Tesis:

1

Gramlich, Ludwig. "Meinungsfreiheit des Schülers und Tragen „politischer Plaketten“". Universitätsbibliothek Chemnitz, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-200801906.

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Anläßlich der "Stoppt-Strauß"-Plaketten ist der Beitrag bestrebt, im Sinn praktischer Konkordanz einen angemessenen Ausgleich widerstreitender Grundrechte zu finden, zwischen der "positiven" Meinungsfreiheit des Plaketten tragenden Schülers einerseits, den Grundrechte Andersdenkender sowie schulrechtlichen Regelungen als "allgemeinen Gesetzen" im Sinne von Art. 5 Abs. 2 GG.

2

Gemser, Geralf. "Darf eine Schule diesen Namen tragen? zur Vorbildwirkung des Wehrmachtsgenerals Erich Hoepner". Marburg Tectum-Verl, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2688022&prov=M&dok_var=1&dok_ext=htm.

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3

Robra-Bissantz, Susanne, Stephan Berkhoff, Patrick Helmholz, Markus Weinmann y Maximilian Witt. "Vertrauen durch Kommunikation – Strategien im Web 2.0 tragen zu erfolgreichen Kundenbeziehungen bei". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-143037.

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4

Gemser, Geralf. "Darf eine Schule diesen Namen tragen? : zur Vorbildwirkung des Wehrmachtsgenerals Erich Hoepner /". Marburg : Tectum, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2688022&prov=M&dokv̲ar=1&doke̲xt=htm.

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5

Robra-Bissantz, Susanne, Stephan Berkhoff, Patrick Helmholz, Markus Weinmann y Maximilian Witt. "Vertrauen durch Kommunikation – Strategien im Web 2.0 tragen zu erfolgreichen Kundenbeziehungen bei". Technische Universität Dresden, 2010. https://tud.qucosa.de/id/qucosa%3A28035.

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6

Hangen, Burkhard Friedrich [Verfasser]. "Förderung der Rückengesundheit von Postmitarbeitern durch das Tragen eines Gerätes zur Haltungssensibilisierung / Burkhard Friedrich Hangen". Mainz : Universitätsbibliothek Mainz, 2018. http://d-nb.info/1162562986/34.

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7

Zschacke, Florian. "Beanspruchungsuntersuchungen beim Tragen von polyethylenbeschichteten Einwegchemikalienschutzanzügen mit und ohne Belüftung unter experimentellen Bedingungen und im Feldversuch". [S.l.] : [s.n.], 2001. http://deposit.ddb.de/cgi-bin/dokserv?idn=967391431.

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8

Heinze, Gabriele Susanne. "Aus dem Knochenmark stammende Endothelzellen tragen zur Vaskulogenese und Angiogenese in murinen WEHI- und JC-Tumoren bei". Lübeck Zentrale Hochschulbibliothek Lübeck, 2010. http://d-nb.info/99966820X/34.

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9

Nicoll, Norbert. ""Die ökonomische Rationalität in die Öffentlichkeit tragen" : zur Arbeit und Wirkungsweise der Initiative Neue Soziale Marktwirtschaft (2000 - 2006)". Marburg Tectum-Verl, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3201878&prov=M&dokv̲ar=1&doke̲xt=htm.

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10

Marcolino, Isabel. "T-Lymphozyten aus Nabelschnurblut tragen den Killer cell Lektin-like Receptor G1 (KLRG1) eine phänotypische und funktionelle Charakterisierung /". [S.l. : s.n.], 2004. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB12167970.

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11

Nicoll, Norbert. ""Die ökonomische Rationalität in die Öffentlichkeit tragen" zur Arbeit und Wirkungsweise der Initiative Neue Soziale Marktwirtschaft ; (2000 - 2006)". Marburg Tectum-Verl, 2008. http://d-nb.info/991872037/04.

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12

Holtsträter, Knut. "„Drahtgestelle, die Wortdraperien tragen“: Zur Figurenführung in der Euryanthe von Helmina von Chézy und Carl Maria von Weber". Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A23336.

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13

Heinze, Gabriele Susanne [Verfasser]. "Aus dem Knochenmark stammende Endothelzellen tragen zur Vaskulogenese und Angiogenese in murinen WEHI- und JC-Tumoren bei / Gabriele Susanne Heinze". Lübeck : Zentrale Hochschulbibliothek Lübeck, 2010. http://d-nb.info/99966820X/34.

