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1
Haslett, Moyra. "Byron's "Don Juan" and the Don Juan legend /." Oxford [GB] : Clarendon press, 1997. http://catalogue.bnf.fr/ark:/12148/cb367003812.
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Pinheiro, Alisson Bernardo. "Din, don, don: Mestre Paraná e o Grupo Folclórico de Capoeira São Bento Pequeno (1950-1960)." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3780.
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This work seeks to question the construction of memory and history of capoeira in Rio de Janeiro in the second half of the twentieth century. Capoeira as a cultural manifestation is the subject of a growing number of art works, from theatrical to cinema movies, as well as government actions, with emphasis on its register as "intangible heritage of Brazilian culture." It is practiced in over 150 countries, and presents itself as one of the identities of Brazilians abroad. In Rio de Janeiro, capoeira had a great historical value in the memory of the nineteenth century, represented in various documents and letters from the State and from the intellectuals of the time. This history has been researched by authors who already attend their works being consecrated by the growing number of people interested in the topic. In contrast, the recent history of this practice is still a rare subject in the historiography, as well as in the other disciplines of the humanities. Thus, through ethnographic research with the "Grupo Folclorico de Capoeira São Bento Pequeno", capoeira school "Mestre Paraná", we question this gap in academic knowledge, as well as its reflections in the formation of "traditions"of capoeira in Rio de Janeiro. Grupo São Bento Pequeno was active in the 1950s and 1960s, a period of renewed growth of capoeira in Rio de Janeiro.Este trabalho questiona a construção da memória e da história da capoeira no Rio de Janeiro na segunda metade do século XX. A capoeira como manifestação cultural é tema de um crescente número de trabalhos artísticos, desde peças de teatro, filmes para o cinema, bem como de ações do governo, com destaque para seu tombamento como "patrimônio imaterial da cultura brasileira". É praticada em mais de 150 países, onde se apresenta como mais uma das identidades dos brasileiros no exterior. No Rio de Janeiro, deixou marcas profundas na memória do século XIX, representada em documentos variados do Estado e nas letras dos intelectuais da época. História que tem sido pesquisada por autores que já assistem suas obras sendo consagradas pelo crescente número de interessados no tema. Em contrapartida, a história recente desta prática ainda é assunto raro na historiografia, bem como nas demais disciplinas das ciências humanas. Assim, através da pesquisa etnográfica com o Grupo Folclórico de Capoeira São Bento Pequeno, escola de capoeira de Mestre Paraná, questionamos esta lacuna no conhecimento acadêmico, bem como seu reflexo na formação das "tradições" da capoeira no Rio de Janeiro. O Grupo São Bento Pequeno esteve em atividade nas décadas de 1950 e 1960, período de retomada do crescimento da capoeira no Rio de Janeiro.
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Ayala, Vargas Juan Carlos, Clemente Roxana Felicita Cueva, Jimenez María Elena Moya, and Ramos Yosahanira Olga Ramos. "Anticuchería “Don Cucho”." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626207.
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El presente proyecto ha sido desarrollado con la finalidad de poder demostrar la factibilidad de la implementación de un negocio enfocado al rubro gastronómico. “Don Cucho” es una idea de negocio innovadora ya que cuenta con diversos elementos que hacen de este proyecto una alternativa sostenible en el tiempo y que está elaborado contemplando diferentes escenarios.
El lugar ideal para desarrollar el proyecto es en la Av. Nicolás Ayllón N° 4336, Ate, pues en esta avenida no existe un restaurante especializado en anticuchos y hay un mercado por atender según las encuestas realizadas y que sirve de base para el desarrollo del presente.
La propuesta de valor estará enfocada en lo social y eco-amigable, pues se dará oportunidades laborales a madres solteras del hogar Reyna de la Paz que se encuentra en la zona y el diseño del local será con productos ecológicos.
La empresa se constituirá como sociedad anónima cerrada, bajo la razón social de “Don Cucho SAC”, la inversión inicial para llevar a cabo el proyecto es de S/ 110,380. Para evaluar la rentabilidad del estudio, se realizaron proyecciones de los estados financieros para los cinco primeros años de funcionamiento, los cuales dieron a conocer que se recuperará la inversión en el tercer año de ejecución.
Así mismo, se obtiene un VAN de S/. 53,904 y un TIR de 54% siendo superior al costo de oportunidad (COK de 32.75%), lo que demuestra la viabilidad del proyecto.The present project has been developed with the purpose of being able to demonstrate the feasibility of the implementation of a business focused on the gastronomic field. "Don Cucho" is an innovative business idea since it has several elements that make this project a sustainable alternative over time and that is elaborated contemplating different scenarios. The ideal place to develop the project is at Av. Nicolás Ayllón N ° 4336, Ate, because in this avenue there is no restaurant specialized in anticuchos and there is a market to be served according to the surveys carried out and that serves as the basis for the development of the I presented. The value proposal will be focused on the social and eco-friendly, as it will give employment opportunities to single mothers of the Reyna de la Paz home located in the area and the design of the premises will be with organic products. The company will be constituted as a closed corporation, under the corporate name of "Don Cucho SAC", the initial investment to carry out the project is S / 110,380. To evaluate the profitability of the study, projections were made of the financial statements for the first five years of operation, which revealed that the investment will be recovered in the third year of execution. Likewise, a NPV of S /. 53,904 and an IRR of 54%, exceeding the opportunity cost (COK of 32.75%), which demonstrates the viability of the project.
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4
Barrieault, Robert C., and Douglas O. Moses. "Financial accounting concepts and DoN/DoD financial reporting practice." Thesis, Monterey, California: Naval Postgraduate School, 1993. http://hdl.handle.net/10945/24170.
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Brianas, Christopher G. "DoN procurement metrics evaluation." Monterey, California. Naval Postgraduate School, 2005. http://hdl.handle.net/10945/10027.
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MBA Professional ReportThe purpose of this MBA Project was to investigate and provide a comprehensive evaluation of the current Department of the Navy Procurement Metrics that are collected. These metrics are collected by the Office of the Deputy Assistant Secretary of the Navy for Acquisition Management. This project was conducted at their request and with their support. The goal of this project was to determine if the current metrics are the appropriate procurement performance measures. Specifically, this MBA Project attempted to answer these three questions: (1) Do the metrics align with strategy? (2) Can they be measured effectively? and (3) Are they linked to value? The framework used to explore these questions is Robert Simon's Levers of Control model. These procurement metrics are part of a Diagnostic Control System and are being evaluated as such. Simon's Nature of Measures model is also used in the analysis and helps determine metric objectiveness, completeness and responsiveness.
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Fryklind, Emelie. "Don´t be square." Thesis, Konstfack, Textil, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5183.
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Fagan, Joshua Mills. "Projekt - Moliere : Don Juan." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78663.
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Foubert, Anne. "Le don en droit." Paris 2, 2006. http://www.theses.fr/2006PA020051.
