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Thèses sur le sujet « Robert »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 30 juillet 2024

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1

Müller-Kelwing, Karin. « Robert Reichert ». Böhlau Verlag, 2020. https://slub.qucosa.de/id/qucosa%3A75074.

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Müller-Kelwing, Karin. « Robert Oertel ». Böhlau Verlag, 2020. https://slub.qucosa.de/id/qucosa%3A75087.

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3

Jorge, Janete Elenice. « Robert Arlt ». reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/107426.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura, Florianópolis, 2013
Made available in DSpace on 2013-12-06T00:05:50Z (GMT). No. of bitstreams: 1 319862.pdf: 1582262 bytes, checksum: ba7b2bed39686d79fcfcdf8ad2eefae4 (MD5) Previous issue date: 2013
Na literatura de Roberto Arlt são vários e díspares os elementos que constituem a narrativa: lunfardo,fórmulas químicas, equações da física, linguagem técnica, máquinas, manuais, planos, complots,fracasso, entre outros que não se tratam somente de acontecimentos temáticos, mas de dispositivos queoperam a engrenagem narrativa. É comum, principalmente nos romances de Arlt, o leitor se deparar comum discurso que combina técnica, ciência e literatura, alguns de seus protagonistas afirmam ser leitoresde literatura, mecânica, física e química. A partir dessa configuração da escrita, nos perguntamos como otexto de Arlt faz funcionar essa engrenagem de peças discordantes, feita de restos de materiais dediferentes categorias que são combinados, encaixados, deslocados, remanejados, reutilizados, recortadose insertados ruidosamente, maquinando sua engrenagem assimétrica? Como ler um texto que misturatécnica, ciência e ficção? A hipótese que guiará nossa investigação é a de que a escrita de Roberto Arlt épolifacética e constitui uma engrenagem narrativa onde procedimento e invento devem ser pensadossimultaneamente como uma equação. Propomos uma leitura do texto arltiano que esteja desvinculada daideia da busca de sentido para os textos em algo que lhes pudesse originar ou, melhor, que pudesse serreconhecido como a origem: a sociedade argentina, a história ou a biografia do autor, entendidas comoinstância não-textuais. E, para isso, utilizaremos como aporte teórico estudos de Gilles Deleuze, FélixGuattari, Jacques Derrida e Paul de Man que tratam sobre o tema do texto como máquina.
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4

Schafer, Robert. « Tropical island boundary layer structure and development / ». [Sydney : University of Technology, Sydney], 1998. http://grison.colorado.edu/Robert/paper/phd.pdf.

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5

Schwarz, Thomas. « Robert Müllers Tropen : ein Reiseführer in den imperialen Exotismus / ». Heidelberg : Synchron, Wiss.-Verl. der Autoren, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014819338&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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6

Cormier, Jacques Artigas-Menant Geneviève. « L'atelier d'un écrivain Robert Challe / ». Créteil : Université de Paris-Val-de-Marne, 2007. http://doxa.scd.univ-paris12.fr:8080/theses-npd/th0253123.pdf.

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7

Reinermann, Robert [Verfasser], et Robert [Akademischer Betreuer] Gaschler. « Führung und Gesundheit - die Perspektive der Führungskräfte / Robert Reinermann. Betreuer : Robert Gaschler ». Landau : Universität Koblenz-Landau, Campus Landau, 2015. http://d-nb.info/1107775752/34.

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8

Smykowski, Adam. « Heinrich Heines Lyrisches Intermezzo in Vertonungen von Robert Schumann und Robert Franz / ». Frankfurt am Main ; Bern ; Paris : P. Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb388348041.

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9

Knechtges, Irmgard. « Robert Schumann im Spiegel seiner späten Klavierwerke ». Regensburg : G. Bosse, 1985. http://books.google.com/books?id=eE5BAAAAMAAJ.

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10

Geck, Martin. « Robert Schumanns sächsische Jahre ». Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-39058.