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14

Wohlfarth, Anne [Verfasser] y Nikolaus [Akademischer Betreuer] Wülker. "Lot- und Profiländerung der Wirbelsäule durch das Tragen eines Schulranzens bei 11- bis 14-jährigen Kindern / Anne Wohlfarth ; Betreuer: Nikolaus Wülker". Tübingen : Universitätsbibliothek Tübingen, 2018. http://d-nb.info/1198973870/34.

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15

Katzenmeier, G. [Verfasser]. "Das Verschleissverhalten und die Tragfaehigkeit von Gleitlagern im Uebergangsbereich von der Vollschmierung zu partiellem Tragen (Untersuchungen mit Hilfe von Radioisotopen) / G. Katzenmeier". Karlsruhe : KIT-Bibliothek, 2009. http://d-nb.info/1186904720/34.

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16

Ganz, Sarah. "Das Tragen religiöser Symbole und Kleidung in der öffentlichen Schule in Deutschland, Frankreich und England eine rechtsvergleichende Untersuchung unter Berücksichtigung der EMRK". Berlin Duncker & Humblot, 2007. http://d-nb.info/994329636/04.

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17

Ganz, Sarah [Verfasser]. "Das Tragen religiöser Symbole und Kleidung in der öffentlichen Schule in Deutschland, Frankreich und England. : Eine rechtsvergleichende Untersuchung unter Berücksichtigung der EMRK. / Sarah Ganz". Berlin : Duncker & Humblot, 2009. http://d-nb.info/1238362508/34.

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18

Wagner, Sonja [Verfasser], Anna K. [Akademischer Betreuer] Hell, Michael [Akademischer Betreuer] Pfingsten y Patricia [Akademischer Betreuer] Virsik-köpp. "Haltungsveränderungen bei SchülerInnen der 5. Klasse durch das Tragen von unterschiedlich schweren Schulranzen / Sonja Wagner. Gutachter: Michael Pfingsten ; Patricia Virsik-köpp. Betreuer: Anna K. Hell". Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2014. http://d-nb.info/1049825756/34.

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19

Schindler, Josephine. "Mein Kind im Tragetuch. Eine qualitative Forschung über das Erleben tragender Mütter". Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-83693.

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Die vorliegende Arbeit stellt einen Beitrag zur Forschung über das Tragen von Kindern dar. Dem Titel ist zu entnehmen, dass der Fokus hierbei auf der tragenden Mutter liegt. Das Erleben tragender Mütter ist in Wissenschaft und Forschung eher ein Randthema: Sowohl die Empfindungen der Mutter beim Tragen ihres Kindes als auch die Auswirkungen des Tragens auf die Mutter sind wesentlich weniger untersucht und theoretisch durchdacht, als die Aspekte des Tragens im Bezug auf die kindliche Entwicklung. Die Datenerhebung erfolgte über das Problemzentrierte Interview nach Witzel, die Auswertung über das Zirkuläre Dekonstruieren nach Jaeggi, Faas und Mruck. Das Erleben der Mütter, so das Ergebnis der Forschung, umfasst vielfältige Themen: Handlungsspielraum und Alltagsbewältigung, Bedürfnis und Beziehung, selbstbestimmte Rollendefinitionen, Tragen als sinnvolle Ergänzung oder unbedingte Alternative, physische und psychische Selbstachtsamkeit als auch Reziprozität als Motiv. Diese Kategorien des Erlebens können nicht nur Grundlage für weitere Forschung sein, sondern sind ebenfalls von Interesse für diverse sozialpädagogische Arbeitsfelder. Es wird deutlich, dass das Tragen nicht nur für die Kinder, sondern ebenfalls für die Mutter bzw. für die Beziehung der beiden positive Auswirkungen haben kann. Konkret handelt es sich um die Bedeutung des Tragens für Mobilität sowie der damit einhergehenden flexiblen Freizeitgestaltung, für eine differenzierte Kommunikation und Feinfühligkeit – für das Kind wie für die Mutter -, für die Befriedigung des eigenen Bedürfnisses nach Nähe und für das Erleben des Kindes als eigenständiges Gegenüber und individuelle Persönlichkeit, als auch die Fähigkeit, eigene Grenzen zu erkennen und zu wahren sowie das Bewusstsein über Bindungs- und Ablösungsprozesse zu vertiefen.

20

Dickinson, David [Verfasser]. "Kinder und Enkelkinder der deutschen Vertriebenen in den neuen Bundesländern tragen das Gespür anderer Welten. Weshalb die Exploration der Vergangenheit zur Aufarbeitung posttraumatischer Belastung in der Psychotherapie unvermeidbar ist / David Dickinson". Greifswald : Universitätsbibliothek Greifswald, 2017. http://d-nb.info/1127166751/34.