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Il est communément admis par les juristes que le droit se montre globalement hostile au don. Cette hostilité se manifesterait par le régime juridique défavorable s'appliquant à cette catégorie centrale du don en droit qu'est la donation. Elle s'expliquerait, selon certains auteurs, par la spécificité des rapports de bienveillance qui les rendrait impropres à satisfaire les besoins des individus. Après avoir identifié les différentes catégories juridiques du don et en avoir fait l'analyse, il a été possible d'étudier les éléments du droit positif qui conduisent, non pas à éradiquer d'une manière générale, les rapports de bienveillance, mais à canaliser les circulations opérées sur le mode du don.
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Mercier-Ythier, Jean. "Equilibre général et don." Paris, Institut d'études politiques, 1989. http://www.theses.fr/1989IEPP0012.
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Kluge, Sofie. "Don Quixote og romangenren /." København : Museum Tusculanums forl., Københavns universitet, 2006. http://catalogue.bnf.fr/ark:/12148/cb41151413h.
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Habbard, Anne-Christine. "Kierkegaard et le don." Paris 4, 1998. http://www.theses.fr/1998PA040114.
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Le don traverse toute l'œuvre de Kierkegaard. Il rend compte de la nature de l'existence, qui n'est pas, mais qui a à être. L'existant est à la fois donné dans sa déterminité et libre de son devenir: il est originairement endetté, et l'exister peut alors être compris comme un effort de contemporanéité à soi, dont on voit qu'il échoue aux stades esthétique aussi bien qu'éthique. L'existant ne peut plus alors qu'espérer en une grâce divine qui, en lui réouvrant ses possibles, lui réouvre une temporalité obscurcie par le péché. Le don permet également de cerner la thématique de l'angoisse et du désespoir, si prégnante chez Kierkegaard : l'angoisse est cet affolement de la liberté lorsqu'elle s'aperçoit que s'est effondré sous ses pieds la nécessité ontologique rassurante, et qu'il lui faut être disponible pour elle-même. Le désespoir est l'expression existentielle d'un refus de la dérivation : l'individu tente frénétiquement de se renfermer à tout prix sur l'enclos d'un moi privatif et autosuffisant. Seul le nouveau don de la foi lui permet alors d'aborder l'ouverture des possibles et de l'avenir sans cette panique de la liberté. Mais un don est une tâche : l'individu doit également apprendre à donner pour accueillir en vérité ce moi qu'il est. On voit par la non seulement comment la notion de communication existentielle prend sens à la lumière du don, mais, plus généralement, qu'il n'y a pas de subjectivité hors de l'intersubjectivité, portée par un rapport de sollicitude et d'amour à l'égard d'autrui. Enfin, Kierkegaard se dégage par le biais du don des présupposés de l'ontologie, entendue comme processus de totalisation et de justification perpétuelles. La raison a besoin de d'un objet réifié pour travailler, et elle ne sait que faire du sujet et du singulier. C'est pourquoi elle est finalement inapte à comprendre ces déchirures dans l'être que sont l'existence - et dieu, dont on s'aperçoit ainsi qu'il n'est pas, hors du pur don « pré-ontologique » de son amour.
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Hempel, Leonie. "Kurze Promotoren und Translationskontrollelemente steuern die Expression von Don Juan, Don Juan-Like und Min, wobei Don Juan und Don Juan-Like vermutlich funktionell redundant in der Spermiogenese von Drosophila melanogaster sind." [S.l. : s.n.], 2004. http://archiv.ub.uni-marburg.de/diss/z2004/0152/.
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Piveteau, Olivier Suárez Sánchez Elena. "El burlador y el santo : Don Miguel Maňara frente al mito de Don Juan /." Séville : Cajasol, obra social fundació, 2007. http://catalogue.bnf.fr/ark:/12148/cb413389632.
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Crowe, Tracy. "Authorized carnival in Don Quijote." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28555.pdf.
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Tomaszewski, Mieczyslaw. "Mozarts Don Juan in Polen." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-218474.
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Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.
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Thompson, Lisa S. "Nelly Don| An Educational Leader." Thesis, Lindenwood University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10823556.
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In 1916, Ellen Quinlan Donnelly aka Nelly Don started a fashion empire from her humble Kansas City home. She became one of the wealthiest and most celebrated American women in business with a career that spanned well into the 1960s. The Nelly Don Empire reportedly sold more dresses in the 20th century than any other single person in the United States, and she started as a Lindenwood College student.
This study investigated Nell Quinlan Donnelly the “Grand Lady” of the garment industry beyond her millionaire status and revolutionary business leadership at Donnelly Garment Company. The reexamination of Nell Quinlan Donnelly’s 60 year relationship with Lindenwood College began in 1907 as the first married student to attend. Donnelly graduated in 1909 with a Seminary Diploma and later became a phenomenal business, civic, and educational leader.
The significance of Nell Quinlan Donnelly’s relationship with Lindenwood College has been identified by her recognition of the changing role of young women post World War II. Donnelly, a visionary leader, and a member of the Lindenwood Board of Directors and several other administrative boards, encouraged developing programs that focused on mathematics and computer science. Donnelly challenged Lindenwood education leaders with the idea of “reaching beyond traditional confines of Liberal Arts programs and to expand student experiences that would offer ‘unlimited opportunities’ for young women” (Lindenwood Board of Director notes 1944 & 1962; Ebling & Kavanaugh, 1980). The foresight of “unlimited opportunities” afforded to young women as envisioned by Nell Quinlan Donnelly would prove her to be a woman ahead of her time and one of Lindenwood’s most loyal and dedicated educational leaders.
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Tomaszewski, Mieczyslaw. "Mozarts Don Juan in Polen." Musikgeschichte in Mittel- und Osteuropa ; 1 (1997), S. 21-32, 1997. https://ul.qucosa.de/id/qucosa%3A15296.
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Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.
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Morini, Liliana. "Juan Moreira - Don Segundo Sombra." Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/90982.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.Made available in DSpace on 2012-10-23T17:27:19Z (GMT). No. of bitstreams: 1 256025.pdf: 812592 bytes, checksum: 71385137842789b0a0c333eb92c38944 (MD5)
A presente pesquisa tem por objetivo comparar dois personagens da literatura gauchesca argentina, Juan Moreira, do romance homônimo de Eduardo Gutiérrez, e Don Segundo Sombra, do romance também homônimo de Ricardo Güiraldes, obras fundamentais do fim do século XIX a primeira, e inicio do século XX a segunda. Neste estudo procura-se realizar reflexões sobre as semelhanças, diferenças ou aproximações das personagens, bem como ressaltar a importância delas para a representação literária do gaúcho na sociedade pampiana da época. Para fortalecer a análise comparativa, desenvolve-se uma exposição sobre os conceitos e matizes das personagens e apresenta-se um panorama sobre o modo de vida do gaúcho e como ele é retratado na ficção.
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Secher, Claus. "Den moralske Don Juan : om det jødiske gennembrud i amerikansk litteratur /." Valby : Borgen, 1994. http://catalogue.bnf.fr/ark:/12148/cb392789464.
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Bélair, Eugène J. "Mouvement sacerdotal marial : Don Stefano Gobbi." Thesis, University of Ottawa (Canada), 1986. http://hdl.handle.net/10393/4700.
