Thematische Bibliographien / Brecht

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  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Brecht“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 4. September 2024

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Zeitschriftenartikel zum Thema "Brecht"

1

Schechter, Joel. „Brecht After Brecht“. Theater 17, Nr. 2 (1986): 4. http://dx.doi.org/10.1215/01610775-17-2-4.

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2

Bornheim, Gerd. „Brecht ainda hoje?“ Pandaemonium Germanicum, Nr. 4 (05.11.2000): 47. http://dx.doi.org/10.11606/1982-8837.pg.2000.64137.

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Der vorliegende Aufsatz versucht, Argumente für die Aktualität Berltolt Brechts zu finden. Es werden Parallelen zwischen Brechts epischem Theater und der Musik, insbesondere der Oper, aufgezeit. Dabei spielt die für Brecht so wichtige Ästhetik der Form eine zentrale Rolle, die entscheidend für seine Modernität ist.
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Zurbach, Christine. „Homem = Homem? Brecht = Brecht?“ Sinais de cena, Nr. 8 (Dezember 2007): 93–95. http://dx.doi.org/10.51427/cet.sdc.2007.0054.

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4

Hillesheim, Jürgen. „"IN THE JUNGLE OF RELATIONSHIPS." BRECHT, CASPAR NEHER AND THE WEST GERMAN POST-WAR CULTURAL INDUSTRY“. Brecht-Magazine: Articles, Essays, Translations, Nr. 8 (28.02.2023): 43–51. http://dx.doi.org/10.35433/brecht.8.2022.43-51.

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The article deals with little-known or unknown facts from the biography of Bertolt Brecht in the first post-war decade, when he began to be transformed into an icon in the art of the German Democratic Republic. But in reality, the writer, as throughout his life, continues to look for different ways to realize his own creative plans and popularize his work in both parts of Germany: in socialist East Germany and in capitalist West Germany. Bertolt Brecht resumes quite active cooperation with Caspar Neher. This talented artist, with whom Bertolt Brecht had been friends since his youth and had a number of successful theater projects before Brechts emigration in 1933, not only did not leave Germany after the Nazis came to power, but also continued to work with theaters and after 1945 quickly became successful in West Germany, which was "an enemy" to the GDR's cultural policy. This is one of several examples of Brecht's unexpected creative collaboration, which goes beyond the narrow framework of his reception as a purely socialist author and demonstrates the importance of his primary task of achieving success in theatre, rather than ideological correctness. In the post-war years, Brecht was ready to deal even with partially compromised artists. This contradicts the widespread and simplified and idealized image of the author as a supporter of communism.
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Ankhym, O., und M. Ankhym. „BERTOLT BRECHT AND THE TRANSNATIONAL THEATRE“. Brecht-Magazine: Articles, Essays, Translations, Nr. 9 (26.12.2023): 14–24. http://dx.doi.org/10.35433/brecht.9.2023.14-24.

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Transnationality and transculturality, which have been attracting increasing attention within the scientific community in recent decades, have become an integral part of modern literature. Decolonization and globalization, as well as the mobility and migration caused by them, have become triggers for the blurring of ethnic, national, and cultural boundaries. These processes have also found their embodiment in literature. The transnational turn observed in literature since the 1990s shows that the understanding of literary works within national frameworks no longer corresponds to modern reality, and nations, cultures, and identities are featured with convention, fragmentation, and hybridity. And although consideration of transnationality is mostly focused on lyric and epic works, its manifestations take place in drama and theatre as well. This article examines the influence of Bertolt Brecht on contemporary transnational and/or transcultural theatre. It is noted that the manifestation of transnational elements in the playwright's work occurs both at the level of his plays and performances. In particular, the effects of alienation used by B. Brecht to depict the strange, foreign and unusual in one's own self have a significant impact on the formation of transnational theatre. Another manifestation of the transnational is the playwright's departure from the idea of closed nations and cultures in favour of open, conditional and fluid ones. An important aspect is also the intertextual references of his plays, which are artistic interpretive models of famous works of the past and thus enable their existence through space and time. Focusing on the processes of alienation, B. Brecht's epic theatre shows the hybridity and fragmentation not only of cultures and nations, but also of identities, therefore encouraging readers and viewers to search for the strange in themselves. At the same time, topics and problems raised in his plays and performances are not limited to local or national contexts, but are transnational in their nature.
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Westermann, Bernd. „Hundert Jahre Brecht – Brechts Jahrhundert?“ Informationen Deutsch als Fremdsprache 27, Nr. 2-3 (01.06.2000): 238–41. http://dx.doi.org/10.1515/infodaf-2000-2-363.

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7

MARKELL, PATCHEN. „POLITICS AND THE CASE OF POETRY: ARENDT ON BRECHT“. Modern Intellectual History 15, Nr. 2 (22.11.2016): 503–33. http://dx.doi.org/10.1017/s1479244316000366.

