Tesis sobre el tema "21st centuries"
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Vincent, Alana M. "Memorialisation and Jewish Theology in the 20th and 21st centuries : monument, narrative, liturgy". Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2006/.
Texto completoSchuenemann, Keah Camille. "Analysis of the synoptic forcing of Greenland precipitation in the 20th and 21st centuries". Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3337152.
Texto completoHorowitz, Joshua Ben. "Nakona wasnonya yuhabi/Assiniboine knowledge keepers : Indigenous archiving from the 19th into the 21st centuries". Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/50119.
Texto completoArts, Faculty of
History, Department of
Graduate
Duran, Alejandro A. "The Iranian Green Movement and the Journey of Democracy in the 20th and 21st Centuries". Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1315.
Texto completoTratsiakovich, Darya. "CHINESE SIHEYUAN ARCHITECTURE : Transformation of Siheyuan during 20-21st Centuries andIts Sustainability in the Future". Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-158770.
Texto completoDudas, Stephen P. "A Jug Full of Stars: The Poetry of Childhood in the 20th and 21st Centuries". Miami University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=miami161678986029086.
Texto completoWard, Robert (Robert Clark). "Passion Settings of the 20th- and 21st- Centuries Focusing on Craig Hella Johnson's Considering Matthew Shepard". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862740/.
Texto completoCorbett, Joseph. "Captain John Smith and American Identity: Evolutions of Constructed Narratives and Myths in the 20th and 21st Centuries". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5618.
Texto completoM.A.
Masters
History
Arts and Humanities
History; Public History
Ramugondo, Elelwani. "Intergenerational shifts and continuities in children's play within a rural Venda family in the early 20th and 21st centuries". Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/12113.
Texto completoIncludes bibliographical references (leaves 235-252).
This research involved studying the childhood play of three generations within one family based in the Venda region, Limpopo Province, South Africa. Two main questions were asked: 1. What is the nature of intergenerational shifts or continuities in children?s play within one Venda family? 2. What are the factors that bring about the shifts or continuities? The Gudani family was studied as a single case. The case study was approached with an understanding proposed by Stake (1998, 2008) and supported by others like Flyvbjerg (2006), who regard it not always a research method, but also the object of study. Handling the family as a bounded system, information was gathered from multiple sources, situating the case within its context. Interviews were conducted with a grandparent, the parents and children in order to gain an understanding of their childhood play, foregrounding participants' own view of what constitutes play. In addition, an ethnographic lens was used to investigate the third generation's everyday culture, with specific attention to their play.
McNeese, Lauren. "The Shrinking Opera Diva: The Impact of Sociocultural Changes upon the Casting of Women in the 20th and 21st Centuries". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984190/.
Texto completoFerguson, Benjamin. "Rethinking the Last Frontier : Anglophone travel literature about Alaska in the 20th and 21st centuries – writing, ethics and environmental responsibility". Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASK002.
Texto completoThis thesis is centered around three primary literary focuses: environmental studies, Arctic studies, and travel writing. Essentially, the subject to be treated is the ethical responsibilities of an outsider when entering into an isolated region such as Alaska, with its extraordinary demographic diversity and unique biomes, particularly when discussing environmental issues, which are very often at the forefront of conversation in “modern” travel writing.As for parameters, “modern” is in quotations as the term is inherently subjective. The modern Alaska timeframe could be set up in numerous ways, including this millennium, with its shift into climate change and animal rights discussions, but two other dates are more trenchant: 1977 when the first oil flowed from Prudhoe Bay on the Arctic Coast latitudinally southward to Valdez on the Trans-Alaska Pipeline System, and 1959 when Alaska officially became the 49th US state. The latter date was chosen, as the former was merely the culmination of a long process that had already upended the state’s identity of itself, including the arrival of ostensibly endless flows of money into government coffers.Furthermore, six primary works were chosen, from 1959 to the present moment, with an eye toward diversity: of interests, of demographics, of chronology, of geography, and of style. The works are Peter Matthiessen’s Oomingmak: The Expedition to Musk Ox Island in the Bering Sea (1967); John McPhee’s Coming into the Country: Travels in Alaska (1977); Barry Lopez’ Arctic Dreams: Imagination and Desire in a Northern Landscape (1986); Tom Lowenstein’s Ancient Land, Sacred Whale: The Inuit Hunt and its Rituals (1993); Jonathan Raban’s Passage to Juneau: A Sea and its Meanings (1999); and Nancy Lord’s Beluga Days: Tracking a White Whale’s Truths (2003). These six works explore geographic and demographic ranges from the Northwest Arctic coast of Iñupiat culture, Southwest Alaska of the Yup’ik, Cook Inlet and Anchorage Bowl Urban Native and Dena’ina culture, Interior Alaska Athabaskan culture, and Southeast Alaska Tlingit and Haida culture.The thesis is ordered into three parts: a historiography framing the current political and cultural moment in the state; a direct literary analysis of the primary works, broken up into themes discussed therein; and a prescriptive application informed by the current meta-discussion taking place in environmental studies
Willis, Jennifer. "Foreign language learning and technology in England from the 17th to 21st centuries : an investigation into the functional and symbolic values attributed to foreign languages in England over four centuries of technological change". Thesis, University of Surrey, 2003. http://epubs.surrey.ac.uk/1000/.
Texto completoFernández, Iturrate Íñigo. "Life as a couple in the late 20th and early 21st centuries: how do men's and women's socioeconomic resources influence union stability?" Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/392640.