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Beier, Carsten. "Postmoderner Realismus zum Romanwerk Don DeLillos." Berlin Logos-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2806610&prov=M&dok_var=1&dok_ext=htm.
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McMinn, Robert Frank. "Don DeLillo, events and local gods." Thesis, University of Nottingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311725.
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Freitas, Lígia Silva. "Anatomia Foliar de Microlicia D. Don." Universidade Federal de Uberlândia, 2015. https://repositorio.ufu.br/handle/123456789/18223.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorMelastomataceae Juss, a maior família da ordem Myrtales, apresenta ampla distribuição pantropical. A família é uma das maiores da flora brasileira, somando cerca de 150 gêneros e 4.500 espécies. Melastomataceae é dividida em 11 tribos, sendo Melastomeae Bartl., Miconieae DC. e Microlicieae Naudin as tribos mais importantes para o Brasil, onde podem ser encontradas cerca de 1/3 de suas espécies. Microlicia D. Don, o maior gênero da tribo Microliciae, é um dos gêneros mais representativos, com cerca de 120 espécies, concentradas principalmente nos campos rupestres do Brasil Central. Embora atinjam sua maior diversidade nos campos rupestres, algumas espécies de Microlicia têm ampla distribuição, podendo ser encontradas em outras fitofisionomias, como cerrado, veredas, campos úmidos e campos hidromórficos. Microlicia é considerado um gênero problemático entre as Melastomataceae, sendo suas espécies reconhecidas apenas pela combinação de diferentes características, o que torna difícil a identificação precisa de várias delas. Numa tentativa de elucidar a delimitação dos taxa mais problemáticos, um grande esforço tem sido dedicado ao estudo da anatomia foliar de espécies do gênero na última década, e hoje cerca de 1/3 das espécies já tiveram a anatomia foliar descrita. As características mais comuns para o gênero são: epiderme uniestratificada, folhas anfiestomáticas, presença de apêndices epidérmicos variados, mesofilo isobilateral ou homogêneo, e presença de compostos fenólicos nos tecidos da folha, principalmente nas células do parênquima paliçádico. No entanto, apesar das várias características em comum, as folhas de Microlicia exibem também características anatômicas diferentes, que poderiam auxiliar na identificação dos taxa de reconhecimento mais impreciso. Considerando o grande número de espécies de Microlicia com a anatomia foliar descrita, o polimorfismo relatado para várias espécies do gênero e o possível potencial plástico da folha, que as espécies de ampla ocorrência poderiam apresentar, o presente estudo teve como objetivos gerais: a) descrever a anatomia foliar de mais nove espécies do gênero, ocorrentes nos campos rupestres; b) descrever a anatomia foliar de quatro espécies ocorrentes em diferentes ambientes, além dos campos rupestres e c) através da análise de similaridade, realizada com base nas características anatômicas da folha de todas as Microlicia estudadas até o momento, analisar os grupos de espécies semelhantes formados e identificar caracteres que propiciem a formação dos mesmos.
Melastomataceae Juss, the largest family of the order Myrtales, is widely distributed pantropical. The family is one of the largest of the Brazilian flora, with about 150 genera and 4,500 species. Melastomataceae is divided into 11 tribes, with Melastomeae Bartl., Miconieae DC. and Microlicieae Naudin the most important tribes in Brazil, and in Brazil can be found about 1/3 of its species. Microlicia D. Don the largest genus of Microliciae tribe and one of the most representative genera, with about 120 species, mainly concentrated to the “campos rupestres” in the Central Brazil. Although Microlicia reaching its greatest diversity in the Brazilian “campos rupestres”, some species are widely distributed and can be found in other vegetation types such as cerrado, paths, swamps and hydromorphic fields. Microlicia is considered a problematic genus among the Melastomataceae, and their species are recognized only by combining different traits, making it difficult to accurately identify several of them. In an attempt to help the delimitation of the most problematic species, in the last decade a great effort has been devoted to the study of Microlicia leaf anatomy and today around 1/3 of these species have had the leaf anatomy described. The most common features are: unisseriate epidermis, amphistomatic leaves, presence of trichomes and emergences, isobilateral or homogeneous mesophyll and presence of phenolic compounds in leaf tissues, particularly in the palisade parenchyma cells. However, despite the many similar features, Microlicia leaves also exhibit different anatomical characteristics that could help identify the most problematic species. Considering the large number of Microlicia species with the leaf anatomy known, the polymorphism already reported for several species of the genus, and the possible plastic potential of the leaf anatomy that the species of widely spread could present, the goals of this work were: a) analyze the leaf anatomy of nine Microlicia from “campos rupestres”; b) analyze and interpret the leaf anatomy of four species occurring in others environments, beyond the “campos rupestres” and c) through similarity analysis performed using the anatomical leaf traits of the all Microlia studied to date, analyze the groups of similar species formed and identify characters that favor the formation of the same.
Dissertação (Mestrado)
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Benavides, Ganoza Alberto. "Vigencia de Don Manuel González Prada." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/114529.
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Eberhardt, Joachim. "Der Höhepunkt: Don Juan in Detmold." Allitera Verlag, 2016. https://slub.qucosa.de/id/qucosa%3A21179.
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Dawalibi, Paul. "L'amour comme aban-don de soi." Paris 4, 2008. http://www.theses.paris-sorbonne.fr/these_dawalibi/paris4/2008/these_dawalibi/html/index-frames.html.
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Par l’épreuve de la perte de soi, de la perte de l’intimité de soi, la mienneté se laisse-être-prise selon les exigences d’un aban-don originaire à ce qui fait commencer en elle la dé-mesure, la non-limite et le surcroît de ce qui a déjà commencé en elle depuis sa naissance. Ainsi, toute ressemblance tient en elle sa dif-férence, toute appropriation s’expose à une altération, tout pouvoir se brise, tout orgueil s’aliène et tout narcissisme s’étouffe sous le charme de sa propre beauté. Et puisque la limite d’un « chez soi » est par définition non-familière, le paradoxe des frontières, ainsi produit, altérera en tout cas le pouvoir d’être soi et même la signification d’un « chez soi » ontologique. Dès lors, se perdre c’est laisser l’aban-don de soi faire advenir l’arrivage de l’originaire en soi, c’est être originairement selon l’arrivage de l’événement de sa naissance, du recommencement du don originaire de soi. Seul l’arrivage de ce qui fait naître l’ipséité originairement, possibilise le se-laisser-être-aban-donné de soi. Seul l’arrivage de l’Amour rend possible la donation originaire de l’ipséité comme aban-don de soiBy the event of the loss of one, the loss of the intimacy of one, the self leash-being-taken according to the requirements of a native abnegation or renunciation in what made begin in her the immoderation, the nonlimit and the increasing of what has already begun in her since her birth. So, any resemblance holds in her its difference, any appropriation exposes it self to a change, any power breaks, any pride alienates and any narcissism suffocate or suppresses under the charm of its own beauty. And because the limit of one "at home" is by definition non-familiar, the paradox of the borders, so produced, will distort (alter) at least the power to be one and even the meaning of an "at home" ontological. From then on, get lost it is to let the self-abnegation make the native come in itself, it is to be originally according to the arrival of the event of its birth, of the resumption of the donation native of one. Only the arrival of what creates the self originally makes possible to let-be-abandoned by one. Only the arrival of Love makes possible the native donation as the self-abnegation
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Labère, Claude. "Don Quichotte théâtralisé au XXème siècle." Toulouse 2, 1998. http://www.theses.fr/1998TOU20079.