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Hannah Arendt's essay on Bertolt Brecht has often been understood as an indictment of Brecht's postwar accommodation with the Stalinist regime in East Germany, in line with Arendt's supposed commitment to a firm separation between poetry and politics. Offering the first full reconstruction of the transnational history of Arendt's writing on Brecht, this article shows instead that Arendt's essay was a defense of Brecht against the polemics it is often taken to exemplify. Joining poetry to politics by holding both at a distance from philosophy, Arendt assigned poetry the vocation of disruptive faithfulness to factual reality, which allowed her to praise Brecht on political grounds and to leverage forbearance for his political “sins.” Indeed, by narrating Brecht's “sins” and “punishment” against the grain of Cold War discourse about the poet, Arendt's essay emulated aspects of the poetic practice she admired in Brecht's writing.
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Turley, Elliott. „Martin Revermann. Brecht and Tragedy: Radicalism, Traditionalism, Eristics“. Modern Drama 66, Nr. 1 (01.03.2023): 135–37. http://dx.doi.org/10.3138/md-66-1-rev6.

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Brecht and Tragedy gives a genealogical account of Brecht’s engagement with tragedy and uses tragedy as a lens to analyse several Brechtian works and ideas. Exhaustively researched, it is valuable both for its detailed work on Brecht and tragedy and its analysis of Brecht’s theatre more broadly.
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Martin, Carol. „Brecht, Feminism, and Chinese Theatre“. TDR/The Drama Review 43, Nr. 4 (Dezember 1999): 77–85. http://dx.doi.org/10.1162/105420499760263543.

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American feminist theatre theorists have taken to Brecht's “Alienation Effects in Chinese Acting”. But what did Brecht know about Chinese acting? Could feminists benefit by looking past Brecht to the Chinese theatre itself?
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Asimakoulas, Dimitris. „Brecht in dark times“. Target. International Journal of Translation Studies 17, Nr. 1 (31.12.2005): 93–110. http://dx.doi.org/10.1075/target.17.1.06asi.

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This paper will place Brecht’s published works within the socio-political context of the Greek junta (1967–1974). After preventive censorship was lifted in 1969, a massive import of Brecht’s works occurred. Brecht was immediately incorporated in the recently established tradition of serious books addressing important social issues, bringing the reader closer to modern thought and kindling the desire for democracy. Two of the most influential publishers of the time published Brecht’s works and actively subscribed to this trend of defiance against the regime in the publishing industry. The publishers’ activity as well as the content and paratextual elements of Brecht’s works they launched constituted instantiations of the discursive motif of dark times introduced by Brecht himself to describe oppression and distortion of truth.
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Dissertationen zum Thema "Brecht"

1

Wood, Jesse Cannon. „"Aber das Geistige, das sehen Sie, das ist nichts." Collisions with Hegel in Bertolt Brecht's Early Materialism“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345231617.

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Bonnaud, Irène. „Brecht, période américaine“. Paris 3, 2001. http://www.theses.fr/2001PA030007.

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Bertolt brecht, en exil a los angeles de 1941 a 1947, n'a cesse d'ecrire pour l'industrie culturelle americaine. Scenarios pour hollywood ou pieces de theatre concues pour conquerir broadway, ses oeuvres d'alors empruntent aux genres populaires du cinema ou du theatre americains des armes nouvelles contre la tradition du drame. Mais la polemique continuee contre l'identification et l'illusion mimetique est accompagnee d'une autocritique permanente. Brecht met son propre theatre en crise et l'examine avec mefiance. Chaque piece devient reflexion sur l'art de la scene et ce dernier doit plus que jamais repondre de ses choix. A l'ombre de l'actualite mondiale, capitulation, collaboration et resistance a l'oppression deviennent non seulement les grands themes des textes de brecht, mais aussi les criteres qui determinent ses strategies d'ecriture. A l'heure des destructions et des massacres de la seconde guerre mondiale, la moindre decision formelle est un probleme politique : la fable du theatre narratif, souvenir d'un temps ou le recit etait encore signe de sagesse, et l'ampleur shakespearienne des personnages sont pour brecht deux facons d'etre volontairement anachronique au milieu du desastre.
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Ďurik, Andrej. „Bertolt Brecht Život Galileiho (možnosti interpretace B. Brechta v současném divadle)“. Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78664.

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In my thesis I endeavoured to document the development of the view of Brecht?s works in our countries. It means mapping the interpretation attempts in the Czech Republic, coping with Brecht?s theoretical work, and last but not least with Brecht as a political man with social feeling due to what he remained many times miscomprehended. It is certain that the history mentions a large-minded, talented, educated personality, a strongly up to self-destructively hard-working one. On the one hand, he is artistically sensitive and fine, however, on the other hand he is a disintegrated and a very complicated person. In the course of time, I came to the conclusion that it is likely impossible to fully join a Brecht theoretician and a Brecht dramatist, while the theory of epic theatre significantly hungers for a formal aspect though on the other hand, it seems to fail to conform to ease and poetry of his dramas. It is important to say that Bertolt Brecht was practically a communist during all his life in a complicated period. His relationship to communism was developing and it can be learned that this relationship had undergone a long way from enthusiasm up to full disillusion. That is why this fact appears in my thesis; it is a statement, a truth about a great artist and a truth about the view and contemporary interpretations in our countries where he was quoted and belauded, as necessary. At staging, it is impossible to consider all aspects of Brecht personality. It is good since it leaves space for a man, one can be both Brecht a bit and also himself. It provides ?space? while showing a human being in his complicacy, it is as a search in the human soul and mind. He does not psychologize, he just states, shows a human being in particular situations including his behaviour, and at the end all these situations make a whole picture about us and about our period. Therefore, we can say that Bertolt Brecht is a great author of great dramas with timeless themes. His characters reflect contemporary people. As if nothing has changed, just the time is perceived in a bit different way, it oscillates and befogs our perception, with decoding matters becoming more difficult for us but with the essence remaining the same as before. His dramas are interesting as for formal aspect, they are ?up-to-date? providing space also for an experiment. They may serve as a formal reflection, the beauty of speech for itself.
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Siljeholm, Olof. „Die Funktion der Bibel in Brechts Parabelstück Der gute Mensch von Sezuan und in zwei seiner Vorlagen“. Tönning Lübeck Marburg Der Andere Verl, 2009. http://d-nb.info/997031301/04.