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Anlässlich des 200. Geburtstages Robert Schumanns wird über seine Aktivitäten im sächsischen Verlags- und Bibliothekswesen berichtet. Im Jahre 1834 veröffentlichte Schumann seine eigene Zeitschrift, mit dem Titel „Neue Zeitschrift für Musik“, die damals zweimal wöchentlich erschien und einen Umfang von gerade mal vier Seiten hatte. Bis zum Jahr 1846 leitet Schumann die Redaktion mehr oder weniger im Ein-Mann-Betrieb. In der Bibliotheca Albertina gab es im Rahmen einer kleinen Ausstellung bedeutende Dokumente die das Leben und Wirken des Komponisten veranschaulichen.
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11

Humble, Nicola Claire. « Robert Browning and history ». Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316762.

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12

Walther, Christian [Verfasser]. « Robert Gilbert / Christian Walther ». Frankfurt : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2016. http://d-nb.info/1090772815/34.

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13

Ewbank, Antônio Gabriel Gonçalves. « Escritos de Robert Smithson ». Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-01032013-114329/.

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Esta pesquisa parte da obra do artista norte-americano Robert Smithson (1938-1973), sobretudo de seus escritos deixados. Desde o início, a vontade era a de andar às voltas de um modo específico de conhecimento do mundo: escrever sobre a intricada relação entre teoria e prática no campo das artes visuais. Estudo cujo conteúdo teve por lastro as referências - literárias, artísticas, teóricas e históricosociais - sintetizadas nos textos do artista eleito. Tal contexto de trabalho conduziu as análises deste ensaio, cada forma determinada por seu próprio repertório. Escavando assuntos com palavras, sempre rente à coleção de escritos de Robert Smithson. Experimento por acabar, resta um conjunto composto por dezessete pequenos fragmentos. A execução desta montagem representa uma adaptação ensaiada repetidas vezes diante de um espelho. O tiro partiu de local pouco conhecido; o cartucho era de festim: ricocheteou até perder força e cair, por fim.
This research departs from the oeuvre of the American artist Robert Smithson (1938-1973), especially from the writings he left. From the beginning, the will was to surround a specific way of knowing the world: to write about the intricate relation between theory and practice in the visual arts field. Study whose content had as its ballast the references - literary, artistic, theoretical, historical and social - synthesized in the texts of the elected artist. Such work context conducted the analysis of this essay, each form determined by its own repertoire. Excavating subjects with words, always close to the collected writings of Robert Smithson. Unfinished experiment, a set made up of seventeen small fragments remains. The execution of this assemblage represents an adaptation rehearsed repeatedly before a mirror. The shot came from little-known site; it was a blank cartridge shot: ricocheted till it lost strength and fell, at last.
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14

Teguia, Tariq. « Robert Franck, fictions cartographiques ». Paris 8, 2001. http://www.theses.fr/2001PA082219.

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Cette recherche prend pour hypothèse que Robert Frank aura, une vie durant, inlassablement élaboré des fictions cartographiques autant par la photographie, le cinéma, la vidéo et dans toutes les formulations intermédiaires que ces trois outils autorisent. Les diverses définitions qu'est susceptible de prendre la fiction cartographique sont abordées en cinq volets. . .
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15

Pascal, François. « Robert lindet (1746-1825) ». Paris 4, 1989. http://www.theses.fr/1989PA040046.