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L'écriture et la composition du Quichotte portent témoignage de l'homme de théâtre déçu que fut Cervantes. La masse dialoguée, la structure, l'oralité caractéristique et l'aura dont bénéficient les personnages construisent une spirale incitative qui favorise la transposition du roman. Trois techniques essentielles, l'ellipse, la condensation et l'invention, président au processus d'adaptation qui a donné naissance à six créations théâtrales récentes, désormais émancipées de leur hypotexte. Ce travail de réécriture ne saurait consister en un collage de fragments jugés particulièrement théâtraux. Au contraire, chaque auteur a dégagé, une vision préférentielle autour de laquelle il a bâti une véritable dramaturgie. Invoquer alors les notions de fidélité ou de trahison ne paraît pas opératoire ; théâtraliser Don Quichotte ne consiste pas à faire vivre le livre sur la scène, mais à recréer des figures autonomes dans un univers différent qui possède ses exigences, ses codes et ses lois. La réactualisation thématique s'ordonne autour de deux éléments constitutifs de l'œuvre : la folie et le comique. Aucun des dramaturges de notre étude ne se hasarde à nier la démence de l'hidalgo, mais son importance et sa signification suscitent bien des divergences. Selon les versions, elle se révèle sans espoir ou bien source d'étranges pouvoirs qui matérialisent les chimères. Sous son couvert, le vieux gentilhomme hypertrophie la verve critique que manifeste son homologue romanesque, utilisant pleinement les pouvoirs de la marotte. L'un des principaux mérites des auteurs que nous étudions demeure la mise en valeur de l'élément comique. Notre travail fait apparaître la pérennité des techniques susceptibles de provoquer le rire, et les conditions requises pour son épanouissement. Ainsi, par le biais du processus de transposition, Don Quichotte, œuvre de divertissement instructif, gaie et noble, drôle et profonde, recouvre sa substance originelle. Apres avoir emprunté sa quintessence au roman, le théâtre lui apporte en retour, sa vision moderne et sa vigueur nouvelle, engageant son public à (re)découvrir l'immense richesse du texteThe style and composition of Quixote evince how disappointed Cervantes was as a man of the stage. The massive dialogue forms, the structure, the characteristic oral aspect, and the aura the characters benefit from contribute to create an appealing spiral which favours the transposition of the novel. Three main literary devices: the ellipsis, the condensation and the invention predominate in the adaptation forms thus giving birth to six recent stage productions, from now liberated their text. The rewriting task doesn't consist in a collage of particularly dramatic fragments. On the contrary, each author has selected a preferential vision on which a real dramatic art has been composed. Thus putting forward notions of fidelity or misinterpretation does not seem to operate ; a dramatization of Don Quixote does not consist in making the novel lively on stage but in recreating autonomous characters in a different universe which has its particularity, codes and laws. The up-to-date thematic organizes itself around two elements which constitute the novel: madness and comedy. None of the dramatists in our study venture to deny the hidalgo's insanity, but its importance and significance give rise to many divergences. According to the different versions, madness reveals itself as being hopeless or at the root of strange powers materializing chimaeras. Under this cover the old gentleman hypertrophies the critical verve shown by his romantic counterpart, thus making fully use of the power of craziness. One of the main quality the authors we are studying, is to hightlight the comic aspect. Our work brings to light the durability of technics capable of rousing laughter, and the conditions required to its blossoming. Thus, by means of the transposition process, Don Quixote, which is a deep and amusing, noble and cheerful instructive entertainment, regains its original gist. First borrowing its quintessence from the novel, the theatre gives it, its modern vision and its new strength involving the public to (re)discover the huge richness of the text
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Duchoň, Tomáš. "Konkurenční analýza hotelu Dorint Don Giovanni." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-194151.
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The Master's Thesis is focused to the issue of competitiveness in Prague four star hotel. The goal of this work is to make strategic competitior analysis, map the current trends affecting tourism and on the basis of the evaluation results to formulate proposals and recommendations to the hotel's management. This work uses the selected analytical methods to determine the future direction of the hotel and eliminating its shortcomings.
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Dawalibi, Paul Marion Jean-Luc Greisch Jean. "L'amour comme aban-don de soi." Paris : Université Paris Sorbonne - Paris IV, 2008. http://www.theses.paris4.sorbonne.fr/these_dawalibi/paris4/2008/these_dawalibi/html/index-frames.html.
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Fassanelli, Rachele. "Don Denis. Poesie d'amore. Edizione commentata." Doctoral thesis, Università degli studi di Padova, 2009. http://hdl.handle.net/11577/3421772.
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The study consists of a comment edition of 127 don Denis’ s love poems, conventionally divided into two sections: 75 cantigas de amor and 52 cantigas de amigo. Following the only complete edition of don Denis of Portugal (1261-1325), prepared by H. Lang in 1894, I proceeded to a textual revision, based on a systematic review of the codices and on the successive exegetical studies. The first aim of this revised critical edition is to offer an analytical comment of the poetical corpus of don Denis, the most representative author of the galician-portuguese poetry. The rich inquiry examines in detail any poem of the king poet from a thematic and rhetorical perspective and it documents the intertextual relations with the provençal and north french lyric on the one hand and the galician-portuguese poetry on the other.La tesi consiste in un’ampia edizione commentata dei 127 componimenti di tematica amorosa di don Denis di Portogallo (1261-1325), tradizionalmente ripartiti in 75 cantigas de amor e 52 cantigas de amigo. Sulla base dell’unica edizione critica completa della produzione poetica dionigina, quella allestita da H. Lang nel 1894, si è proceduto ad un’accurata revisione testuale del corpus, sia attraverso un controllo sistematico della tradizione manoscritta, sia prendendo in considerazione le recensioni e i successivi contributi critici. Ne risulta un’edizione criticamente rivista che si pone come obiettivo principale quello di offrire un analitico commento esegetico-critico ai singoli testi del re trovatore, unanimamente riconosciuto come il poeta più colto e rappresentativo della lirica galego-portoghese, ma al quale non sono stati finora dedicati studi monografici esaustivi. L’esteso commento rende dunque conto degli aspetti tematici, metrici, retorici e linguistici delle differenti poesie, nonché della fitta trama intertestuale che collega alcune di esse alla tradizione della lirica cortese (provenzale e francese) da un lato e al trobadorismo peninsulare dall’altro.
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NODOT, BENAN ANNE. "Don de sperme et risque viral." Strasbourg 1, 1995. http://www.theses.fr/1995STR15042.