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Miranda, Rita Alves. „O teatro experimental de Brecht“. Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11641.

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Made available in DSpace on 2016-04-27T17:27:05Z (GMT). No. of bitstreams: 1 Rita Alves Miranda.pdf: 2197473 bytes, checksum: 27e1b604e4f02f387a522aa42435e2a0 (MD5) Previous issue date: 2013-10-23
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This master s thesis aims to approach the passage of Bertolt Brecht through the theater history and the influence of his proposal for the contemporary art. Initially, we analyzed Brecht s criticism towards some traditional conceptions of theater and the path taken by the author to think the crisis of drama that had settled times before. Along the way were considered some references and possible objections from Brecht to Aristotle and the Aristotelian model of theater. In this controversial debate, we analyzed the references to the Greek philosopher, to clarify weather Brecht really wanted to reject Aristotle, or he proposed an appropriation of that formal model. It is known that the Aristotelian model of theater was removed from the Poetics of Aristotle and suffered different appropriations in different epochs, one of them being the bourgeois reading. This view is refuted by Brecht, when he analyzes the reality of bourgeois drama and realizes that it was necessary that it be revised immediately, because the theater is no longer affecting the people, in the sense that their willingness depended on a relationship of passivity on the part of viewers. Facing this crisis of drama, some artists tried to reformulate it without however succeeding. Brecht, when began his work, had knowledge of these attempts and facing their failures, the goal was to make theater inaugurate a new place in society. In search of the best place he has in mind a place of production of consciousness, radically opposed to the bourgeois-capitalist logic that sought the alienation of individuals. So, now located outside the debate of reckoning with the past, Brecht focuses on your present and faces the ideas of György Lukács which oppose Brecht by thinking art in a different manner and attributing to him the image of Formalist. We also deal whit defending Brecht from these charges. This dissertation, different from common aspect of texts on Bertolt Brecht is not intended to scrutinize the techniques developed by the playwright in the formulation of the Epic Theater, or talking about the formal aspects of his work, but it is based on a philosophical approach, passing briefly through a few moments of the author s thought until it reaches the stage considered as a mature conception of theater, which is also the last phase of his career, when he revised many of his previous positions. This phase is one in which he writes pieces like The Good Soul of Setsuan (1939-1942) and Life of Galileo (1938-1939). Being so, our focus was this mature conception of the author s work and the characteristics of his thinking at that time, thinking that we take as very Brechtian itself. We focus at this moment of his work, to show the compatibility of his thought and a contemporary conception of theater
Este trabalho tem por objetivo abordar a passagem de Bertolt Brecht pela história do teatro e a influência de sua proposta na fase contemporânea da arte. Inicialmente, analisamos a crítica de Brecht dirigida a algumas concepções tradicionais de teatro e o caminho percorrido pelo autor para pensar a crise do drama que se instalara tempos antes. Nesse percurso foram consideradas algumas referências e possíveis objeções de Brecht a Aristóteles e ao modelo aristotélico de teatro. Nesse debate polêmico, analisamos as referências ao filósofo grego, a fim de esclarecer se o que Brecht pretendia era rejeitar mesmo Aristóteles, ou mais uma apropriação daquele modelo formal. Sabe-se que o modelo aristotélico de teatro foi retirado da obra Poética de Aristóteles e que sofreu apropriações segundo as épocas, sendo uma delas a leitura burguesa. Essa leitura é rebatida por Brecht que revê a realidade do drama burguês e percebe que era preciso que ele fosse revisto imediatamente, pois o teatro já não atingia mais as pessoas, mas sua disposição dependia de uma relação de passividade por parte dos espectadores. Frente a dessa crise do drama, alguns artistas, tentaram reformulá-lo sem, no entanto, obter sucesso. Brecht, quando deu início a seu trabalho, já tinha conhecimento dessas tentativas e diante desses fracassos, o objetivo era fazer o teatro inaugurar um novo lugar dentro da sociedade. Em busca do melhor lugar, ele tem em mente um lugar de produção de consciências, opondo-se radicalmente à logica burguesa-capitalista que buscava a alienação dos indivíduos. Assim, localizado já fora do debate de acerto de contas com o passado, Brecht concentrase em seu presente e enfrenta György Lukács que se opõe a Brecht ao pensar a arte de uma forma diferente, atribuindo a este a imagem de Formalista. Nos ocupámos de defender Brecht também dessas acusações. Esta dissertação, diferente do aspecto comum de textos sobre Bertolt Brecht não se propõe a analisar minuciosamente as técnicas desenvolvidas pelo dramaturgo na formulação do Teatro Épico, ou a falar dos aspectos formais de sua obra, senão que se apoia numa abordagem filosófica, que passa rapidamente por alguns momentos do pensamento do autor até chegar à fase considerada como fase de uma concepção madura de teatro, que é também a última fase de sua carreira, quando ele reviu muitas de suas posições anteriores. Esta fase é aquela em que ele escreve peças como A Alma Boa de Setsuan (1939-1942) e Vida de Galileu (1938- 1939). Neste momento do trabalho nosso foco foi essa dada concepção madura da obra do autor e as características de seu pensamento nessa época, pensamento que tomamos como próprio brechtiano. Concentramos nossa atenção neste momento da obra, a fim de mostrar a compatibilidade desse pensamento e uma concepção de teatro contemporânea
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Baker, Clara Martha. „Bertolt Brecht and the Bible“. PDXScholar, 1985. https://pdxscholar.library.pdx.edu/open_access_etds/3436.