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21

Pfau-Weller, Natalie [Verfasser] y Josef [Akademischer Betreuer] Schmid. "Tragen die EU-Maßnahmen dazu bei, dass deutsche Großstädte nachhaltiger werden? Eine Untersuchung ausgewählter europäischer Instrumente der nachhaltigen Stadtentwicklung 2000-2012 in Frankfurt am Main / Natalie Pfau-Weller ; Betreuer: Josef Schmid". Tübingen : Universitätsbibliothek Tübingen, 2017. http://d-nb.info/1165309998/34.

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22

Moodie, Glenn A. "Tragic beginnings and beginning tragedy in Sophocles and Euripides". Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269366.

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23

O'Neill, Fionnuala Ruth Clara. "Beyond tragedy : genre and the idea of the tragic in Shakespearean tragedy, history and tragicomedy". Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7841.

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This thesis explores the intersection between the study of Shakespearean drama and the theory and practice of early modern dramatic genres. It reassesses the significance of tragedy and the idea of the tragic within three separate yet related generic frames: tragedy, history, and tragicomedy. Behind this research lies the fundamental question of how newly emerging dramatic genres allow Shakespeare to explore tragedy within different aesthetic and dramatic contexts, and of how they allow his writing to move beyond tragedy. The thesis begins by looking at Shakespeare’s deployment of the complex trope of “nothing”. “Nothing” as a rhetorical trope and metaphysical idea appears across many of the tragedies, often becoming a focal point for the dramatic representation of scepticism, loss and nihilism. The trope is often associated with the space of the theatre, and sometimes with the dramaturgy of tragedy itself. However, it is also deployed within the histories and tragicomedies at certain moments which might equally be called tragic. “Nothing” therefore provides a starting-point for thinking about how the genres of history and tragicomedy engage with tragedy. Part I focuses on tragedy, including extended readings of Timon of Athens and King Lear. It explores Shakespearean drama as a response to the pressures of the early modern cultural preoccupation with, and anxiety about, scepticism. Stanley Cavell and other critics of early modern dramatic scepticism have tended to locate this engagement with scepticism within tragedy. However, this section shows that the same sceptical problematic is addressed across Shakespearean dramatic genres, with very different results. It then explores why scepticism should display a particular affinity for tragedy as a dramatic genre. Part II focuses on history, with particular reference to Richard II and Henry V. The trope of “nothing” is used as a starting-point to explore the intersection between Shakespearean history and tragedy. Engaging with Walter Benjamin’s theory of baroque tragedy as Trauerspiel (mourning-plays) rooted in history, it argues that Trauerspiel provides a useful generic framework against which to consider the mournful aesthetic of Shakespeare’s histories. Part III focuses on early modern tragicomedy and The Winter’s Tale, asking how Shakespeare achieves the transition from tragedy to tragicomedy in his later writing. It explores tragicomedy’s background on the early modern stage in theory and practice, paying particular attention to Guarini’s theory that pastoral tragicomedy frees its hearers from melancholy, and to the legacy of medieval religious drama and its engagement with faith and belief. Returning to the trope of “nothing”, this section shows that The Winter’s Tale addresses the same sceptical problematic as the earlier tragedies. Arguing that scepticism opens up a space for tragedy and nihilism in the first half of The Winter’s Tale, it demonstrates that Shakespeare finds in the genre of tragicomedy an aesthetic and dramatic form which allows him to move through, and beyond, the claims of tragedy.

24

Farrington, Scott Thomas. "As the tragic poets do: Polybius' conception of tragedy and its relationship to the theory of 'tragic history'". Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3315841.

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25

Mhabak, Wasfie. "Shakespeare's tragic spaces : the poetics of place and space in Shakespearean tragedy". Thesis, University of Liverpool, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.569246.