Texto completoEsta tesis evalúa si el incremento en los recursos socioeconómicos de mujeres y hombres y la distribución del trabajo dentro de la pareja afectan a la estabilidad de la unión. Por un lado, investiga la satisfacción individual con la pareja, investigando las diferencias en las percepciones de la calidad de la relación. Por otro lado, estudia la estabilidad de la relación, centrándose en el riesgo de separación en el tiempo y diferenciando entre parejas que cohabitan y parejas que se casan. En concreto, analiza los factores que pueden incidir en la estabilidad y comprueba si sus efectos difieren por tipo de pareja desde una perspectiva individual (diferenciando entre hombres y mujeres) y desde una perspectiva de pareja. Los resultados de los análisis parecen indicar que la naturaleza del matrimonio es diferente de la naturaleza de la cohabitación y que los cohabitantes son más vulnerables a las condiciones negativas, tanto internas como externas, a las que tienen que hacer frente las parejas. Por último, esta tesis demuestra que es importante, si es posible, tener en cuenta la información de los dos miembros de la pareja.
Денісова, Дар'я Данилівна y Daria Danylivna Denisova. "Weird Fiction: етимологічний аналіз природи жанру". ХНУ імені В. Н. Каразіна, 2017. http://repository.sspu.sumy.ua/handle/123456789/3411.
Texto completoEstrada, Orozco Luis Miguel. "El boxeador: genealogia y transformacion de un icono en la literatura mexicana de los siglos XX y XXI (The Boxer: Genealogy and Transformation of an Icon in Mexican Literature from the 20th and 21st Centuries)". University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1495795307024171.
Texto completoNOGUEIRA, Leo Carrer. "Umbanda em Goiânia [manuscrito]: das origens ao movimento federativo (1948-2003)". Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2346.
Texto completoAs a hybrid religion, Umbanda has elements of different sources in its daily practices. Thus, it doesn t have, necessarily, a single and centralized doctrine, in spite of several leaders had tried to impose a unified doctrine to it. That was one of the roles of several Umbanda Federations during the 20th century. Another role was to protect the shrines against the persecutions and repressions made by the State, Catholicism and the press. Therefore, the federations tried to protect the shrines and, on the other hand, they tried to control and centralize the religion, in its doctrines and socially. In the state of Goiás such control was held by the Umbanda and Candomblé Federation of Goiás, established in 1969 in Goiânia City. This dissertation, therefore, has as main objective to analyze the path of the religion in Goiânia, focusing its origins; the action of the Federation; as well as the conflicts and tensions created between it, the State repressive apparels and the shrines, from 1948 until 2003, when Goiânia was the scenario of a public repudiation of Umbanda, by some neo-Pentecostal churches against the exposition of seven sculptures depicting Orixás in a park of the city, which is known as Vaca-Brava Episode
Como religião híbrida, a Umbanda agrega elementos de diferentes matrizes religiosas em sua prática diária. Isto faz com que ela não tenha, necessariamente, uma doutrina única e centralizada, apesar de vários líderes já terem tentado impor a ela uma doutrina unificada. Este foi um dos papéis das várias Federações de Umbanda surgidas no Brasil ao longo do século XX. A outra função seria a de proteger os terreiros contra as perseguições e repressões por eles sofridas, por parte do Estado, do catolicismo e da imprensa. Assim, enquanto de um lado as federações tentavam proteger aos terreiros, de outro elas mesmas exerciam um controle e buscavam centralizar a religião, tanto social quanto doutrinariamente. Em Goiás tal poder foi exercido pela Federação de Umbanda e Candomblé de Goiás, surgida em 1969 na cidade de Goiânia. Nosso trabalho, portanto, tem por objetivo analisar a trajetória da religião em Goiânia, tendo como foco suas origens, a ação da Federação, os conflitos e tensões criados entre ela, os aparelhos repressores do Estado e o terreiros, entre os anos de 1948 e de 2003, quando Goiânia foi palco de uma manifestação pública de repúdio à Umbanda, protagonizada por algumas igrejas neo-pentecostais ao protestarem contra uma exposição de vários Orixás em um parque da cidade, caso que ficou conhecido como Episódio Vaca-Brava
Díaz, Fernández Estrella. "La colección "La sonrisa vertical" y la representación literaria de las minorías sexuales". Doctoral thesis, Universitat de Lleida, 2017. http://hdl.handle.net/10803/405758.
Texto completoLa colección de narrativa erótica «La sonrisa vertical» (Barcelona: Tusquets Editores) nació en plena transición democrática, en 1977, de la mano de Luis García Berlanga y Beatriz de Moura, con un doble propósito: rescatar un género literario hasta aquel momento censurado por las leyes franquistas y apostar por la narrativa de jóvenes autores, tanto en lengua catalana como española. El interés de una colección de estas características no es exclusivamente literario, ya que, dada la época turbulenta en que se gestó y la apuesta ideológica de la editorial, albergó volúmenes con una notable voluntad de ruptura política y moral. En este sentido, no escasearon las representaciones de personajes con sexualidades heterodoxas, entre las cuales, dada la legislación vigente (Ley de Peligrosidad y Rehabilitación Social), bien podrían incluirse las de lesbianas, gais y personas trans. Esta tesis doctoral pretende ofrecer un análisis de las muy diversas creaciones de autores españoles e hispanoamericanos que, en especial, favorecieron la representación de personajes lésbicos entre 1977 y 2014 con el objetivo de valorar su entidad literaria y su relevancia histórica y social.