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This thesis presents evidence which supports Bertolt Brecht's oft-quoted statement that the Bible was the book which exerted the greatest influence upon his writings. While Brecht's early works, Die Bibel (1913), and Die Dreigroschenoper (1928), serve as the main examples, there are also references to biblical allusions from a number of his other writings and some of his poetry. There is general information on Brecht's religious background and en his extensive biblical knowledge which enabled him to use the Bible as one of his principal sources. Brecht's manner of usage and adaptation of religious and biblical material to suit his purposes is noted. As well, a consideration of the views and findings of a number of critics and writers with an interest in Brecht both as an individual and as a writer and poet, provides a degree of clarification of Brecht's approach to the Bible. Included too is sane detail which could posit the Bible as a possible catalyst in Brecht's examination of Marxism as a viable alternative to religion in meeting the needs and aspirations of mankind and of society.
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Neureuter, Hans-Peter. „Brecht in Finnland : Studien zu Leben und Werk, 1940-1941 /“. Frankfurt am Main : Suhrkamp, 2007. http://catalogue.bnf.fr/ark:/12148/cb41341779d.

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Lang, Joachim. „Episches Theater als Film : Bühnenstücke Bertolt Brechts in den audiovisuellen Medien“. Würzburg Königshausen & Neumann, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2864715&prov=M&dokv̲ar=1&doke̲xt=htm.

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Schmidt, Thomas. „Brechts Dreigroschenroman ein Kriminalroman? /“. [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB10605127.

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Bai, Rongning. „Brecht and China : a mutual response“. Thesis, University of Warwick, 1996. http://wrap.warwick.ac.uk/4493/.

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This thesis deals with the cross-cultural relations between Brecht and China through an analysis of how Brecht responded to the traditional Chinese theatre and how his drama was received in turn by modern Chinese theatre. It attempts to examine the respective socio-cultural or political contexts wherein such kind of crosscultural contacts were needed, and the consequent aesthetic-theatrical as well as socio-cultural or political changes brought about by these contacts that have produced two distinctively independent yet related forms of theatre. It is argued that Brecht's search for a theatre style of his own amidst the sociocultural as well as political crises between the two world wars made him look to the East for inspirations, and his direct encounter with Mei Lanfang enabled him to interpret the latter's acting in such a way that he responded to it with his postulation of the alienation effect and modification of a gestic performance style. His repudiation of the well-made dramatic theatre brought his epic theatre closer to the traditional Chinese theatre whose aesthetic principles he shared in constructing a non- Aristotelian episodic form of drama. In his experimentations with new modes of theatrical expressions, he did not simply borrow or copy the forms and content of classical Chinese drama; he appropriated, transformed and renewed them, for example, in The Caucasian Chalk Circle, for the particular purpose of instructing audiences in a scientific age. China! s reception of Brecht has had much to do with the country's changing socio-cultural as well as political situations. Chinese theatre practitioners responded to him because he was a politically, culturally and aesthetically suitable figure. His epic drama provided an alternative style for the Chinese in their attempt to innovate their realist spoken drama imported from the West, and was also introduced into local forms of performing arts in hope that the traditional Chinese theatre could be resurrected. Furthermore, he prompted Huang Zuolin to theoretically re-examine Chinese operas, which the latter integrated with techniques of Brecht and Stanislavsky into spoken drama to establish a new theatre style called Xieyi drama.
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Bücher zum Thema "Brecht"

1

1942-, Knobloch Hans-Jörg, Koopmann Helmut und Johannesburger Germanistentreffen (4th : 1998), Hrsg. Hundert Jahre Brecht-Brechts Jahrhundert? Tübingen: Stauffenburg, 1998.

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Frank-Michael, Raddatz, Hrsg. Brecht frisst Brecht. [Berlin]: Henschel, 2007.

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Gibson, Cima Gay, Hrsg. Brecht/"Brecht": A symposium. New Haven, CT: Yale School of Drama/Yale Repertory Theater, 1994.

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Brecht, Bertolt. Brecht. [s.l.]: Y Colegiwm Cymraeg, 1987.

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Hayman, Ronald. Brecht. Barcelona: Editorial Argos Vergara, S.A., 1985.

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Jones, G. L. Brecht. Dinbych: Gwasg Gee, 1985.

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Hans, Mayer. Brecht. Frankfurt am Main: Suhrkamp, 1996.

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Inge, Gellert, und Brecht-Zentrum der DDR, Hrsg. Brecht 85: Zur Ästhetik Brechts : Fortsetzung eines Gesprächs über Brecht und Marxismus : Dokumentation. Berlin: Henschelverlag Kunst und Gesellschaft, 1986.