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This thesis examines the significance of 'place' and 'space' in seven of Shakespeare's tragedies - Romeo and Juliet, King Lear, Hamlet, Macbeth, Othello, Antony and Cleopatra, and Coriolanus - through two inter-related approaches: on the one hand, by exploring how 'space' implants what might be labelled a spatial anxiety in Shakespeare's protagonists, an anxiety that complicates a tragic hero's response to a play's physical and psychological distinctiveness, and, on the other, by reading the spatial structure of each tragedy on geographical, historical, and political levels. This thesis thus tackles 'place' /'space' as a prominent agent in influencing the construction of the Shakespearean tragic hero who comes to be, this thesis argues, spatially destined. The Shakespearean tragic protagonists' relationships with 'space' /'place' in the plays will be shown to serve as a threshold to a network of issues, from questions of interiority and sexuality, gender and nationalism, political power and cultural hegemony to those of the tragic hero's relationship with self and others. Rather than remaining merely a passive container of a play's events, 'space' for Shakespeare becomes an active agent within the tragedies, adding to the tragic discourse of any play in key ways. When the spatial framework in Othello, for instance, moves from the wide scale of the city of Venice to the narrower space of the island of Cyprus before finally ending in the confines of a single bedchamber, such a spatial arrangement enhances the suffocating mental realm of the hero in the constrictive snare of jealousy. Shakespeare, by having the scenes of Hamlet restricted to the chambers of the court in Elsinore, emphasises the claustrophobic realm of Hamlet's 'distracted globe'. The movement of the characters from one locale to another in ancient Britain similarly intensifies the menacing realm of King Lear and cements the tragic sense of human vanity in the play. Such is the spatial machinery of Shakespearean tragedy, in which spatial organisation is not accidental to the plot of the play, but rather generated by it. Space, indeed, proves to be, in each Shakespearean tragedy addressed in this thesis, the blueprint which marks the nature and the tempo of events, the tragic hero's inward struggle, and the overall tragic sense of the play. Romeo and Juliet is thus structured around a network of public places imbued with social feuding and of private spaces in which privacy is denied and invaded, rendering the lovers not just 'star-' but also 'space-crossed' figures. In these terms, King Lear becomes a tragedy in which dislocation is equated with the loss of personal and national identity and relocation paralleled with selfhood and national belonging. Hamlet comes to be a play of utter confinement, be it conceptually through Hamlet's mental 'nutshell' of 'bad dreams', or materially in the close quarters of the King's court. Shakespeare invests in Macbeth both a spatial liminality, between the realms of witchcraft and reality, and a psychic liminality in Macbeth's restless fear and eventual tyranny. Likewise, in Antony and Cleopatra, Antony's spatial identity wavers between Roman and the Egyptian sensibilities just as the play's scenes sweep us geographically from Rome to Egypt and back again. By contrast, two approaches to the concept of the 'city' prevail in Coriolanus - again, conceptual and material - as shown by the hero and the various classes represented in Shakespeare's Republican Rome: both contribute influentially to the political struggle in the play. In short, space in Shakespearean tragedy signals the topographical equivalence both of a character's inward struggles and of a play's more exterior conflicts.

26

Gauthier, Tim. "The dual vision of tragedy : hero and choric figure in the tragic novel". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60622.

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Lamentations on the absence of tragic texts in the twentieth century center on the untenability of Aristotelian parameters of tragedy within a modern context. These parameters include the immediacy of the dramatic experience as a vehicle for identification with the audience and a hero fully capable of realizing the tragic truth of his existence. Curiously restrained by formal requirements postulated in antiquity, the majority of critics have neglected that modern tragedy may have shed structures no longer culturally relevant while maintaining the essence of the tragic vision. The novel has been largely ignored despite its being perfectly suited for a contemporary communication of the tragic vision. The skepticism shattering the belief that our respective destinies can be fully embodied by another is no obstacle for tragedy in the novel. Through a narrating choric figure acting as mediating consciousness, the novel provides a direct link between reader, hero, and the tragic experience. The very act of narration also sheds light on the creation of the tragic text, extending this link to the tragedian himself. The result is a three-pronged identification, (with the hero, choric figure, tragedian), through which the reader is confronted with the multifarious truths laid bare in the text. These revelations, along with a deliberate absence of closure, compel the reader into the same unending quest to complete the tragic cycle--an experience akin to the catharsis of old.

27

Leach, Nathaniel. "The ethical face and the tragic mask, Levinas and the responsibility of tragedy". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0005/MQ42168.pdf.

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28

Eriksson, Åke. "The tragedy of liberty : civic concern and disillusionment in James Thomson's tragic dramas /". Uppsala : [Uppsala universitet], 2002. http://catalogue.bnf.fr/ark:/12148/cb392850104.