The collection of erotic narrative «La sonrisa vertical» (Barcelona: Tusquets Editores) was born in full democratic transition, in 1977, it was created by Luis García Berlanga and Beatriz de Moura, with a double purpose: a genre up to that moment censored by the laws rescuing Francoists and betting on the narrative of young authors, both in Catalan and Spanish. The interest of a collection of these characteristics is not exclusively literary, since, the turbulent period in which it was gestated and the ideological bet of the publishing company, lodged volumes with a remarkable will of political and moral breach. In this sense, the representations of characters with heterodox sexualities were not scarce, among which, given the current legislation (Law of Dangerousness and Social Rehabilitation), well those of lesbians, gays and people could be included trans. This Ph. D. dissertation intends to offer an analysis of the very different creations of Spanish and Latin American authors who, especially, favoured the representation of lesbian characters between 1977 and 2014 with the aim of valuing their literary entity and their historical and social relevance.
Dwyer, Richard. "Self as Other : Non-Figurative Memorial Sites and Artworks of the late 20th and early 21st Centuries which commemorate the victims of political tyranny by activating the visitor's engagement with his/her immediate and, by extension, Socio-Cultural Environm". Thesis, University of Kent, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508566.
Texto completoGarnerin, Fabienne. "Jean Ganiayre/Joan Ganhaire : entre rire et désespoir, un regard occitan sur l'humaine condition". Electronic Thesis or Diss., Montpellier 3, 2020. http://www.theses.fr/2020MON30059.
Texto completoThe work of Joan Ganhaire (in French Jean Ganiayre) is of exceptional richness. This contemporary author, who made the Limousin Occitan his only language of writing, addressed various literary genres : fantastic short stories, «nhòrlas» [funny short stories], cape and sword novels, detective novels, not to mention a form of poetry in prose that outcrops in many texts. Under its apparent diversity, this work is very consistent because of its themes, its images, and its recurring « biais de dire » [ways of saying]. It can be read at multiple levels and opens up very different possibilities of interpretation depending on the point of view adopted, interpretations that cross and enrich each other. Haunted by the questions of death, of the omnipresent violence and of the world’s absurdity, both as a man and by his profession as a doctor, Ganhaire, like many authors of the twentieth and twenty-first centuries, opposes them laught and derision like an ultimate snub. His work is a tribute to the imaginative limousin world, in close relationship with nature, which he felt imbued from childhood. It proposes a contemporary expression of it, irrigated and hybridized by the imaginative worlds of great figures of world literature, but also by other arts such as cinema
Gullo, Anne Sophie. "L'oeuvre en prose (2001-2014) d'Alejandro Lopez Andrada : vers l'élégie". Thesis, Normandie, 2019. http://www.theses.fr/2019NORMC026.
Texto completoAlejandro Lopez Andrada, a poet, novelist and essayist from the "generation of sons" as Juan Vila calls it, traces the lost or disappearing past of his native Andalusia.His prose is notable for its elegiac character and despite the generic diversity that characterises his works, they all express a feeling of nostalgia.This study aims to present, in the first instance, the narrative voice that is expressed in the chosen corpus as well as the subjectivity that defines it, and, secondly, the expression of this nostalgia through the exaltation of childhood, in which the representation of the Andalusian homeland is enshrined. Finally, the last part of this work is devoted to the Christian humanism that emerges from the texts, which reflect the author's own personal faith. This particularly manifests itself in the expression of love of the Other, in the demand for the values and way of life which hark back to the author's childhood and by the weight given to the importance of religion in all his work
Nik, Eteghad Ali. "Thomas Herzog : pioneer of the 21st century's New Paradigm : a dissertation in the field of sustainable architecture". Doctoral thesis, Universitat Politècnica de Catalunya, 2016. http://hdl.handle.net/10803/385203.
Texto completoLos primeros edificios diseñados por Thomas Herzog reflejan las técnicas de diseño solar, arqueando formas geométricas, así como estructuras eficientes complementado muros largos, inclinados y orientados al Sur, fueron incorporados en estructuras meticulosamente elaboradas. Estas estrategias de diseño crearon mucho más la aprobación de edificios solares ante los ojos del consumidor masivo.Inspirado en el movimiento moderno temprano, sus edificios se caracterizan por el tratamiento ecológico y tipológico de estructura y función mientras que al mismo tiempo subraya la organización formal de la planta y fachada en tándem. En línea con los primeros seguidores de este movimiento, Herzog, también recurrió a extender los límites de la tradición (incluyendo el movimiento moderno) al asumir un papel de liderazgo y asi ampliar la visión de los profesionales presentes y futuros.Pionera en el desarrollo de edificios alineados a su lugar y contexto, Thomas Herzog repudia diseño de sistemas cerrados independientemente de su ubicación. Crisis energética se puede suprimir a través de sus diseños de viviendas ecológicamente conscientes. Los revestimientos exteriores pueden reaccionar de manera flexible a las condiciones cambiantes, y el balance de energía puede ser regulada como un sistema abierto, de acuerdo con las estructuras disipativas climáticas. El elemento clave de la construcción es, entonces ,el sobre que se concibe como un medio de intercambio de energía que reacciona a las condiciones locales especificas. Esta evaluación inductiva de la relación entre el edificio y su entorno es un logro sobresaliente que ahuyenta a los tipos repetibles o estructuras monolíticas . Convencionalmente, la arquitectura de Herzog tiene como objetivo llegar a una autosuficiencia en la ecología, mientras que la aplicación de la tecnología es su principal preocupación, que de hecho es un ejemplo de "desarrollo tecnicista" en la arquitectura contemporánea. Mediante el análisis de una serie de trabajos de Thomas Herzog, doce de casos de estudio, en el que su enfoque de diseño se basa en el desempeño de la forma, han sido seleccionados para continuar el debate, tanto en sus técnicas como sus procesos. Hay una integración considerable entre la arquitectura y la ingeniería a través de estos proyectos. Este tesis pretende esbozar la prominencia del diseño basado en el desempeño en el que las actuaciones de construcción se traducen en principios rectores el diseño que se consideran ya sea igual o más importante que el diseño de la forma. Además, se trata de ilustrar los aspectos performativos de obras de Herzog y sugiere que los objetivos perseguidos por el diseño basado en el desempeño pueden introducir una oportunidad para lograr una arquitectura más eficiente .