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1959-, Müller Harald, Hrsg. Müller Brecht Theater: Brecht-Tage 2009. Berlin: Theater der Zeit, 2010.

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Marc, Silberman, Hrsg. Essays on Brecht =: Versuche über Brecht. Madison, Wis: University of Wisconsin for the International Brecht Society, 1990.

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Buchteile zum Thema "Brecht"

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O'Brien, Nick, Annie Sutton und Mikhaela Mahony. „Brecht“. In Theatre in Practice, 48–83. 3. Aufl. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003361121-4.

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Dehner, Anne, und Jan Knopf. „Brecht, Bertolt: Bertolt Brechts Hauspostille“. In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_6060-1.

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Lehmann, Jürgen. „Bertolt Brecht“. In Russische Literatur in Deutschland, 199–220. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05373-2_7.

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Catani, Stephanie. „Bertolt Brecht“. In Handbuch Kriminalliteratur, 123–26. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05430-2_15.

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Banghard, Melanie, und Jan Knopf. „Bertolt Brecht“. In Kindler Kompakt: Lyrik des 20. Jahrhunderts, 139–42. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04504-1_26.

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Widmaier, Michael, Nicole Welz, Petra Haubner, Ann Christine Zuber, Rebekka Braun und Jan Knopf. „Bertolt Brecht“. In Kindler Kompakt: Drama des 20. Jahrhunderts, 85–94. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_15.

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Hayman, Ronald. „Bertolt Brecht“. In The Craft of Literary Biography, 186–98. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07452-5_12.

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Prateek. „Politicising Brecht“. In Brecht in India, 90–110. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003030317-4.

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Knopf, Jan. „Brecht, Bertolt“. In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_6041-1.

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Haubner, Petra, Ann Christine Zuber, Jan Knopf, Manuela Dietz und Denise Kratzmeier. „Bertolt Brecht“. In Kindler Kompakt: Deutsche Literatur, 20. Jahrhundert, 78–86. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05520-0_10.

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Konferenzberichte zum Thema "Brecht"

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Carvalho, Ricardo. „BRECHT: UMA ABORDAGEM PEDAGÓGICA NO CENÁRIO CONTEMPORÂNEO DO ENSINO- APRENDIZAGEM“. In Colóquio Internacional De Pedagogia Do Teatro. Campinas - SP, Brazil: Galoa, 2018. http://dx.doi.org/10.17648/colipete-2018-86091.

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Seth, R. S. „Plane Stress Fracture Toughness and its Measurement for Paper“. In Products of Papermaking. Fundamental Research Committee (FRC), Manchester, 1993. http://dx.doi.org/10.15376/frc.1993.3.1529.

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Fracture toughness is a material’s ability to resist propagation of a preexisting crack. In most end uses where fracture,toughness can be an important performance parameter for paper, stresses are applied in the plane of the sheet. Therefore, like tensile strength and elastic modulus, the fracture toughness of paper should be measured under in ‘ -plane loading. Our current industry practice of measuring the out-of plane tearing resistance by the Elmendor for Brecht-Imset tests seems inappropriate. Several techniques of fracture mechanics have been applied in recent years to characterize the plane stress fracture toughness of paper. An important consideration is whether a material property was measured particularly for tough papers.This contribution provides a background on these techniques.
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„The Symbolic Representation of the Female Body in the Poems by Bertolt Brecht“. In International Conference on Humanities, Literature and Management. International Centre of Economics, Humanities and Management, 2015. http://dx.doi.org/10.15242/icehm.ed0115091.

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Cimpoi, Mihai. „Folclorul și valorile imaginației“. In Conferința științifică națională "Sergiu Moraru: 75 de ani de la naștere". “Bogdan Petriceicua-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/sm.75.2021.02.

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The author demonstrates in this approach that folklore, unlike cult literature, values the essential richness of the imaginary, being closer to the world, which Eminescu said he „ thought in fairy tales and spoke in poetry”. Folklore was must also conceived as literary art, the interference between it and cult literature was the aesthetic program of the German romantics, of the Romanian classics Eminescu, Alecsandri and Anton Pann, of the contemporary authors Brecht and Auden. Folklore works have the same principles of elaboration as cult literature, they being social and documentary documents, which capture essential moments of human relations with society and history. The author refers to the folklorist Sergiu Moraru, who studied especially the poetic system of the sung lyrical song, subjecting it to a structural and typological analysis.
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Dong, Xiao. „POPULARITY OF STANISLAVSKY IN CHINA“. In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.26.

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Konstantin Sergeevich Stanislavsky is the most influential theater director of the Soviet era in the first half of the 20th century. The system he created, which is based on the “art of experiencing”, had a profound impact on the performing arts of the 20th century. Since it was introduced into China in the 1940s, it has played a very important role in the development of contemporary Chinese drama performance art in the 1950–1960 years. In the 1960–1970, Stanislavsky was criticized in China. Since the late 1970s, although Stanislavsky has been vindicated in China, his importance has correspondingly weakened with the popularity of Brecht. It can be said that the encounter of Stanislavsky in China is a typical example, reflecting acceptance and interpretation of Russian Soviet literature and art in China. To some extent, this tendency obscures the real value of Russian Soviet literature and art. It is a problem worthy of reflection.
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Rodríguez Pulecio, Laura Sofía, und Sara Aída Rodríguez Pulecio. „EFECTO SOBRE LA BRECHA ECONÓMICA ENTRE HOMBRES Y MUJERES DE LA BAJA PARTICIPACIÓN DE LAS MUJERES EN INGENIERÍA EN COLOMBIA“. In Mujeres en ingeniería: empoderamiento, liderazgo y compromiso. Asociacion Colombiana de Facultades de Ingeniería - ACOFI, 2021. http://dx.doi.org/10.26507/ponencia.1597.