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29

CABRAL, JIMMY SUDARIO. "DOSTOIEVSKI: TRAGIC CONSCIOUSNESS AND THEOLOGICAL CRITIQUE OF MODERNITY: UNDERGROUND, TRAGEDY AND THEOLOGICAL NEGATIVITY". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21047@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
A tese quer demonstrar os fundamentos teológicos que determinaram a obra romanesca de F. Dostoiévski. Partindo dos rastros da longa tradição de comentadores religiosos de sua produção literária, como V. Ivanov, N. Berdiaev, P. Evdokimov, o trabalho identifica na obra de Dostoiévski uma teologia que encontrou na tragédia, e não na filosofia clássica de tradição socrática e platônica, os seus fundamentos e afinidades eletivas. Possuindo uma configuração anárquica desprovida de fundamentos metafísicos, a teologia dostoievskiana tornou-se o sintoma mais significativo do pensamento trágico moderno, manifestando-se como uma crítica religiosa de todos os sistemas romântico-racionalistas que se instauraram a partir da Aufhebung hegeliana, que se compôs como o elemento constitutivo da reconciliação materialista moderna. Como reflexão trágica, o cristianismo de Dostoiévski abriu, fora dos quadros da metafísica, o problema teológico na modernidade, antecipando a aporia trágica e a radical insuficiência teológica do materialismo moderno.
The thesis aims to demonstrate the theological foundations that determined the romanesque work of F. Dostoevsky. Based on the traces of the long tradition of religious commentators of his work, as V. Ivanov, N. Berdyaev, P. Evdokmov, the paper identifies in Dostoevsky’s work a theology that found in tragedy, and not in the classical philosophy of tradition from Plato and Socratic, its foundations and elective affinities. Possessing an anarchic configuration devoid of metaphysical foundations, theology of Dostoevsky became the most significant symptom of the modern tragic thought, manifesting itself as a religious criticism of all romantic-rationalist systems that have established from the Hegelian Aufhebung, which is composed as the constitutive element of modern materialistic reconciliation. As tragic reflection, Dostoevsky s Christianity opened the theological problem in modernity, outside the frames of metaphysics, anticipating the tragic stalemate and radical theological insufficiency of modern materialism.

30

Billings, Joshua Henry. "The theory of tragedy in Germany around 1800 : a genealogy of the tragic". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:de67c4ef-2ddc-4a7a-8177-c55602c401f9.

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The thesis focuses on the theory of tragedy in Germany around 1800, and has two primary aims: to demonstrate the importance of idealist thought for contemporary approaches to tragedy and the tragic; and to revise the intellectual historiography of the classic phase in German letters. It traces reflection on Greek tragedy from the Querelle des anciens et des modernes in France around 1700 through the aesthetic systems formulated in Germany around 1800. Two intellectual developments are emphasized: the historicist consciousness that develops throughout the eighteenth century and places Greek tragedy more radically in its cultural context than ever before; and the idealist philosophy of art, which seeks to restore a measure of universality to the ancient genre, seeing it as the manifestation of a timeless quality of ‘the tragic.’ These two impulses, historicizing and universalizing, it is argued, are fundamental to modern understanding of Greek tragedy. The genealogical method seeks to establish a greater continuity with earlier eighteenth-century thought than is generally recognized, and to refute the teleologies that dominate accounts of idealist thought. A reconstruction of the central texts of Schiller, Schelling, Hegel, and Hölderlin reveals that the theory of tragedy around 1800 is in large part a reflection on history, an effort to understand how ancient literature can be meaningful in modernity. Greek tragedy becomes the ground for an engagement with the pastness of antiquity and its possible presence. Idealist theories, far from dissolving particularity in abstraction, seek a mediation between philological historicism and philosophical universalism in considering Greek tragedy. A genealogy of the tragic suggests that such mediation remains a vital task for scholars of the Classics.

31

McDonald, Ronan. "Versions and aversions : conceptions of tragedy in J.M. Synge, Sean O'Casey and Samuel Beckett". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313585.

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32

Dunbar, Zachary. "Science, music and theatre : an interdisciplinary approach to the singing tragic chorus of Greek tragedy". Thesis, Royal Holloway, University of London, 2007. http://digirep.rhul.ac.uk/items/79167321-a8ba-2e60-7a71-b86724f99f58/1/.