Gómez, Gálvez Mauricio. "Les formes d’appropriation dans la musique savante chilienne, XXe-XXIe siècles : transfert culturel, acculturation, métissage". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040149.
Texto completoThis thesis focuses on the study of four contemporary Chilean composers from the second half of the 20th century and beginning of 21st century who developed their careers in the ‘euro-latin-american’ space (Cirilo Vila, Sergio Ortega, Patricio Wang, and Andrés González), and whose generational intersections allow to cover half a century of music. The first part of the thesis presents a brief panorama of Chilean concert music, from the independence of the country at the beginning of the 19th century until our days. The survey emphasizes the process of institutionalization of the musical life, as well as the implicit or explicit discurses, which are presented regarding the national cultural identity in relation to music. The second part analyzes in detail, through a biographical approach, the transnational trajectories of the four composers under study. The aim is to understand, among other aspects, how the processes of cultural change work at the level of a given artistic life. The third part, attempts to elucidate 1. the specificity of Chilean musicians through a multifactorial approach, presenting a series of studies towards analyzing the role of cultural transmitter performed by Chilean composers (within their double function as pedagogues and translators of exogenous languages); 2. the impact of the international circulation and the globalization on their works; 3. the links between music and politics as well as the links between high and popular art; 4. the role of France and Europe in the processes of acculturation; 5. the results of cultural hybridization (through concrete cases), and finally, 6. a typology of the ways of sonic appropriation
Plaiche, Anza Karel. "États et écritures de violence en Afrique contemporaine : la représentation des conflits armés et des violences de masse dans les fictions africaines subsahariennes francophones". Thesis, La Réunion, 2012. http://www.theses.fr/2012LARE0031/document.
Texto completoThis research project examines the representation of the experience of extreme violence in the contemporary fictional space of Sub-Saharan Francophone Africa. The numerous works of prose fiction written in the wake of the armed conflicts of the 1990s and the Rwandan genocide raise questions related to the representation of pain, cruelty and death as well as to the ethics of art. How do literary texts put into narrative traumatic events? How do writers think and problematize extreme crises of immediate history? By the means of what literary modalities are these crises constituted into an object of knowledge and awareness? And what esthetic and language strategies have been privileged to convey the memory of the atrocities in order toprovide testimony or aim at critical reflection? This thesis explores the writing of the collective tragedies that, from a historical and socio-cultural perspective, mark the start of a new period of violence in Sub-Saharan Africa. In this context, we are focusing predominantly on texts that are characterized – through the distinctive choices of form and style operated by the authors – by a radicalization of discourse and particularly violent plots and esthetics. This research which interrogates the powers and the possible limits of art in the representation of facts of extreme violence analyses an extensive corpus of novels and short stories published between 1998 and 2010 and suggests a multidisciplinary approach which, next to literary and esthetic theories, draws on history, sociology, anthropology and psychiatry
Clermont, Célia. "Portraits de famille : Étude comparée du motif familial dans la fiction romanesque de la Grande Caraïbe aux XXe-XXIe siècles". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSES021.
Texto completoAn interdisciplinary and transcultural motif, the study of families has taken root in the genre of the novel. In Caribbean literature, there are but a few studies about the family pattern, despite the fact that the Caribbean area already constitutes a complex geographical family, painfully marked by colonization, slavery and the plantation system. This dissertation aims to study the various meanings of the representation of family, biological but also, figuratively, adoptive family, chosen family, spiritual family, etc. – in a trilingual corpus of texts made of four Caribbean fictional novels from the XXth and XXIst centuries: William Faulkner’s Sartoris, Cien años de soledad by Gabriel García Márquez, Patrick Chamoiseau’s Texaco and La eternidad del instante by Zoé Valdés. Within these four novels, the representation of the biological family soon reveals its dysfunctional dimension: rejected by the characters, fragilized by events, the family seems condemned to being dismembered. The failure allows for other relationships to form; far from being opposed to the way the original family was outlined, these relationships offer other ways to think about how to make a family. The passage from one family to the other allows to reflect upon, on the one hand, the question of familial identity on the part of the characters and, on the other, the relationship that Caribbean fiction writers have with the literary genealogy to which they wish to identify themselves
Laterza, M. "LA RISCRITTURA NELLA MUSICA CONTEMPORANEA. RIFLESSIONI TEORICHE E STUDIO DI UN CASO". Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/256393.
Texto completoFayard, Dominique. "Marchands de maigre, marchands de gras. Histoire sociale du commerce du bétail et de ses acteurs en Brionnais-Charolais, de la fin du 19e siècle à nos jours". Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20105.