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Algunos de los factores que explican la brecha económica entre hombre y mujeres son: la cantidad de horas de trabajo no remunerado, las diferencia salarial entre las carreras típicamente masculinas y las típicamente femeninas, la desigualdad salarial entre hombres y mujeres en los mismos cargos y misma responsabilidades, las limitaciones para las mujeres en la consecución de promociones y asensos en las organizaciones y finalmente el efecto del COVID-19 en la empleabilidad de mujeres. En este articulo se analiza como la baja participación de mujeres en ingeniería impacta en la brecha económica entre hombres y mujeres en Colombia pues aunque se han hecho grandes esfuerzos para incrementar la participación de las mujeres en las áreas de ciencia, tecnología, ingeniería y matemáticas denominadas STEM (por las siglas en inglés de Science, Tecnology, Engineering, and Mathematics) persisten grandes brechas en la participación de las mujeres y en muchas ingenierías tradicionalmente masculinas estos esfuerzos no se manifiestan en ningún cambio positivo. En ingeniería, menos del 30% de los estudiantes en todo el país son mujeres y algunas áreas tienen una participación menor al 10% como es el caso de ingeniería mecánica e ingeniería mecatrónica, otras áreas con indicadores muy críticos son electrónica y eléctrica en las cuales la participación de las mujeres está alrededor del 15% o como es el caso de ingeniería de sistemas que pasó del 45% en 2001 al 23% en 2017. Basado en los datos del ministerio de educación nacional de graduados de 2001 a 2018 y porcentaje de empleabilidad y salario de cotización este articulo muestra que cerrar la brecha de participación en la ingeniería es fundamental para aportar a la igualdad económica y por tanto al logro del quinto objetivo de desarrollo sostenible.
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De Lorenzo, Marco, Philippe Lafon, Yann Bartosiewicz und Jean-Marie Seynhaeve. „Physical and Numerical Investigations for the Development of a New Experimental Facility for Studying Blowdown Phenomena“. In 2016 24th International Conference on Nuclear Engineering. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/icone24-60988.

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Electricité de France (EDF), with the scientific cooperation of Université Catholique de Louvain (UCL), is starting new investigations about the blowdown phenomena. For these purposes, EDF is considering to build a new experimental installation called BRECHE. In this article, the main features of the design of the test rig are presented together with the numerical simulation carried out with EUROPLEXUS code for the hydraulic and mechanical design of BRECHE.
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Barbosa, Gabriel, Thaiana Lima, Rodrigo Santos und Claudia Werner. „Brechó-SocialSECO: Uma Ferramenta para Apoiar Modelagem e Análise de Ecossistemas de Software“. In IV Brazilian Workshop on Social Network Analysis and Mining. Sociedade Brasileira de Computação - SBC, 2015. http://dx.doi.org/10.5753/brasnam.2015.6793.

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Em todo sistema de software, existe interação entre componentes. Ao unir uma rede técnica de artefatos com um ambiente social, cria-se uma rede socio-técnica. Visando desenvolver uma ferramenta que modele, analise e incentive as relações sociais na rede socio-técnica, foi proposta a Brechó SocialSECO. Estendeu-se a biblioteca de componente Brechó para melhor entender ecossistemas de software e dar suporte para tomadas de decisão. Este trabalho apresenta a ferramenta e seu funcionamento.
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Kuroda, Flávia, Cicero Andrade Urban, Marcelo Paula Loureiro, Mateus Ricardo Ulsan Lourenço und Bernardo Passos Sobreiro. „A PROSPECTIVE EVALUATION OF BREAST SATISFACTION AND EXPECTATION IN PREOPERATIVE BREAST RECONSTRUCTION PATIENTS“. In Scientifc papers of XXIII Brazilian Breast Congress - 2021. Mastology, 2021. http://dx.doi.org/10.29289/259453942021v31s1092.