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This thesis argues for the relevance of the history of Science, and its natural corollaries of music and space, in order to understand the chorus and its historical and cultural interconnections. The synchronous emergence of ancient natural philosophy, a new form of mousike and theatre space during the birth of the tragic chorus is more than coincidence. In seminal productions of Greek tragedy throughout European history the singing tragic chorus will be aligned with concurrent modulations in scientific principles and in aesthetics. My interdisciplinary approach recognizes an on-going interrelation between science and the arts based on shifting notions of the principles of order and disorder. Using a history of ideas framework, a scientific analogue describes the conceptual changes that emerge out of the tensions between tradition and innovation . The singing tragic chorus serves as a historical touchstone, each chapter focusing on an exemplary production in the performance history of Greek tragedy: Sophocles' Oedipus Tyrannus in c. 429 BCE Athens (ancient), Oedipus Rex in 1585 Vicenza (renaissance), Antigone in 1841 Potsdam (classical/romantic), and Oedipus Rex in 1927 Paris (modernist). The chronological arrangement is structured as a comparative reading and not as a continuous historical narrative or comprehensive survey. The interface of science with music and theatre will be discussed from two standpoints which I have defined as Chorality and Theatricality. In Chorality, I look at the relationship of text and music. In Theatricality, I discuss the interaction of the chorus with theatre space. Using the singing tragic chorus as a nexus for the interaction of science and art, I conclude that the dynamic coexistence of order and disorder, in both nature and the human condition, continually necessitates changes in the explanatory and descriptive language of both disciplines.

33

Tatikunta, Raju. "TraGent : a multi agent stock exchange model /". Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1240702281&sid=18&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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34

Lefevre, James. "Graphical trades /". [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19098.pdf.

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35

Lynd, Margaret Robinson. "Tragic story, tragic discourse : modern and postmodern narrative tragedies /". The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487683049378218.

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36

Caputo, Renato. "Il tragico nel primo Hegel : tragedia cristiana e destino della modernità /". Lecce : Pensa multimedia, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016653416&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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37

Armbäck, Hanna y Emma Danielsson. "Tragedi som underhållning". Thesis, Halmstad University, School of Social and Health Sciences (HOS), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-2381.

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Syftet med studien är att undersöka hur två verklighetsbaserade Hollywoodfilmer, Pearl Harbor och World Trade Center, framställer det amerikanska folket samt dess fiender när landet blir attackerat.

Vår studie är baserad på en kvalitativ kritisk diskursanalys förankrad i hermeneutiken, Vi väljer ut två filmer som vi sedan granskar och analyserar.

Analysen visar att trots filmerna skiljer sig i handling och när de utspelar sig, så har de många gemensamma faktorer. Det framstår som att USA blir oskyldigt attackerat eftersom det inte redogjorts i filmerna några bakomliggande faktorer till vad som hänt.

Genom symboler, handlingar, musik och tal speglas en påtaglig amerikansk patriotism i båda filmerna, det amerikanska folket framställs som hjältar, både uniformsbeklädda och privatpersoner. Fienden är en anonym makt som publiken aldrig får chans att identifiera sig med och framställs som hjärtlös och kall genom musik, färger och bildberättande.

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Lyons, James Charles. "Image of tragedy /". May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Quinn, Jayna Brown. "Traces of Existence". BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2892.

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This project report accounts for my final MFA project, Traces of Existence. This body of work began as an exploration, partially borne of the love of genealogical research translated into visual art by exploring the things my ancestors touched, be it ephemera, the soil they lived on, or artifacts they left behind, and partly as a pathway through which I could learn to understand more about my own identity, all the while finding beauty in the mundane. Although the works are personal, it is my hope that the viewer will respond to them in his/her own way, and that considering them will create an interest in the viewer to discover more about his/her own lineage. I believe we are all a part of a global family, and because of this familial connection, it is my hope that many viewers will have a dual response; one of appreciation for the aesthetic qualities of the work, and a sense of belonging.

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Suchánek, Jan. "Elektronový ray tracer". Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2019. http://www.nusl.cz/ntk/nusl-403130.

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This thesis is pointed on simulation of electron microscope. It uses knowledge from ray-tracing methods and physically based rendering with physics of electron microscopy. The main object of this thesis is to create realistic simulator for electron microscope which can generate satisfying realistic images. This output can be used for another research in range of machine learning or microscope application development. This method should replace long and more expensive way of getting test images from real system for those research activities.

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De, Vos Christiaan Frederick Beyers. "Talion: A tragedy". Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/25009.