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Robert lindet, le moins connu des membres du comite de salut public de l'an ii, est issu d'une famille de la bourgeoisie moyenne de bernay en normandie, ou il a exerce la profession d'avocat jusqu'au debut de la revolution. Elu a l'assemblee legislative, puis a la convention (en meme temps que son frere thomas, pretre assermente, puis eveque d'evreux), il siege avec les montagnards, redige l'acte d'accusation du roi, pour la mort de qui il vote. Envoye sur sa demande en juillet 1793 reduire la revolte federaliste en normandie, il parvient a ramener le calme sans effusion de sang ni proscriptions. De retour 4 mois plus tard au comite de salut public dont il faisait partie depuis sa creation, il s'y consacre tout l'an ii aux questions de ravitaillement et de subsistances, responsable en fait de toute l'economie francaise qu'il reussit a gerer efficacement dans des conditions difficiles et malgre la guerre. Son role s'acheve peu apres la chute de robespierre, car il est alors la cible des thermidoriens. Sa retraite n'est coupee que par de breves fonctions de ministre des finances les derniers mois du directoire
Robert lindet, the less known of the members of the french revolution's "comite de salut public", was born in a middle class family of bernay, in normandy, where he was a lawyer until the beginning of the revolution. Elected at the "assemblee legislative", then at the "convention" (in the same time as his brother thomas), he took place with the "montagnards", drew up the bill of indictment of the king and voted a death sentence for him. He was associated to the "comite de salut public" as soon it was created. Sent at his request in july 1793 to compel the federalist rebellion in normandy, he succeeded in his task without blood shedding. Four months later, he went back to the comite where he stayed the whole year ii. He was especially in charge with the revictualling question, responsible in fact for the whole french economy that he managed with efficiency in spite of the war. His political functions ended few after robespierre's fall, for he was exposed to the thermidorian party's attacks. His retirement was broken only during a short time as "ministre des finances" at the end of the directoire
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Autran, Pierre. « Robert Jardillier : 1890-1945 ». Dijon, 1994. http://www.theses.fr/1994DIJOLA09.

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C'est l'histoire d'un humaniste, entre 1890 et 1945. Destinée balzacienne. Ce professeur d'histoire gravit de 1921 à 1936, tous les échelons du cursus honorum politique : député (1932-1940), maire de Dijon (1935-1940), ministre des Ptt du Front populaire (1936-1937). Entre 1920 et 1932, il acquiert également une réputation d'éminent musicologue. A partir de 1937, il est progressivement balaye par la tourmente qui secoue la France et qui atteint son paroxysme en juin 1940. Sous l'occupation allemande il symbolise la détresse du refugie et l’Esperance concentrée dans les valeurs culturelles et dans la foi en la victoire des alliés
It is biography of a humanist whose balzacian destiny covered the period between 1890 and 1945. From 1921 to 1936 this history teacher climbed up the political ladder: first as a member of parliament (1932-1940), then as the mayor of Dijon (1935-40). At last he was appointed minister of post and telecommunication under the Front populaire (1936-1937). Moreover between 1920-1932 he was considered as a first-rate musician. From 1937 onwards he was swept away in the storm that shock France and reached its climax in June 1940. Under the German occupation, he embodied the despair of the refugee tempered with the hope in cultural values and the faith in the victory allies
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17

Lim, Chae-Heung. « Die Liedduette Robert Schumanns / ». Frankfurt am Main ; Bern ; Bruxelles : P. Lang, 2005. http://catalogue.bnf.fr/ark:/12148/cb39286357v.

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18

Brun-Ozuna, Barbara Suzanna. « Marshall Robert Sanguinet, Architect ». Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc332820/.

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Sanguinet was one of the most important early architects in Texas. His partnership with Arthur and Howard Messer was responsible for the development of Arlington Heights, a prominent resort community. With partner Carl Staats and later partner Wyatt Hedrick, Marshall Robert Sanguinet designed most of the early towers of the Fort Worth central business district. In addition, the firm also designed residences, churches, educational facilities, courthouses, and club buildings in Fort Worth as well as in Dallas, Houston, San Antonio, and Wichita Falls, where branch offices are located.
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19

Domsch, Sebastian. « Absenz - Simulation - Karneval : eine Untersuchung der postmodernen Erzählverfahren in Robert Coovers Romanwerk / ». Trier : WVT, Wiss. Verl. Trier, 2005. http://www.loc.gov/catdir/toc/fy0607/2005433274.html.

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20

Samek, Wojciech Verfasser], Klaus-Robert [Akademischer Betreuer] [Müller, Cuntai [Akademischer Betreuer] Guan et Fabien [Akademischer Betreuer] Lotte. « On robust spatial filtering of EEG in nonstationary environments / Wojciech Samek. Gutachter : Klaus-Robert Müller ; Cuntai Guan ; Fabien Lotte. Betreuer : Klaus-Robert Müller ». Berlin : Technische Universität Berlin, 2014. http://d-nb.info/1066547033/34.