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Introduction: There is a consensus that breast reconstruction makes an important positive contribution to the quality of life of breast cancer patients. However, a large proportion of breast cancer survivors have unmet expectations surrounding reconstruction after mastectomy, particularly in relation to appearance. Approximately 40% of women who underwent breast reconstruction after mastectomy reported their reconstruction to be worse than expected. There is little consensus about what impact specific factors have on women`s satisfaction with breast reconstruction process and outcomes. Objectives: To delineate factors affecting preoperative native breast satisfaction and expectation with the surgery using the BREAST-Q in patients prior to oncological breast surgery following breast reconstruction. Methods: A prospective cross-sectional trial with breast cancer patients enrolled from November 2019 to December 2020 at Hospital Nossa Senhora das Graças Breast Unit in Curitiba, Brazil. Two independent groups were studied. The first group included patients who underwent mastectomy following immediate breast reconstruction (IBR) with implant. The second group underwent breast-conserving therapy (BCT) following level 2 oncoplastic techniques. This study was approved by the Internal Review Boad of Positivo University, Curitiba, Brazil. All patients were invited to complete a patient-reported outcome (BREAST-Q) Expectations Module and Pre-operative Breast reconstruction module prior to surgery. Results: Overall, seventy-nine patients with breast cancer completed the preoperative BREAST-Q. Patients were divided into BCT following oncoplastic surgery (n=49) and mastectomy following IBR with implant (n=30) groups. The mastectomy with IBR implants group had better satisfaction with their native breast than BCT oncoplastic group. Comparing Breast-Q expectations rate, women in BCT following oncoplastic group had higher expectations for breast appearance when clothed than the group of mastectomy with IBR implant. Previous aesthetic breast surgery and neoadjuvant chemotherapy were significant predictors of preoperative physical well-being. Younger age was significantly correlated with pain expectation in the surgery. Patients who were fifty years old or more and had a university or higher education level expected that the breast appearance would match almost as well as the same ten years after. Conclusions: This study results highlight the need to improve education and informed decision-making about breast reconstruction. Patients demonstrated to have high expectations for breast appearance after reconstruction and expect not to change over time. Understanding which factors affect patient’s satisfaction with native breasts and their expectation with the surgery in the preoperative set could improve preoperative counseling and the management of patient’s expectations of subsequent breast reconstruction.
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„Breast“. In Proceedings of UK Radiological Conference 2014. The British Institute of Radiology, 2014. http://dx.doi.org/10.1259/conf-pukrc.2014.breast.

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Berichte der Organisationen zum Thema "Brecht"

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Baker, Clara. Bertolt Brecht and the Bible. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.5319.

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Patrick, Brigitte. Der Verfremdungseffekt von Brecht bis Handke. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.2412.

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DeWolfe, Brigitte. Aspekte des Charakterbegriffs im Werk von Bertolt Brecht. Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.2862.

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Folk, Robert. Illusion und Verfremdung: Begriff, Form und Wirkung; Bezogen auf Bertolt Brecht: "Der gute Mensch von Sezuan,". Portland State University Library, Januar 2000. http://dx.doi.org/10.15760/etd.953.

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Libertun de Duren, Nora Ruth. ¿Existe una brecha de género en la tenencia de hipotecas en América Latina? Inter-American Development Bank, Juni 2024. http://dx.doi.org/10.18235/0013074.

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Este ensayo explora la brecha de género en el acceso a hipotecas -créditos bancarios para compra de vivienda- en la región de América Latina y el Caribe (ALC) y en particular en el caso de Chile. El estudio se basa en un análisis empírico basado en encuestas de hogares con representación global y específicas para Chile. El análisis de estos datos identifica una brecha de género a favor de los hombres en la posesión de hipotecas. No obstante, estas brechas disminuyen significativamente al controlar las características socioeconómicas de los hogares. Las diferencias en las características individuales observables, tales como nivel de ingresos y de educación, explican más de la mitad de la brecha entre hombres y mujeres en el acceso a hipotecas. Quienes cuentan con hipotecas tienen, en promedio, mayor nivel de educación e ingresos, y mejores condiciones laborales y experiencia crediticia que quienes no las tienen. El hecho de que estas características prevalezcan más entre los hombres que entre las mujeres, indica que las mujeres experimentan brechas en factores importantes esenciales para su desarrollo. Además, el estudio identifica brechas de género aun entre quienes cuentan con hipotecas; lo cual indica la persistencia de las diferencias en resultados financieros en todos los niveles de ingresos. Los resultados de este estudio muestran que la brecha de género en el acceso a las hipotecas es la resultante de desventajas de las mujeres en su desarrollo en otros ámbitos relevantes, tales como el acceso a mercados laborales e instituciones financieras.
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Hernández Peña, Daniel. Mujer rica, mujer pobre: brecha ocupacional de género a lo largo de la distribución de la riqueza en países de ingreso bajo y mediano. Fundación Carolina, Mai 2024. http://dx.doi.org/10.33960/issn-e.1885-9119.dte12.

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Este trabajo estudia la brecha de género en la ocupación, en la media y a lo largo de la distribución de riqueza, en países de ingreso bajo y mediano; aspecto poco analizado hasta ahora, a pesar de que los mayores diferenciales del planeta pertenecen a estas naciones. Usando datos de panel provenientes de la Jobs-of-the-World-Database, analizamos brechas de género en tres dimensiones: ocupación blue collar, white collar y de alta cualificación. Estimamos un modelo de panel con dobles efectos fijos para analizar la relación entre los diferenciales ocupacionales y aspectos macroeconómicos vinculados al desarrollo, empleo, precios o tamaño gubernamental. Las brechas de género han disminuido con el tiempo, pero siguen siendo altas y, dependiendo del tipo de trabajo, son mayores entre ricos o pobres. En general, el crecimiento económico, una menor presión poblacional e inflacionista, y mayores tasas de empleo y gasto público se asocian con menores brechas ocupacionales, especialmente entre los pobres.
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Weeks, Julie R., und Danielle Seiler. Actividad empresarial de la mujer en América Latina: Una exploración del conocimiento actual. Inter-American Development Bank, November 2001. http://dx.doi.org/10.18235/0009767.