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Talion is a work of fiction which follows four characters - Freya, whose brother Ben has recently been killed; Slick, a young drug dealer; Abraham, a school teacher; and Nolwazi, a Pretoria police detective - as they deal with the aftermath of a shooting in which they are all involved. Told is short, punchy chapters, the novel follows Freya as she begins to stalk Abraham, who she identifies as her brother's killer, Nolwazi as she tries to solve Ben's murder, a case she cannot give her full attention to, Slick as he tries to maintain his criminality in an increasingly uncontrollable world and Abraham, who must deal with the trauma of his lost family and the desire to protect his only daughter, Sophie. Not a crime novel - Nolwazi will never know the full truth of the case she's been working - but a novel about those who commit crimes and solve them, Talion attempts to capture the dark and messy consequences of grief and revenge, while examining the isolating nature of anger. It is a novel about connections and disconnections, justice and injustice. The novel uses the city as its narrator, hopefully rendering a version of Pretoria not often seen in South African fiction. Written within the spirit of classic tragedy, the tightly controlled plot and heightened tension, as well as the brutal violence, strives to create something more than your average detective novel. A literary and genre hybrid that is both entertaining and unusual, suspenseful and complex.

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Schultz, Sarah N. "Palimpsest of Traces". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430928494.

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Bauer, Jacob Aaron. "Tracey Emin's Tent". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492631305710945.

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44

Ferreira, Guilherme Ronan de Souza Elias. "A poética do sublime na teoria da tragédia de Friedrich Schiller". Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6400.

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Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro
Em sua breve carreira filosófica, o poeta e dramaturgo alemão Friedrich Schiller (1759-1805) se apropriou do conceito kantiano do sublime, identificando-o ao trágico e à tragédia, manifestação artística que seria genuinamente regulada por princípios estéticos daquela ordem. Deste modo, buscamos neste trabalho relacionar o caráter subjetivo da experiência do sublime com as suas implicações de ordem prática para a arquitetura da tragédia, em especial as que dizem respeito à estrutura ideal do drama, intimamente vinculada à sua finalidade, que é a efetivação do efeito estético que lhe cabe por definição. Se, por uma via, o pensamento de Schiller caminha em direção ao desenvolvimento de uma concepção do trágico a partir de um dos conceitos fundamentais da estética moderna, por outra ele permanece atrelado à tradição aristotélica quando se concentra no estudo da tragédia enquanto gênero literário e busca por meio deste estudo estabelecer regras para a citação dramatúrgica. Assim, Schiller constrói uma poética do sublime, um programa de arte que inaugura um debate importante sobre o fenômeno do trágico na filosofia alemã. Mas, como pretendemos defender, é justamente a concepção do trágico forjada a partir de uma interpretação acentuadamente moral do sublime que torna o conteúdo de sua teoria da tragédia problemático, embora tal teoria seja a resposta encontrada por Schiller para perguntas ainda pertinentes. Afinal, por que nos entretêm assuntos trágicos?
In his brief philosophical career, the German poet and playwright Friedrich Schiller (1759-1805) appropriated the Kantian concept of the sublime and he indentified it to the tragedy and to the concept of tragic. Tragedy would be genuinely regulated by those kind of aesthetic principles. Thus, this study sought to relate the subjective character of the experience of the sublime with his practical implications for the architecture of the tragedy, especially those concerning the ideal dramatic structure. If, on a road, Schiller's thought walks toward the development of a conception of the concept of tragic from concepts of modern Aesthetics, for another it remains tied to the Aristotelian tradition when it focuses on the study of tragedy as a literary genre. So, Schiller builds a sublime's poetics, an art program that opens an important debate about the tragic phenomenon in German philosophy. But, as we intend to uphold, the concept of tragic forged from a moral interpretation of the sublime becomes problematic Schiller's theory of tragedy. Although, this theory has relevant questions: Why we like tragic issues?

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Gabriel, Nathan Edward. "Knowing More Than the Hero: An Exploration of Nathan Gabriel's 2011 Production of A View from the Bridge". Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/212261.

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Theater
M.F.A.
In 2011 Nathan Gabriel directed Arthur Miller's A View From The Bridge for his graduate thesis production at Temple University in Philadelphia. In this essay, Gabriel posits that keeping the character of Eddie ignorant about his true feelings for Catherine until the final moments of the play is crucial to making the play work. He supports his argument by pointing to the changes Miller made in the script between the one-act and two-act versions. Gabriel demonstrates how the play followed Aristotle's ideal for a classic Greek tragedy and compares this ideal with Miller's conviction that a true tragedy should not only be sad but should also teach its audience how to better live their lives. He also defends his choice to keep the true sexuality of Rodolpho ambiguous and examines the creative journey of his designers.
Temple University--Theses

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Portera, Manon. "From traces to spatial narratives : An experimental conservation of architecturale traces". Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6278.

