autobiografico come La Capria, attraverso il costante riscontro di fonti giornalistiche, testimonianze epistolari e documenti d’archivio che avvalorano e occasionalmente smentiscono la sua versione dei fatti, diventa allora un’occasione per immergersi nella sua mitografia personale e avventurarsi in territori finora poco esplorati: come la ricostruzione del suo profilo culturale, a partire dal milieu in cui La Capria vive e opera, o l’incidenza delle letture e delle esperienze giovanili sulla sua prassi letteraria.

Dissertação de mestrado em Design and Marketing de Moda<br>This work aims to present the relationship between art and fashion in the 20th century western culture focusing particularly on art movements and how fashion and art inspired each other throughout the years. The specific art movements which are investigated are Surrealism, Cubism, Pop art and the inspiration in contemporary designers such as Alexander McQueen and John Galliano. Notions of fashion and art have been investigated by various numbers of academics and philosophers and the relationship of the two has also been an interesting, yet a demanding topic for a research. Co-existing affair of the two terms has been pointed out by working on specific cases such as Dali and Elsa Schiaparelli, Yves Saint Laurent and several painters like Picasso and further more delving would lead to many more examples. This work intended to exhibit the bold aspects of how fashion and art interacted in terms of design, culture and performance; by some means searching for ways to evaluate art work in aesthetical term and try to measure fashion pieces in the same way. The work is constructed on explaining terms art, fashion, aesthetics and art movements and investigating them further on aspects of design and designers in order to depict the existing relationship with the help of visuals. The academic articles of scholars have also been examined to provide more evidence to the subject matter. With Worth, Poiret and other famous Parisian couturiers fashion and art relationship gained momentum in respect to the way they worked and interacted with the artists of the period. Continuing from on then, fashion and art has had considerable amount of transaction. The previous works inspired the current ones and this cycled continued until present day. Fashion is something that is worth to exhibit in museums today; having its own part. In the end, it is concluded that term investigation of fashion and art is a continuous process because each scholar reckons new perspective or criticizing the existing one, the notions are always up to date with the creation of new works, and therefore, it is best to work on specific cases to have a clear idea about the relationship. The intention of the designer and if the finished product is appealing to the aesthetics are important points to acknowledge when making a judgment of whether fashion is an art or not. From past to present, art and fashion inspired each other with a mutual benefit, they worked together though sometimes fashion has been viewed as only craftsmanship.<br>Este trabalho tem como objetivo apresentar a relação entre arte e moda na cultura ocidental do século XX, com particular incidência sobre os movimentos de arte, sobre a forma como estes se inspiraram e interagiram, ao longo do tempo. Os movimentos artísticos específicamente investigados são o Surrealismo, o Cubismo, a Pop arte, bem como, a inspiração de designers contemporâneos como Alexander McQueen e John Galliano, nestes e em tantos outros movimentos e artistas. Noções de moda e arte têm sido investigadas, por numerosos académicos e filósofos, sendo a sua relação interessante, embora exigente, como tema de pesquisa. A relação co-existente dos dois temas, tem sido apontada, pesquisar trabalhos em casos específicos como Dali e Elsa Schiaparelli, Yves Saint Laurent e Picasso ou Braque, bem como vários pintores e criadores de moda, o que numa investigação futura levaria a muitos outros exemplos. Assim, o objetivo desta pesquisa, foi o de apresentar os fortes aspectos de como a moda e a arte interagiram tendo, posteriormente, o design como ‘companhia’, oscultando a cultura e verificando a conexão de todos estes elementos. A busca pelas diversas formas de avaliação de obras de arte em termos estéticos e tentar perceber em que medida se poderá actuar da mesma maneira no que respeita a peças de moda. Este trabalho consiste na tentativa de explicar termos como arte, moda, estética e movimentos artísticos, investigá-los sob a perspectiva do design e de designers, a fim de mostrar, com a ajuda de recursos visuais, a relação existente entre todos os elementos. Para isso, contribuiu a ajuda de recursos visuais examinados, bem como, consulta de artigos académicos de outros pesquisadores, no sentido de fornecer mais credibilidade aos assuntos em foco. Com Worth, Poiret e outros famosos costureiros de moda parisiense, o relacionamento da arte obteve impulso, no que diz respeito à forma como os mesmos trabalharam e interagiram, com os artistas das épocas em que estavam inseridos. Sempre existiu uma considerável consonância entre moda e arte. As obras de épocas anteriores inspiraram as atuais e este ciclo continuou até aos dias de hoje. A moda, hoje em dia, é algo que vale a pena expôr em museus, possuindo um lugar próprio . Finalmente, conclui-se que a investigação da moda e arte é um processo contínuo, uma vez que, cada pesquisador avalia uma nova perspectiva ou critica a existente. As noções de moda e arte são sempre atualizadas, com a criação de novas obras, logo, entendemos ser melhor, trabalhar casos específicos para ter uma ideia mais clara sobre o relacionamento de ambas. A estética é um dos pontos a considerar, perante um produto atraente e acabado, sobretudo se tivermos um ‘julgamento’, positivo ou negativo, da ‘moda como forma de arte’. Do passado ao presente, arte e moda inspiraram-se mutuamente obtendo benefícios recíprocos apesar da moda, durante décadas, ter sido, apenas, olhada como uma frivolidade ou uma vaidade feminina.