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Donnier-Valentin, Carle Sylvie. "Anémie ferriprive et don du sang." Aix-Marseille 2, 1988. http://www.theses.fr/1988AIX20401.
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Masclef, Olivier. "Le rôle du don/contre-don dans l'émergence des organisations : modèle théorique et études de cas comparées." Lyon 3, 2004. http://www.theses.fr/2004LYO33027.
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En management, le temps, dans une conception newtonienne, est une donnée linéaire et réversible. Dans une telle perspective, la question de l'émergence des organisations n'est pas un problème en soi dans la mesure où le passé et le présent donnent suffisamment d'éléments pour agir. Cependant, si nous utilisons une conception réaliste du temps, c'est-à-dire irréversible, alors l'émergence des organisations devient un phénomène difficilement explicable. Réfléchir en temps irréversible revient à intégrer l'indétermination du futur. Cette recherche propose une théorie de l'émergence organisationnelle en temps irréversible à partir de la théorie du don de Mauss. Cette théorie présente l'émergence organisationnelle comme un processus de dons/contre-dons mené par l'individu, celui-ci étant obligé de s'engager en donnant des ressources aux différents protagonistes afin de faire émerger l'organisationThere is a conception widely used in management: the newtonian conception of reversible time, in which time is perceived in a linear manner. Within such a perspective, the question of organization emergence is not a problem, because the past and the present provide us enough elements for deciding. However, if we adopt a realistic conception of time, i. E. An irreversible conception, then the question of emergence poses a real problem. Reasoning in irreversible time amounts to introducing the indeterminate nature of the future. This research puts forward a theory of the emergence of organizations that incorporates the irreversible nature of time: the gift theory developed by Mauss. This theory presents the emergence of the organization as a gifts process driven by the individual who is actually obliged to commit himself by giving resources to the various protagonists in order to make the organization emerge
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Klitzing, Andrea. "W. A. Mozart: Don Giovanni. Arrangements - gedruckt im deutschsprachigen Raum bis 1850." Andrea Klitzing, 2020. https://slub.qucosa.de/id/qucosa%3A38046.
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Die große, weltweite und berechtigte Aufmerksamkeit, die Wolfgang Amadeus Mozarts Don Giovanni innerhalb der Musikhistoriographie zuteil wurde, täuschte lange Zeit darüber hinweg, dass sich die frühste Form seiner Verbreitung und Appropriation im Kleinen vollzog: Im Arrangement. Bis 1850 wurden Arrangements des Don Giovanni im deutschsprachigen Raum in stetig wachsender Auflagezahl und für verschiedenste Kammermusikbesetzungen ohne Worte ediert. Andrea Klitzing recherchierte mehr als 300 Don Giovanni-Arrangements und fasste sie in einer Tabelle zusammen, welche über zahlreiche Links den Zugang zu digitalisierten Notenausgaben und historischen Rezensionen ermöglicht. Das ergänzende Buch „Don Giovanni unter Druck“ widmet sich der systematischen Erfassung, Auswertung und Kontextualisierung dieser Druckausgaben und erscheint voraussichtlich Mai 2020 bei V&R Unipress.The global and justified attention that Wolfgang Amadeus Mozart's Don Giovanni received in music historiography has long concealed the fact, that the earliest form of its dissemination and appropriation took place on a small scale: the Arrangement. Up until 1850, arrangements of Don Giovanni were edited in the German-speaking countries in ever-increasing numbers and for various chamber music ensembles without words. Andrea Klitzing researched more than 300 Don Giovanni-arrangements and summarized them in a table with numerous links to digitized music prints and historical reviews. The book 'Don Giovanni unter Druck' (“Don Giovanni in press”) is devoted to the systematic recording, evaluation, and contextualization of those print editions. Estimated release, V&R Unipress, May 2020.
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Goyarts, Tanja. "Effects of the Fusarium toxin deoxynivalenol (DON) on protein synthesis, immunological parameters and DON-kinetics in the pig." [S.l.] : [s.n.], 2006. http://deposit.ddb.de/cgi-bin/dokserv?idn=980663350.
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Miller, Sarah. "Reflections of the Don: Zerlina's Empowerment Narrative and the Inclusion of "Per queste tue manine" in Don Giovanni." Digital Commons @ Butler University, 2018. https://digitalcommons.butler.edu/grtheses/506.
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After the premiere of Don Giovanni in Prague, Wolfgang Amadeus Mozart and Lorenzo Da Ponte brought their opera to Vienna on May 7, 1788. One point of interest in the Viennese version of the score is the added duet “Per queste tue manine.” In this duet, the enraged Zerlina overpowers the bewildered servant Leporello with a handkerchief, a razor, and passion. She constrains the floundering fool and punishes him for his misconduct. In most modern performances, companies look no further than the Prague version of the score. Additionally, singers often portray Zerlina as either a mischievous temptress or a virginal peasant girl. Since modern opera companies often dismiss the Viennese score of Don Giovanni as insignificant and scholars often deem the role of Zerlina as simplistic, a holistic analysis of the role of Zerlina is needed. Viewing the interpretations of her character by Kristi Brown-Montesano and Wye Jamison Allanbrook through the lens of eighteenth-century gender politics and my own musical and literary interpretations results in a more complete understanding of the peasant girl. Through an analysis of the Viennese version of Zerlina’s character, I contend that Zerlina functions as a mirror-image foil to Don Giovanni. As Zerlina gains autonomy through the control of her own body, the Don loses his power over others and eventually his own life. This multi-dimensional understanding of Zerlina’s character is only possible if “Per queste tue manine” is taken into consideration.
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Cousineau, Marie. "Un éclairage de la fidélité organisationnelle du bénévole par la théorie du don/contre don : application aux associations solidaires et humanitaires." Caen, 2013. http://www.theses.fr/2013CAEN0705.
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Dans un contexte de crise du bénévolat (Pujol, 2009), notre travail a pour objectif d’éclairer la fidélité organisationnelle du bénévole à son association en prenant en compte les échanges entre l’organisation et ses membres (March et Simon, 1958). Pour cela, la théorie du don/contre don (Mauss, 1950) est mobilisée. Ce travail doctoral propose d’apporter une contribution à la problématique suivante : en quoi les profils de dons/contre dons des bénévoles expliquent leurs types de fidélité organisationnelle ? Quatre phases méthodologiques guident ce travail : trois études de cas exploratoires permettent de clarifier les contenus des dons/contre dons et ceux de la fidélité organisationnelle. Une étude de cas confirmatoire apporte des éléments d’attestation de la saturation théorique et des profils de dons/contre dons et de fidélité sont mis au jour. Puis, nous avons soumis ces résultats aux méthodes quantitatives avec la création de trois échelles de mesure respectant les préconisations du paradigme de Churchill et al. (1979). Enfin, des profils de dons/contre dons sont créés statistiquement et comparés à ceux issus de l’approche qualitative. Les résultats démontrent l’influence des profils de dons/contre dons des bénévoles sur leur fidélité organisationnelleIn a situation where volunteering is in crisis (Pujol,2009), our work aims at clarifying the volunteer's organizational loyalty to his charity taking into account the interaction between the charity and its members (March and Simon, 1958). For this purpose, the theory of gift/counter gift (Mauss, 1950) is mobilized. This doctoral work intends to contribute to the following issue : how do the volunteers' gifts/counter gifts profiles explain their types of organizational loyalty ? Four methodological phases guide this work: three exploratory case studies clarify the contents of the gifts, the counter gifts and the organizational loyalty. A confirmatory case study brings new certification elements of the theoretical saturation as gifts/counter gifts and loyalty profiles are revealed. Then, these results were submitted to the quantitative methods creating three measuring scales respecting the requirements of the Churchill and al paradigm (1979). Finally, the gifts/counter gifts profiles are statistically created and compared to the ones from the qualitative approach. The results show the influence of the gifts/counter gifts profiles of the volunteers on their organizational loyalty
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Craft, Michael J. "Successful achievement of TQL in DoN activities." Thesis, Monterey, Calif. : Springfield, Va. : Naval Postgraduate School ; Available from National Technical Information Service, 1993. http://handle.dtic.mil/100.2/ADA272671.