Texto completoThe social history of cattle trade and its actors in Brionnais-Charolais, from the late 19th century up to nowadays merges into the history of the setting up of the cattle industry which has built itself around three fields : breeding, feeding and trade. My thesis reveals the different stages which have marked it up : from the development of cattle feeding in the second half of the 19th century, then the gradual access to wealth by farmers-breeders during the 20th century, to a questioning of old practices since the 1960s, replaced by brood cows breeding. I have carried out my thesis from very fragmentary sources into an assembly of facts (which had required great inventiveness) and shown how much contribution it could bring to the knowledge of rural, social and economical history. I propose a new perspective on the successive adaptations to a profoundly changing agricultural society. I have analyzed in a pioneering way the changes in the family as well as the farm or the trade fields. Thanks to a prosopographical approach, from a corpus of feeders and cattle dealers, this study brings the actors of specialization to light. In the same way, I have revealed the methods and the networks in which cattle and money circulate and which have contributed to opening up the studied area. Until the mid-20th century, the rural Brionnais society had rested on a patiently acquired equilibrium, soon shaken by a modernized agriculture and the Common Agricultural Policy. In the second half of the 20th century, the industry got itself organized gradually. The professionalization of cattle trade goes through the end of cattle dealers and the setting up of cooperatives. In the early 21st century, one has to wonder about the evolution of cattle traders and of breeding itself in the birthplace of Charolais cattle
CHIEN, YI TSO y 簡伊佐. "‘POST’-FEMINISMSIN THE 20th AND 21st CENTURIES". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/w4wz2p.
Texto completo淡江大學
英文學系博士班
107
My dissertation aims to illustrate several trajectories in feminist theory in the last fifty years through a critical analysis of selected literature and film. Much of contemporary feminist discourse remains humanist-centered discourse and so continues in the vein of the projects of first and second-wave feminist scholars. However, in many instances, as I will discuss in this dissertation, contemporary feminist discourse has moved beyond humanist focused inquiries, reflecting and crossing over with scholarly and activist work in the areas of posthumanism as well as ecocriticism, and animal studies. The “post” in the word “‘post’-feminisms” in the title of my dissertation refers to said shift. Much of contemporary feminist discourse also is not as dominated by western models of feminism, a change that owes in part to the work of scholars who specialize in postcolonial studies (and postcolonial ecocriticism). The “post” in the word “‘post’-feminisms” in the title of my dissertation refers to that shift or widening of feminist concerns as well. I illustrate the given transformations through a reading of selected works of literature and film that ask or raise questions that reflect feminist theoretical engagements with humanism, posthumanism, anthropocentrism, and speciesism. Such engagements owe significantly to but also move beyond the groundbreaking work of first- and second-wave feminists, the latter group of which is represented by Simone De Beauvoir. Her work was very influential up through the 1970s and thus I comment on a seminal publication by De Beauvoir (in the second chapter of my dissertation). “‘Post’-feminisms” in this dissertation mostly refers to feminist arguments that appear after the 1970s and intersect closely with arguments in the more recent disciplines (disciplines that didn’t emerge until soon or well after the 1970s) of postcolonialism, ecocriticism, animal studies, and posthumanism. There are six chapters in total in the dissertation. The first chapter functions as the introduction to the dissertation, introducing the overall argument. It includes extensive comments on two studies, for they inform the arguments in the dissertation as a whole. The two studies are: ecofeminist and ecophilosopher Val Plumwood’s Feminism and the Mastery of Nature and posthumanist thinker Elaine L. Graham’s Representation of the Post/Human: Monsters, Aliens and Others in Popular Culture. The main subject of Chapter Two, “Feminist Backwaters and French New Wave Film: Alain Resnais’ Last Year at Marienbad,” is Resnais’ film. I critique that film by drawing on a classic study of second-wave feminism, Simone De Beauvoir’s The Second Sex as well as by referring to studies of French New Wave film by poststructuralist scholars. Chapter Three,“Postcolonial Feminism and Ecofeminism: Amitav Ghosh’s The Hungry Tide,” focuses on postcolonial writer Amitav Ghosh’s The Hungry Tide. I critique the representations of female characters in the novel, specifically how those representations implicitly show bias towards western feminist role models. Chapter Four, “Marxist Feminism and Ecosophy: Linda Hogan’s Solar Storms and Steven Seagal’s On Deadly Ground,” addresses a novel and a film through the perspectives of Marxist-influenced feminist thought as well as Marxist-influenced ecosophical positions. Chapter Five, “A Feminist and Animal Studies Critique of Transhumanism: Egoyan Zheng’s The Dream Devourer, Alex Garland’s Ex Machina, and Neill Blomkamp’s Elysium” addresses two films primarily from the perspective of a feminist posthumanist critique of the discipline itself—namely a critique of the mainstream direction, transhumanism, that poshumanism has taken. In my feminist posthumanist critique, I address in particular the area of transhumanism inquiry of artificial intelligence. Chapter Six functions as the conclusion of the dissertation, recapping the main points and the thesis.
Angelin, Eva Mariasole. "The fate of colors in the 20th - 21st centuries: preserving the organic colorants in plastic artifacts". Doctoral thesis, 2021. http://hdl.handle.net/10362/124339.