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47

Badue, Alexandre. "Comedy Tomorrow, Tragedy Tonight: Defining the Aesthetics of Tragedy on Broadway". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342103090.

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48

Farr, Patrick Matthew. "Tragic Irony: Socrates in Hegel's History of Philosophy". Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/301689.

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The following thesis outlines Hegel’s interpretation of Socrates in order to prove that as a negative dialectician, Socrates constitutes both a world historic personality who met a fate (Schicksal) which was tragic and practiced a philosophy which was tragically ironic. In this undertaking, Hegel’s Theory of Tragedy takes central importance which defines tragedy as two equally justified opposing forces which clash and destroy one another. This Theory of Tragedy is extended to show that through Socrates’ absolutely free will he brought himself to a tragic clash with the Athenian Ethical Life (Sittlichkeit), the Sophists’ arbitrary will, and the phenomenological will of uneducated Athenians. This clash is described in terms of a Hegelian Tragedy within which both Socrates and Athens were right and just in their actions against one another, but in the end were destroyed through those actions. His Method and Dialectic is then argued represent a negative dialectic which through the negation of negativity becomes positive as a midwifery of the consciousness. Next, because his Method and Dialectic begin in negativity and end in positivity, Socratic Elenchus is argued to not be representative of what has been termed “the Socratic Irony,” but instead only the negative moment of the Socratic Method. Finally, the Socratic Irony which Hegel argues is representative of both Socratic Philosophy and world history is defined as a Tragic Irony which sublates the finite consciousness of the phenomenological will, and the Ethical Life (Sittlichkeit), and the infinite arbitrary will of the Sophists in order to become a trans-subjective absolutely free will which becomes infinite itself like the Sophists’ will through reflection on the Ethical Life (Sittlichkeit).

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Bergström, Fredrik. "Tracing Subliminal Memory Traces". Thesis, Umeå universitet, Institutionen för psykologi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-46606.

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This study aims to explore subliminally encoded memory traces over time in an Attentional Blink (AB) paradigm. The AB paradigm consisted of a Rapid Serial Visual Presentation (RSVP) of numbers among which two targets (T1) a simple math task, and (T2) a single letter (A, S, D, or F) were to be identified. Two direct behavioral measures, T2 accuracy and T2 Response Time (RT) were used. Conscious perception was measured with the subjective Perceptual Awareness Scale (PAS). The expectations was to find a decline in T2 accuracy, and increase in RT over three memory storage lengths (150ms, 3000ms, 7000ms). There were 21 participants, 21-32 years of age, out of which 8 were female. Each of the memory storage lengths showed significant behavioral effects (p< .001), which indicates unconscious perception. However, the repeated measure ANOVA did not find any significant differences for the three memory storage lengths (p> .05) over time. Thus, it was concluded that subliminally encoded memory traces seem to be able to persist for at least 7000ms without end in sight. The result challenge the 500ms limit usually accepted, and thus there is reason to continue to trace subliminal memory traces.

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Padoongmatvoragool, Arthitaya. "The Tell of Tragedy". Thesis, Konstfack, Ädellab/Metallformgivning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-179.

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The curiosity of different beliefs to “tragedy” between the two worlds, Eastern where tragedy is unpleasant and Western where tragedy is praised as high art form since Ancient Greek. The reason that they are very different as two ends from one point and how to present them directly to understandable stage in art forms itself are questioned. This essay is a research into philosophical living and belief relates to tragedy in Eastern and Western views toward tragedy in art forms. The way tragedy has been put differently and the way people treat this feeling. There is a border which is deep-seated into each cultures. The relation of time is used to explain tragedy in Ancient Greek. Western tragedy is big enough to play a main role while Eastern tragedy play a part of the whole in one legend or story. The study of Andy Warhol’s method “Traumatic Realism” which is relevant to starting question explains the direction of using repetition as presentation in order to bring viewers get into trauma at its surface. Picasso’s painting “Tragedy”, Edward Gorey’s storytelling illustration “The Hapless Child”, and Marina Abramovic’s performance “Balkan Baroque”, are used to discuss their techniques and statements based on tragedy from different forms. There is a touching point from Warhol’s and Abramovic’s works. Conclusion talks about the method to present tragedy right there in the work. Selections of pictures are used to tell direction of tragedy in the work. Hierarchy of perception and changing of time in works are explained by Ancient Greek tragedy philosophy and Warhol’s repetition. Feeling is gradually changed. Traces can be found. Time is taking it away.

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