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Benjelloun, Mohamed Amine. ""Don et anonymat : la question des identités"." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM5032/document.
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A travers notre pratique de pédopsychiatre confronté au vécu de familles interpellées par la question du don de gamètes ou d'organes, il nous a semblé que nombre d'apories traversant les phénomènes de la donation et de l'anonymat n'étaient pas pris en compte par la médecine.Si le don et l'anonymat traversent toute la médecine au point que celle-ci les a hissé au rang de principes, ils ne font pas l'objet d'un enseignement ou d'une réflexion approfondie. La philosophie et la littérature apportent aussi certaines réponses possibles . Le don est un présent sans la présence, portant en lui une part d'abandon, sans raison, à quelqu'un qui ne demande rien, puisque justement il ne saurait pas qu'on lui a donné. L'anonymat permet de s'effacer, pour pouvoir rencontrer l'Autre, au plus prés. Ceci commence dès l'origine, pour permettre au sujet d'approcher dans l'errance et le doute une rencontre avec l'inconnu et le dehors, loin d'une altérité qui ne serait que radicale. Enfin, la question du don d'organes, du don de gamètes, de l'anonymat obligent à repenser simultanément la question de la relation et celle de l'identité. Le donneur et le receveur se rencontrent, l'un est obligatoirement plongé dans le temps de l'autre : comment construire une sphère propre et une sphère de l'autre, une intersubjectivité qui rendrait possible la communication entre matériaux d'origine différente ? Comment reconnaître ego et alter, comme des ipséités ? Les concepts d'identité narrative, d'histoires empêtrées, permettent de dépasser la question de l'anonymat. L'anonymat protégerait alors l'identité. Et mieux, permet alors à la reconnaissance, toute éthique, d'advenirThrough our practice of child psychiatry and confronted with the lived of families concerned with the question of gametes or organs donation, it seems that numerous aporia related to donation and anonymity experiences have not been considered by medicine. If donation and anonymity have been central to medicine to the point that they have become principles, they have never been subjects of education or profound reflection. Philosophy and literature also bring some possible answers. Donation is a present without the presence, carrying with itself some abandonment, without reason, to someone who doesn't ask for anything, precisely because he would not know that he was given something. Anonymity gives an opportunity to fade away, just to be able to meet the other, closer. This obliteration starts from the very beginning. It aims at any founding trace, in order, paradoxically to allow the subject to approach in wandering and doubt a possible encounter with the unknown and the outside, far from an otherness that be only would be radical.Finally, the issue of organ donation, of gamete donation, of anonymity, forces us to rethink simultaneously the question of relationship and identity. The donor and recipient, meet and are necessarily immersed in the other's time: how to build a sphere for oneself and a sphere for the other, an intersubjectivity which would enable the communication between materials of different origin? How to recognize ego and alter, as ipseities? Concepts of narrative identity, entangled stories allow to pass over the question of anonymity. Anonymity would then protect identity. And better still, would allow for an ethical recognition to happen
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Bertrand, Paul. "The life and legacy of Don Toppin." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ53311.pdf.
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O'Shannassy, Timothy J. "Music in Don Delillo's 'Great Jones Street'." Thesis, University of Westminster, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433765.
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Martins, Vinicius. "A tradução dialetal em Don Segundo Sombra." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-19122013-144350/.
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As variantes dialetais de cada idioma possuem características geográficas, sociais, situacionais e culturais muito próprias e que podem vir a ser diferentes das encontradas em qualquer outra língua. Portanto, a tradução dessas variantes estaria diante de problemas para os quais seria necessário empregar uma variedade de técnicas tradutórias que, a nosso ver, merecem uma investigação mais detalhada. Assim, esta pesquisa tem como tema o estudo da tradução da representação literária do dialeto rural no romance Don Segundo Sombra (1926) do escritor argentino Ricardo Güiraldes para o português. A necessidade de um trabalho que vise analisar a tradução da representação literária do dialeto deve-se à falta de pesquisas sobre traduções de variantes dialetais que tenham como corpus original uma obra literária de língua espanhola e se baseie numa metodologia que exponha os dados de maneira qualitativa. A pesquisa fornece respostas às problemáticas que envolvem a tradução de dialeto e se beneficiarão dela todos os interessados nos aspectos da tradução de romances regionalistas, tal como aqueles que buscam amostras para os estudos dialetológicos na área de tradução. Analisamos a tradução com o auxílio do modelo de avaliação de qualidade de tradução de Juliane House (1997), baseado em quatro níveis de análise: função do texto individual, gênero, registro e linguagem/texto. Concluímos que o tradutor realiza um trabalho bastante satisfatório ao se aproveitar do contínuo dialetal existente entre o português brasileiro e espanhol, mais especificamente o português do Rio Grande do Sul e o espanhol do Rio da Prata, para marcar a linguagem da tradução como regional e estrangeirizadora. Por meio disso, ele consegue transmitir ao leitor a noção de que as personagens produzem uma variante marcada dialetalmente como não padrão/neutra, sem descaracterizá-las.The dialect variants of each language have geographical, social, cultural and situational features very unique and that may be different from those found in any other language. Therefore, the translation of these variants would face problems for which it would be necessary to employ a variety of translation techniques that, in our view, deserve a more detailed investigation. Thus, this research theme is the study of translation of literary representation of rural dialect in the novel Don Segundo Sombra (1926) by Argentine writer Ricardo Güiraldes into Portuguese. The need for a work aimed to analyze the translation of literary representation of dialect is due to the lack of research on translations of dialect variants that have as source corpus a literary piece written in Spanish language and based on a methodology that expose data in a qualitative way. The research provides answers to problems involving the translation of dialect and it will benefit all interested in aspects of translation of regionalist novels, as well as those seeking dialect samples for studies in the field of translation. We analyzed the translation with the help of Juliane Houses model of translation quality assessment (1997), based on four levels of analysis: individual textual function, genre, register and language / text. We conclude that the translator performs a quite satisfying work as he takes advantage of the dialect continuum between Brazilian Portuguese and Spanish, more specifically the Portuguese from Rio Grande do Sul and Spanish from Rio de la Plata, to mark the language of translation as regional and foreignizing. By this, he manages to convey to the reader the notion that the characters produce a variant marked as dialectally nonstandard / neutral without uncharacterize them.