Texto completoModern and contemporary objects made of plastics are widely found in cultural heritage. Today, their preser- vation poses critical issues to conservators and scientists, as they can suffer from extensive degradation in a short time period. Color change (discoloration) is one of the alteration phenomena that can significantly affect their appearance. Discoloration is commonly associated with the degradation of polymers. However, pigments within plastics can also fade due to exposure to light. The identification of objects that contain light-sensitive pigments is demanding because of the sensitivity of plastics to color change. Normally sampling, extraction methods and destructive testing are required for the characterization of colorants in plastics. In this work, an innovative multi-analytical spectroscopic approach for the in situ identification of pigments in historical plastics was developed. Optical microscopy (MO), micro-energy dispersive X-ray fluo- rescence (μ-EDXRF), UV-Vis-NIR reflectance, photoluminescence (PL) and Raman microscopy (μ-Raman), were used for the analysis of artworks, industrial and daily objects dated from 1950s-2000s from Portuguese collections. A common colorists’ palette within the Portuguese plastics industry was identified: iron oxide (PR 101, α-Fe2O3), lead chromate molybdate (PR 104, Pb(Cr,Mo,S)O4), cadmium red (PR 108, Cd(S,Se); PR 113, (Cd,Hg)S) and cadmium yellow (PY 37, CdS; PY 35; (Cd,Zn)S) pigments, titanium whites (PW 6, TiO2 both rutile and anatase), bismuth oxychloride (PW 14, BiOCl) and organic β-naphthol lakes (PR 48, PR 49, PR 53). An exceptional pigment found was the pearlescent plumbonacrite pigment Pb5(CO3)3O(OH)2. In all the case studies, μ-Raman was the key analytical tool for pigment characterization in the plastic objects, providing conclusive data for their identification. The vibrational fingerprint of both inorganic and organic pigments was successfully recorded by focusing the laser beam on particle surfaces. The confocal microscopy system used in μ-Raman enabled the collection of spectral data from low concentrations of pigments (ap- proximately 0.1%-5%) on the micro-scale. In addition to pigments, information on the base polymer (mainly thermoplastics) and fillers was obtained. The analytical methods developed will facilitate the acquisition of complementary data from plastics allowing material identification and condition assessment in the future. This thesis focused on red pigmented plastic artifacts, as they were found to be severely faded among the studied objects. The identification of β-naphthol pigment lake PR 53 as a faded pigment highlighted its poor fastness in plastics, that together with the color change of PR 48 in plastic objects, reported in literature, suggests the particular susceptibility of β-naphthol red lakes to fading. PR 53, and the other β-naphthol reds, are historical pigments widely found in cultural heritage. However, little is known about their photodegradation and stability, especially when they are found in polymer media, and this knowledge is essential for their long- term preservation. For the first time, photodegradation quantum yields (ΦR) were calculated for a series of red pigments based on β-naphthol in order to quantify their photo-stability. ΦR values ranging from 3x10-6 to 4x10-5 were obtained, indicating relatively light-stable molecules. Bearing in mind that pigment fastness is not only related to the pigment itself, but also to its interaction with the confined environment, light-aging experiments (λ>300 nm) were conducted in solution, on powders, and in polymers to assess the role of the medium on the lightfastness of the pigments and their degradation pathways. A significant impact of the binder on their stability was found. Indeed, a higher sensitivity to light of PR 48 and PR 53 pigments, when incorporated in plastics than in powder, was observed. This new knowledge will contribute to the prediction of plastic fading and inform effective preventive conservation strategies for objects containing light- sensitive β-naphthol red pigments. Liquid- and gas-chromatography mass spectrometry (MS) were used for the characterization of the main degradation products. Extensive photodegradation was observed with the formation of phthalic compounds and phthalates in both solution and powder phases.
Vajas, Anna. "The challenges and the nature of consociationalism in the 20th and 21st centuries : the case of Belgium and the Netherlands". Master's thesis, 2020. http://hdl.handle.net/10400.14/31263.
Texto completoSchneider, Caroline. "Forcible child transfer - historical analysis and human experience of a global phenomenon - case studies from the 20th and 21st centuries". Thesis, 2022. http://hdl.handle.net/1959.13/1462628.
Texto completoThis thesis aims to shed light on the global phenomenon of forcible child transfer. For many centuries children around the world have been forcibly separated from their families and communities by transferral from one group to another within the state. This practice is still happening today and potentially amounts to the crime of genocide (UN Genocide Convention, Article 2(e)). The forcibly transferred children are confronted with physical, mental, and sexual violence; their identity is forcibly changed; and their rights are taken away. The impact of the practice is grave. The children are confronted with short-term and long-term consequences such as potentially lifelong trauma and a lack of of belonging. Adopting a comparative approach, this thesis focuses on the Middle Eastern region in the 20th and 21st centuries. It will look at the Armenian Genocide, the Dersim Massacre, and the Yazidi Genocide. To cover the global dimension of the practice it will further explore the cases of the ‘Stolen Generations’ in Australia, ‘Los Niños de los Desaparecidos’ in Argentina, and ‘Die Kinder der Landstrasse’ in Switzerland. By analysing these different historical case studies of forcible child transfer, this thesis will argue that there is a pattern within the practice and that it is a practice that can potentially occur anywhere in the world, independently of context, geography, and time, provided certain features are present. This thesis will connect historical analysis of the practice of forcible child transfer with the children’s experiences of forced separation. At the centre of the thesis are the stories of the forcibly abducted children.
HSU, Tien-ning y 許恬寧. "Chinese Colloquial Short Story and Its Style: A Study of the San-yen English Renditions in Late 19th – Early 21st Centuries". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/tuc2ac.
Texto completo國立臺灣師範大學
翻譯研究所
96
Considering the reading habits of the English readers who are interested in the traditional Chinese short stories, translators of Feng Menglong’s San-yen have adopted various strategies to approach its literary structure and narrative style. The paper has categorized fifteen English renditions of San-yen in the late 19th – early 21st centuries into three groups, “Liberal Style,” “Academic Style,” and “Eclectic Style” in an attempt to analyze their stylistic characters and effects.