The purpose of this research was to determine the concentrations and bioaccessibility of metals in urban playground soils in the province of New Brunswick. Ten parks each were selected for sampling in Fredericton and Saint John, and a duplicate sample was taken from one park in each city. Metal bioaccessibility was determined by an in vitro physiologically based extraction test (PBET). The risk associated with exposure to selected metals (including As, Ba, Cd, Co, Cu, Pb, Ni and Zn) in soil from the urban parks in New Brunswick studied was fairly low based on the total metals concentrations and bioaccessibility data obtained in this study.

According to the research, emphatic "Greek text" tells about confidence of Nicodemus in possession of trustworthy criteria, which allow him to judge what might be from God and, hence, what might not be from God. Epistemological premise of Nicodemus is the starting point for the whole conversation in Jn 3:1-21. Analysis of the Jewish literary tradition that used dualistic couples of antonyms to denote "otherness" of the divine sphere 1ms shown that ontological difference (v. 6) makes it impossible for human ("flesh") to know the divine sphere ("spirit"). This results in the fact that manifestations of the divine sphere (effect) are falsely taken by human for the divine sphere itself (cause). In other words, just verification of the divine sphere manifestation without initiative act on behalf of God does not allow human neither to correctly value this sphere, nor to enter it.<br>New Testament<br>M. Th. (New Testament)

Accompanying CD-ROM inside back cover, includes Appendices.<br>Bibliography: leaves 242-266.<br>System requirements for accompanying CD-ROM: IBM compatible computer with Pentium processor or higher and Windows 95, 98 or NT ; 4 MB or RAM. Other software: Acrobat Adobe Reader.<br>xv, 266 p. : maps, charts ; 30 cm. + 1 CD-ROM (4 3/4 in.)<br>This thesis examines the effects on vegetation at selected sites in northern South Australia of excluding various herbivores over a four and a half year period and of two intense but controlled grazing pulses over a six month period followed by an 18 month recovery period in a dune-swale land system. These changes are compared with changes recorded over an 11-year period at the Olympic Dam mine site. It found that short-term changes in vegetation revealed by ordination of periodical cover, density and species richness, are attributable to the periodicity of rainfall and that, under present grazing regimes, rainfall effects override grazing effects. Differences between the effects of sheep and cattle hoof damage are worthy of further investigation, as is the impact of kangaroo grazing. These two factors may have important implications for the management of Australian rangelands.<br>Thesis (Ph.D.)--University of Adelaide, Dept. of Environmental Biology, 2002

Precis The Thesis comprehensively describes and explains basic concepts of Steiner-Vallentyne Left-Libertarianism. The introductory part compares this school of Left-Libertarianism with other approaches and advocates the method of critical theory of society being used, which was formulated by Marek Hrubec, successing classical authors of critical theory. This method divides the analyzed phenomena into three phases - critique, explanation and normativity. The critical phase describes relation between the analyzed and reality, while defining the analyzed against it. Explanation clarifies positive elements, which are consequent from the critique of reality and ultimately, the normative phase formulates a specific conception of the elements' realization. In this Diploma Thesis the critical phase is represented by defition of Left-Libertarianism against dominant streams in contemporary political philosophy, with the accent on its differentiation from related approaches, constituting their conception on one's freedom - especially rawlsian liberalism and classical libertarianism. Explanatory phase is dedicated to basic concepts of Left-Libertarianism, their historical roots and theoretical principles on which they are constituted. Finally, the normative phase presents the concept of universal basic income, which...