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Pollarolo, Giovanna. "Don Quijote, el escribidor y el escritor." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/102689.
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En sus diversos estudios críticos, Mario Vargas Llosa ha mostrado un especial interés en reflexionar sobre la teoría novelística de Miguel de Cervantes en función de sus propias preocupaciones como estudioso y novelista. Basta leer el ensayo “Una novela para el siglo XXI” que escribió en 2005 como introducción para la edición del Quijote con motivo de la celebración del IV Centenario, para constatar que Vargas Llosa “lee” a Cervantes en función de sus propias reflexiones sobre la teoría de la novela, el fanatismo o la “locura” de los personajes, la ficción y sus relaciones con la “realidad”, las voces narrativas o el problema del narrador. Pero la relación de Mario Vargas Llosa con Cervantes va más allá del ámbito teó-rico o reflexivo y se manifiesta en la propia creación novelística tal como ocurre, específicamente, en La tía Julia y el escribidor. En ese sentido, el objetivo principal de este trabajo es analizar el “diálogo” que se establece en La tía Julia y el escribidor con el Quijote a partir de la “locura” de Pedro Camacho, el escribidor de radionovelas creado por Vargas Llosa, y sus semejanzas con la del caballero andante.In his diverse critical studies, Mario Vargas Llosa has shown particular interest in reflecting on Miguel de Cervantes’s novelistic theory in accordance with his own concerns as a scholar and novelist. Suffice it to read the essay “Una novela para el siglo XXI” that he wrote in 2005 as an introduction to the edition of Don Quijote prepared to celebrate the IV Centenario, to make sure that Vargas Llosa “reads” Cervantes in accordance with his own reflections on the theory of the novel, fanaticism or the “insanity” of the characters, the fiction and its relationship with “reality”, the narrative voices or the problem of the narrator. But the Cervantes – Vargas Llosa relationship goes beyond the theoretical level or reflective and is manifested in his own novelistic creation such as ocurrs, specifically, in La tía Julia y el escribidor. In that sense, the main goal of this study is to analyze the “dialogue” that is set between La tía Julia y el escribidor and the Quijotefrom the point of view of the “insanity” of Pedro Camacho, the writer of radio soap operas created by Vargas Llosa, and their similarities with that of the knight-errant.
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Lambert, Stephanie. "Quotidian things : Don DeLillo and the everyday." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/17220/.
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This thesis explores the politics of the everyday in Don DeLillo’s novels from 1982 to present. It contends that DeLillo’s canonization as an exemplar of postmodern depthlessness and ahistoricity has occluded his interest in mapping the connections between the particularity of daily life and the capitalist world- system. I position the theoretical framework of the everyday as a corrective to these readings, and seek to recover and foreground its Marxist orientation, whilst envisioning the everyday as a way of negotiating between deterministic applications of Marxist theory and the uncritical celebration of individualized resistance endorsed by the cultural turn. Drawing on the French sociologists Michel De Certeau and Henri Lefebvre’s theories of the everyday, the thesis extends De Certeau’s conception of the everyday as resisting the ‘grid of discipline’ and Lefebvre’s characterization of it as eluding the ‘grip of forms’ to attend to the intersection of politics and form. I conceptualise the everyday as operating at the nexus of plot and detail, digression and generic suspense, world-systemic totality and quotidian singularity. To examine the everyday is to turn to the overlooked and undervalued; DeLillo’s surpluses of quotidian detail pose a challenge to the value-logic of capital, its uneven manifestations, its invisiblized surplus populations and labour, as well as literary-critical systems of value. This thesis advances this theory of the everyday through explorations of DeLillo’s representations of waste, crowds, and terrorism, and traces lines of continuity rather than rupture between DeLillo’s work and supposedly ‘post-postmodern’ texts by David Foster Wallace and Jennifer Egan. My coda examines DeLillo’s move from digression to contraction in his ‘late style,’ arguing that this stylistic shift registers financialized exhaustion. Ultimately, this thesis pursues the claim that DeLillo’s everyday opens up utopian possibilities by challenging the value relations underlying everyday life, thereby allowing us to imagine its transformation.
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Lebdušková, Petra. "J.B. Moliere: DON JUAN /komplexní scénografické řešení/." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79461.
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My master´s thesis is devided to four parts.
The first part is about the historical, literature and original meanings about the theme Don Juan. That´s althought about the legend of Don Juan in origin and in the czech background of it.
The second part is about the interpretation by the main critics, inscenators and theoreticals. That´s consider by ideas, which are important for me.
Third, theoretical part compares two inscenations, which were produced in Czech Republic.
The fourth part of my study is the most important, because it´s about my practical solution and conception of Don Juan. It contains reflexion of the theme, relationship to the modern time, the main topics of my conception and the art inspiration. The other part is about the main charakters and their costumes, materials, colors, forms, siluets? The last part is about the stage and the dramatical situations. All of my art design is visible on the fotos.
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Kohlheim, Rosa, and Volker Kohlheim. "Dreieinhalb Jahrhunderte Don Quijote deutsch: Die Eigennamen." Gesellschaft für Namenkunde e.V, 2016. https://ul.qucosa.de/id/qucosa%3A16245.
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Three and a half centuries Don Quixote in German: the proper names. – The first German partial translation of Cervantes’ novel El Ingenioso Hidalgo Don Quijote de la Mancha (Part I 1605, Part II 1615) dates from 1648, the most recent one from 2008. As proper names play an important part in Don Quixote, this paper analyzes their rendering in four different translations, namely by Joachim Caesar (1648), Ludwig Tieck (1799-1801), Ludwig Braunfels (1883), and Susanne Lange (2008). Proper names are rooted deeply in the respective cultures of their users. Therefore the translator’s task is a difficult one: Shall he try to translate the names and thus activate for his readers as many as possible of the cultural connotations they possessed in the original language or shall he transmit them unchanged and thus contribute to the strengthening of local colour? It is shown that different times preferred different solutions, earlier times trying to translate the names of the novel. But even the most recent translation of Don Quixote does not, as might be supposed, abstain from translating part of the novel’s proper names.
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Simoglou, Vassiliki. "Etude psychanalytique des échecs du don d'ovocytes." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC033.