Rao, Ananya S. "Trends and Variability in Terrestrial Carbon Fluxes and Stocks over India in the 20th and 21st centuries: A Multi-model Based Assessment". Thesis, 2019. https://etd.iisc.ac.in/handle/2005/4826.
Texto completoWatt, Ronald. "A contextual history of South African ceramics of the twentieth and twenty-first centuries". Thesis, 2020. http://hdl.handle.net/10500/27015.
Texto completoPresented in two volumes. Volume 2 contains colour photographs
Bibliography: (volume 1: leaves 181-219)
The history of South African ceramics of the twentieth and twenty-first centuries tends to be presented in a compartmentalised manner in that it focuses on the leading exponents within genres and is limited to an investigation of the contexts that have an immediate bearing on their oeuvres. The result is a fragmented (and sometimes biased) view of the role players, circumstances, influences and incentives that have come to define South African ceramics. The thesis introduces key contributors who have hitherto been considered in relation to crafts and fine art but whose work with ceramic materials places them firmly within the ambit of South African ceramics. It also positions and evaluates the roles of the formal and informal twentieth-century educational and training agencies that, within the constraints of imposed political dogma, produced ceramists who successfully challenged staid Western aesthetics. Particular attention is given to how the black “traditional potters” exercised agency in negotiating a contemporary (as opposed to an ethnographic) presence in which they referenced the forms, meanings and values of “traditional pottery” to meet the expectations of the collector’s market. The thesis posits that the ceramists’ quest to claim an identity (or an “indigeneity”) in the turbulent political era of the later twentieth century has parallels with the intent and outcomes of African Modernism. African Modernism, which arose in postcolonial countries, sought to challenge Western binaries of art, craft, identity and presence and typically made use of hybridity to that end. The same presence of hybridity is evident in twentieth-century South African ceramics, which must be read as an engagement with a multi-cultural society within which the ceramists sought to position themselves. The thesis illustrates the progression of hybrid features from an initially crude and superficial referencing of indigenous and African material culture to subjective translations of that culture that are presented in innovative approaches. This theme is further explored in relation to South African ceramics of the twenty-first century, and evidence suggests that some of the ceramists’ oeuvres can now be considered transcultural and even transnational. The thesis, which is by its nature an enquiry that presents new or reassessed evidence is neither a fully inclusive nor an absolutist revision of the history of ceramics.
Die geskiedenis van Suid-Afrikaanse keramiekkuns van die twintigste en een-entwintigste eeu is geneig om op ʼn onderverdeelde wyse voorgehou te word, omdat dit op die hoofeksponente in genres fokus en beperk is tot ʼn ondersoek na die kontekste wat ʼn direkte uitwerking op hul oeuvres het. Die resultaat is ʼn gefragmenteerde (en soms bevooroordeelde) beskouing van die rolspelers, omstandighede, invloede en aansporings wat Suid-Afrikaanse keramiekkuns definieer. Die tesis stel sleutelbydraers bekend wat tot dusver met handwerk en beeldende kuns verbind is, maar wie se werk met keramiekmateriale hulle sonder twyfel binne die sfeer van Suid-Afrikaanse keramiekkuns plaas. Daarbenewens posisioneer en evalueer die tesis die rolle van die formele en informele twintigsteeeuse opvoeding- en opleidingsagentskappe wat, binne die beperkings van voorgeskrewe politieke dogma, keramiste opgelewer het wat oninspirerende Westerse estetika suksesvol betwis het. Aandag word veral geskenk aan hoe die swart “tradisionele pottebakkers” bemiddeling uitgeoefen het in die verwesenliking van ʼn kontemporêre (teenoor ʼn etnografiese) teenwoordigheid waarin hulle verwys het na die vorme, betekenisse en waardes van “tradisionele pottebakkery” om aan die verwagtinge van die versamelaarsmark te voldoen. Die tesis voer aan dat daar parallelle bestaan tussen die keramis se soeke om op ʼn (inheemse) identiteit te kan aanspraak maak in die onstuimige politieke era van die latere twintigste eeu, en die oogmerke en uitkomste van Afrika-modernisme. Afrika-modernisme het in na-koloniale lande ontstaan en het beoog om Westerse binêre pare van kuns, handwerk, identiteit en teenwoordigheid te betwis; om hierdie doel te bereik is hibridisme gewoonlik gebruik. Dieselfde teenwoordigheid van hibridisme kan gesien word in Suid-Afrikaanse keramiekkuns van die twintigste eeu, wat beskou moet word as ʼn gemoeidheid met ʼn multikulturele samelewing waarin die keramiste hulself probeer posisioneer. Die tesis illustreer die vooruitgang van hibriede eienskappe, van ʼn aanvanklik onafgewerkte en oppervlakkige verwysing na inheemse en Afrika- materiële kultuur, na subjektiewe interpretasies van daardie kultuur wat in innoverende benaderings voorgehou word. Hierdie tema word verder ondersoek in verband met SuidAfrikaanse keramiekkuns van die een-en-twintigste eeu, en bewyse dui daarop dat sommige van die keramiste se oeuvres nou as transkultureel en selfs as transnasionaal beskou kan word. Die tesis, wat in wese ʼn ondersoek is wat nuwe of hersiende bewyse voorhou, is nóg ʼn ten volle inklusiewe nóg ʼn absolutistiese hersiening van die geskiedenis van keramiekkuns.