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Este informe pretende introducir la discusión de la brecha de género en el desarrollo de las empresas así como explorar posibles acciones que pudieran fomentar de manera efectiva el empresariado de las mujeres. Con este propósito en mente, hemos buscado resultados de recientes trabajos de campo sobre mujeres empresarias en América Latina y el Caribe y encontramos estudios cuantitativos muy útiles para un número limitado de países que nos permiten comenzar el análisis de las brechas de género existentes entre los empresarios. Este estudio se enfoca en mujeres propietarias de pequeñas empresas formales. Además del análisis de la brecha de género, necesitamos una perspectiva más amplia de lo que se hahecho para poder tratar de corregir las diferencias en el acceso a los factores de producción por parte de las mujeres y sobre todo aprender de las experiencias más prometedoras. Apenas estamos comenzando a examinar la relación entre las desigualdades de género y el desarrollo económico, los resultados iniciales más importantes del presente estudio son la identificación de nuevos temas a ser discutidos y recomendaciones para acciones futuras.Este informe pretende introducir la discusión de la brecha de género en el desarrollo de las empresas así como explorar posibles acciones que pudieran fomentar de manera efectiva el empresariado de las mujeres.
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Aguerrevere, Gabriela, María Caridad Araujo, Mariano Bosch, Mariángela Mendoza, Andrea Ortega, Pablo Picón, Laura Ripani und María Teresa Villanueva. La gran oportunidad: De la crisis a la transformación del empleo femenino. Inter-American Development Bank, April 2021. http://dx.doi.org/10.18235/0003222.

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Desde una perspectiva macro, el empleo femenino en América Latina y el Caribe ha vivido cambios positivos a lo largo del siglo XXI. Sin embargo, la incorporación de la mujer al mercado laboral se venía dando en un contexto de desigualdad que se manifestaba en mayor desempleo, segregación ocupacional, y brecha salarial, entre otras desventajas. A esto se suma la pandemia del COVID-19, que ha destruido el empleo como ninguna otra crisis y ha impactado especialmente a las mujeres, exponiendo las vulnerabilidades de los mercados de trabajo de la región y amenazando con deshacer los avances logrados en el cierre de las brechas económicas de género en las últimas tres décadas. Pero la pandemia también ha transformado el mundo del trabajo, lo que abre un escenario de oportunidades para apoyar, mejorar y aumentar la participación laboral femenina. El COVID-19 ha generado un fuerte impulso en áreas específicas donde la perspectiva de género será clave para poder cerrar las brechas entre hombres y mujeres. Además, la igualdad y la diversidad en el mercado laboral brindan innumerables beneficios a los sectores público y privado. La recuperación económica de América Latina y el Caribe será un desafío enorme y por lo tanto requiere acciones asimismo importantes, especialmente si queremos asegurar que las mujeres no se queden atrás y aprovechar esta oportunidad para reconstruir el mercado laboral de una forma más equitativa. Esta publicación presenta un conjunto de acciones que se pueden tomar para seguir avanzando en el cierre de la brecha de género en el contexto de la nueva normalidad, reactivando a las empresas, potenciando las habilidades de las mujeres, y modernizando las regulaciones laborales.
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García Zaballos, Antonio, und Enrique Iglesias Rodriguez. Informe anual del Índice de Desarrollo de la Banda Ancha: IDBA 2020: Brecha digital en América Latina y el Caribe. Inter-American Development Bank, Juni 2021. http://dx.doi.org/10.18235/0003337.

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¿Está avanzando la región América Latina y el Caribe (ALC) en cerrar las brechas de acceso a la Banda Ancha? Esta actualización del Índice de Desarrollo de la Banda Ancha (IDBA), conformado de 44 variables, muestra brechas persistentes y progreso lento en relación a cuatro pilares: “Políticas públicas y visión estratégica”, “Regulación estratégica”, “Infraestructuras” y “Aplicaciones y capacitación”. El IDBA es una herramienta potente, actualizada cada año, que permite identificar la magnitud de la brecha digital en dos enfoques geográficos diferentes (estado de un país frente al clúster al que pertenece y estado de un país frente a la OCDE). El BID ha elaborado esta herramienta para avanzar su misión de ayudar al desarrollo de ALC y financiar los esfuerzos dirigidos a reducir la pobreza y la desigualdad social en la región. La herramienta facilita la toma de decisiones, el desarrollo de políticas públicas y la elaboración de planes de acción concretos para el beneficio de cada país, incluso la priorización de financiamiento a los proyectos destinados a acelerar el desarrollo de la banda ancha.
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Novella, Rafael, und David Rosas-Shady. Estudio talento digital en el Perú 2023: la demanda insatisfecha de talento digital en el Perú. Banco Interamericano de Desarrollo, Dezember 2023. http://dx.doi.org/10.18235/0005310.

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El documento presenta los principales resultados de una encuesta innovadora a empresas que ha desarrollado el Banco Interamericano de Desarrollo para apoyar a los países de la región con la mejora de su talento digital. La encuesta analiza el nivel de transformación digital de un grupo de empresas peruanas; pone en evidencia la existencia de una importante brecha entre la demanda de habilidades digitales de las empresas y la oferta de habilidades digitales de la fuerza laboral; cuantifica la demanda por perfiles TI; e identifica las principales estrategias y dificultades que enfrentan las empresas para atender sus necesidades de talento digital. El documento también presenta recomendaciones sobre las políticas que se podrían implementar para reducir estas brechas.
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