Full textAbstract:
La FIV par don d'ovocytes est un mode de filiation féminine qui se caractérise par l'absence de lien héréditaire à l'enfant à naître et à la fois, par la présence d'un lien dans le corps. Cette étude psychanalytique se propose d'en questionner les spécificités du point de vue des femmes infécondes, lorsque la technique échoue. À partir de son expérience clinique dans un Centre d'AMP privé à Athènes, l'auteure met en perspective le dispositif grec du don d'ovocytes « empruntés » ou « étrangers », avec le dispositif français du « don croisé » tel qu'elle a pu l'observer dans un CECOS parisien. Les enjeux de cette mise en perspective permettent d'éclairer le don d'ovocytes au-delà de ces deux dispositifs. Outre les thèmes récurrents de l'échange et de la dette, du « trop tard », du secret, et de la réparation par la grossesse, à replacer dans le contexte de la Bioéconomie néolibérale, ce don s'avère être impossible à admettre, puisque le manque qu'il vise est un manque au niveau de l'être : l'auteure soutient qu'il échoue lorsqu'une femme n'arrive pas à concevoir sa limite qui l'identifie à un objet. Les résultats de cette recherche conduisent à affirmer l'existence d'un don spécifique coextensif d'une aliénation au niveau de la demande même qui l'aura initié, et qui installe le sujet dans un mirage par où son rapport au temps, à la dette et à la castration se trouve dénié. Si le don d'ovocytes apparaît comme un don relevant d'un désir d'enfant qui confronte une femme à sa propre étrangèreté et à la mort, la théorie psychanalytique du don que propose l'auteure fait émerger l'objet a du don comme l'objet donné dans tout don qui en marque l'échecOocyte donation IVF is a type of feminine filiation characterized by the absence of a hereditary link to the unborn child and at the same time, by the presence of a link in the body. This psychoanalytic study questions the specificities it bears from the viewpoint of infertile women, whenever technique fails. Through her clinical experience in a private ART Unit in Athens, the author puts into perspective the Greek protocol of donating "borrowed" or "foreign" oocytes, with the French protocol of "cross donation" such that she observed it in a Centre for Egg and Sperm Conservation in Paris. The issues that emerge from confronting these two protocols shed light on oocyte donation in general. Alongside the recurring themes of exchange and debt, "too late", secret, and reparation through pregnancy, within the context of neoliberal Bioeconomy, this gift turns out to be impossible to admit, since the lack it aims at is a lack of being: the author maintains that it fails when a woman cannot conceive its lirait identifying it to an object. The results of this research lead to confirm the existence of a specific gift related to the alienation of the demand having initiated it, and which installs the subject in a mirage whereby her relationship to time, debt and castration is denied. If oocyte donation appears as a gift in response to a woman's desire for a child, challenging her own foreignness and death, the psychoanalytic theory of the gift the author suggests brings out the object a of the gift as the object given in any gift marking its very failure
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Kambourova, Tania. "Le don dans l'image byzantine du souverain." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0017.
Full textAbstract:
Le travail s'inscrit dans une approche interdisciplinaire, englobant à la fois une longue durée et une aire géopolitique large. Les sources primaires en sont principalement les images. Partant du concept du don selon Mauss, on note cependant une inversion fondamentale intervenue avec le christianisme. Il s'agit de montrer certains mécanismes fondamentaux de la société médiévale et du modèle chrétien construit et reconstruit dans la tradition byzantine à travers l'analyse des deux acteurs principaux de la société médiévale : Dieu et le souverain. Les deux parties de la thèse sont organisées autour de ces acteurs : la première concerne le don divin de la couronne, alors que la seconde traite du don du livre et du modèle réduit de l'église par le souverain. Ces "échanges" sont remis dans leur contexte eschatologique et sotériologique. Deux niveaux de lecture sont proposés : l'un concerne le phénomène et la manifestation du don, l'autre isole le geste du don dans l'imageThis is an interdisciplinary work that covers a long chronological period and a large geopolitical area. It main source is based on images. The concept of the dissertation follows Mauss's gift but points out a fundamental inversion, which came with christianity. The goal is to explain some of the fundamental mechanisms in the medieval society and in the Christian's model constructed and reconstructed in the Byzantine tradition by analysing the two principal actors in medieval society : God and the Sovereign. The two parts of the dissertation are organised around these two actors : the first concerns the crown as a gift of God, and the second is about the gift of the book and the small model of the church by the sovereign. These "exchanges" are placed in their eschatological and soteriological context. Two levels of reading are proposed : one joints the phenomenon and the manifestation of the gift, the other one isolates the gesture of gift in the picture
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Rosberg, Malin, and Linnea Karlsson. ""Don´t put lipstick on a pig"." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35738.
Full textAbstract:
Spelifiering har funnits genom historien, utan att det tidigare har definierats. Spår av användning av begreppet finns på Internet sedan 2004, men begreppet blev populärt först runt 2010. Spelifiering kan beskrivas som en process där det lånas komponenter och upplägg från spelvärlden som appliceras på verksamheter som traditionellt inte hör samman med spelande. I vår undersökning riktar vi in oss på kopplingen mellan spelifiering och lärande, alltså spelifierat lärande. Syftet med denna studie är att ur ett diskursanalytiskt perspektiv beskriva vad det är som kännetecknar spelifierat lärande. Skulle skolan kunna lära sig något av spelkulturen? Studien tar sin empiriska utgångspunkt i bloggar och artiklar som skriver om ämnet och vi har undersökt vilka möjligheter och begränsningar som där presenteras. Analysen talar för att det både finns likheter och skillnader i hur spelifierat lärande tolkas och hur det talas om begreppet i förhållande till forskning. Gemensamt är att vi har funnit teman och mönster som varit centrala i texterna så som; att utgå från eleverna, piskor och morötter, flow, den sociala aspekten och berättelser, vilka utgör fokus i vår diskursanalys.
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Meyer, Michèle. "Don Juan : portrait psychanalytique d'une séduction abusive." Université Louis Pasteur (Strasbourg) (1971-2008), 2007. http://www.theses.fr/2007STR1PS08.
Full textAbstract:
Don Juan, célèbre personnage littéraire éternellement entiché, dupe les femmes. Favorablement, ses séductions leurrent l’objet phallique. Davantage, son atout aguicheur est l’éclat d’une identité sexuée spécifiquement féminine : notamment, il brille les abords de l’Autre. Assurément, l’incidence maternelle trouble la rencontre. Initialement, la séduction est une question freudienne. Nettement, c’est la théorie de la séduction de Freud qui promeut la discussion. Autrement dit, la neurotica énonce la séduction hystérique. Egalement, elle énonce les débuts d’une question toujours notable : le féminin. Donc, notre propos est le sexuel féminin. Aussi, l’élaboration de la théorie de la séduction par Freud initie la question du féminin, étayé ultérieurement par Lacan, notamment avec sa version / interprétation du mythe de Don JuanDon Juan, a great, perpetually infatuated figure of literature, dupes the women. Favourably, his seductions lure the phallic object. More, his provocative trump is the sparkle of a sexual identity, specifically feminine : in particular, he shines the access of the Other. Surely, maternal incidence disturbs the meeting. Initially, the seduction is a Freud question. Distinctly, Freud’s theory of seduction promoted the discussion. Otherwise said, the Freud theory of seduction states a hysteric seduction. More, it states in its infancy an always current question : the femininity. Therefore, our subject is the sexual. Consequently, Freud’s elaboration of the seduction theory initiated the question of femininity, subsequently stayed by Lacan, in particular with his version / interpretation of Don Juan myth