Umlando weseramiki yaseNingizimu Afrika kwikhulu leminyaka lamashumi amabili namashumi amabili nanye uvamise ukwethulwa ngendlela ehlukaniswe ngezigaba ngokuthi igxile phezu kwezingcweti ezihola phambili ngaphakathi komkhakha wezinhlobo kanti lokhu kugxile kuphela kuphenyo lwezizinda ezinomthintela osheshayo phezu kwemisebenzi yonke yalezo zingcweti. Umphumela ukhombisa umbono owehlukene (kanti ngesinye isikhathi umbono owencike kwingxenye eyodwa) wabadlalindima, wezimo, wemithelela kanye neziphembeleli ezichaza iseramiki eNingizimu Afrika. Ithesisi yethula abagaleli abasemqoka ukufika manje okudala benakiwe mayelana nemisebenzi yobuciko kanye nemisetshenzana yobuciko obuncane kodwa imisebenzi yayo yomatheriyali weseramiki ibabeka ngaphakathi komkhakha wezeseramiki eNingizimu Afrika. Lokhu kuphinde futhi kuhlole izindima zezinhlaka zemfundo nezoqeqesho ezihlelekile nezingahlelekile, lezo ngaphaklathi kwezihibhe zohlelo olumatasa lwepolitiki, lukhiqize osolwazi bezeseramiki abaphonsele inselele ngempumelelo osolwazi bezobuhle beNtshonalanga. Kugxilwe kakhulu kwindlela ababumbi bendabuko abamnyama “traditional potters” abasebenzisa ngayo ubummeli uma bexoxisana ukubonakala emsebenzini wesikhathi samanje (njengoba lokhu kuphambene ne-ethinigrafi) lapho baye bariferensa izindlela, izincazelo kanye nezinga lobugugu bobuciko bendabuko bokubumba ukufeza izinhloso ezilindelwe zemakethe yabaqoqi bomsebenzi wobuciko. Ithesisi iyasho ukuthi impokophelo yosolwazi bezeseramiki yokuzitholela uphawu oluchaza ubunjalo babo (or an “indigeneity”) esikhathini esibucayi sezepolitiki sekhulu leminyaka yamashumi amabili inezimpawu ezifanayo ngenhloso kanye nemiphumela yohlelo lwesimanjemanje sase-Afrika African Modernism. Uhlelo lwe-African Modernism, oluqhamuka kumazwe avele ngemuva kombuso wobukoloni, luphonsela inselele yezinhlelo zobuciko, yesithombe sobuciko kanye nobukhona bobuciko kanti ikakhulukazi bukhandwe ngobuciko bokuhlanganisa izinhlobo (hybridity) ezahlukile. Ubukhona bohlelo lokusebenzisa izinhlaka ezahlukile lwe-hybridity lubonakala kwimisebenzi yeseramiki yesenshuwari yamashumi amabili yaseNingizimu Afrika, okufanele ifundwe njengomsebenzi ohlanganiswe ndawonye nomphakathi wamasiko amaningi, kanti ngalo msebenzi ababumbi beseramiki bafuna ukuziphakamisa ngawo. Ithesisi ikhombisa intuthuko yezimpawu wumsebenzi oyingxubevange (hybrid) ovela kwindlela yokureferensa eluhlaza neyobuciko bamaqhinga bosiko lwendabuko lomatheriyeli wase-Afrika ukuphawula ngemisebenzi ehunyushiwe yalolo siko eyethulwe ngezindlela ezinamaqhinga amasha. Lesi sihloko siqhubekela phambili nokuhlolwa mayelana nohlelo lweseramiki eNingizimu Afrika kwisenshuwari yamashumi amabili, kanti ubufakazi buyasho ukuthi eminye imisebenzi yosolwazi bobuciko beseramiki ingathathwa njengemisebenzi ekhombisa ukushintsha amasiko kanye nokushintsha kwesizwe. Ithesisi, ngokwemvelo yayo ingumbuzo owethula ubufakazi obusha noma ubufakazi obubuyekeziwe, le thesis ayiwona umsebenzi oxuba konke futhi ayikona ukubuyekezwa kwangempela komlando weseramiki.
Art History, Visual Arts and Musicology
D. Phil. (Art)
Holsti, Kal. "War in the 20th centure: Can we do better in the 21st? [audiorecording]". 1998. http://hdl.handle.net/2429/14136.
Texto completoChen, Ching-Wen y 陳清文. "The 21st Century's Counter-Terrorism Strategy - Take the Anti-Terrorism in the SCO Region as an Example". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/mm8q8d.
Texto completo國立政治大學
外交學系戰略與國際事務碩士在職專班
106
Since its inception, the Shanghai Cooperation Organization (hereinafter referred to as “the SCO”) has proposed the equal cooperation of all member states and adhered to the purposes and principles of the “UN Charter”.The "three forces" are the main multilateral international organizations.So far it has become an important force for maintaining peace and stability in Central Asia.At present,SCO members still suffer from provocations and threats from surrounding terrorism.The cooperation relationship is full of many uncertainties and the arrogance of terrorism is rampant.Faced with the increasingly serious threat of the three forces,the SCO member states are more eager to communicate on an equal footing,negotiate democratically, and jointly build a closer legal mechanism for counter-terrorism cooperation. This article aims to explore the formation and development of the SCO counter-terrorism mechanism, the predicament of counter-terrorism mechanism construction,and how to further improve and guide the anti-terrorism practice of the SCO member states as an entry point.It also constitutes the principle and foundation for the establishment and improvement of cooperation in the fight against terrorism.It also shows the international responsibilities of the member states.