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Samek, Wojciech [Verfasser], Klaus-Robert [Akademischer Betreuer] Müller, Cuntai [Akademischer Betreuer] Guan et Fabien [Akademischer Betreuer] Lotte. « On robust spatial filtering of EEG in nonstationary environments / Wojciech Samek. Gutachter : Klaus-Robert Müller ; Cuntai Guan ; Fabien Lotte. Betreuer : Klaus-Robert Müller ». Berlin : Technische Universität Berlin, 2014. http://d-nb.info/1066547033/34.

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22

Hirsch, Vanessa. « Malerei und Installation bei Robert Irwin : vom Bild-Raum zum Raum-Bild / ». Berlin : Mann, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016330559&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Gödicke, Stéphane. « Désordres et transgressions chez Robert Musil / ». [Paris] : Presses Sorbonne nouvelle, 2006. http://catalogue.bnf.fr/ark:/12148/cb40130418f.

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Eckerty, Christina D. Fieldman Hali Annette. « Narrative strategies in Robert Schumann's Davidsbündlertänze and Dichterliebe ». Diss., UMK access, 2008.

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Thesis (Ph. D.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
"A dissertation in performance." Advisor: Hali Fieldman. Typescript. Includes musical examples. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Includes bibliographical references (leaves 219-241). Online version of the print edition.
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Kammer, Stephan. « Figurationen und Gesten des Schreibens : zur Ästhetik der Produktion in Robert Walsers Prosa der Berner Zeit / ». Tübingen : M. Niemeyer, 2003. http://catalogue.bnf.fr/ark:/12148/cb39125575p.

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Genett, Timm. « Der Fremde im Kriege : zur politischen Theorie und Biographie von Robert Michels 1876-1936 / ». Berlin : Akad.-Verl, 2008. http://d-nb.info/988231662/04.

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Emo, Robert B. « Probing the lower continental crust with the petrology and geochemistry of Queensland xenoliths ». Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/232622/1/Robert%20Bernard_Emo_Thesis.pdf.

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This thesis investigated the poorly constrained composition and evolution of the lower continental crust in Queensland through geochemistry, geochronology, and petrological modelling. The analysis of deep crustal rocks brought to the surface by explosive volcanism shows that the lower crust in Queensland is nearly devoid of many geologically significant trace elements. The modelling demonstrates that this lower crust formed through solid-melt interactions at the base of the crust. The combined data show that this depleted, hybridised crust could be more common than previously recognised and that hybridisation is likely a major driver of continent formation.
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Maderitsch, Robert [Verfasser], et Robert [Akademischer Betreuer] Jung. « State-dependent dynamics and itnterdependence of global financial markets / Robert Maderitsch. Betreuer : Robert Jung ». Hohenheim : Kommunikations-, Informations- und Medienzentrum der Universität Hohenheim, 2015. http://d-nb.info/1072146622/34.

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Flesch, Robert [Verfasser], Robert [Akademischer Betreuer] Pitz-Paal et Reinhold [Akademischer Betreuer] Kneer. « Windeinfluss auf Cavity-Receiver für solare Turmkraftwerke / Robert Flesch ; Robert Pitz-Paal, Reinhold Kneer ». Aachen : Universitätsbibliothek der RWTH Aachen, 2016. http://d-nb.info/1125911638/34.

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Smith, Lisa Elliott. « Displaced : Robert Smithson's significant other. Nancy Holt and Robert Smithson's aesthetic relationship, 1969-1973 ». The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1300981694.

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Ullmann, Robert [Verfasser], Werner A. [Akademischer Betreuer] Goedel et Robert [Gutachter] Magerle. « Oberflächenfunktionalisierung von Poly(dimethyl)siloxan / Robert Ullmann ; Gutachter : Robert Magerle ; Betreuer : Werner A. Goedel ». Chemnitz : Universitätsbibliothek Chemnitz, 2013. http://d-nb.info/1214245188/34.

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Tiwari, Aradhana. « The anatomy of a production the analysis of the directorial journey mounting "Steel magnolias" for the stage / ». Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002550.

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Siegel, Martin. « Identitätskrise als Beziehungskonflikt : Robert Musils Erzählungen vor dem Problem gefährdeter Intersubjektivität / ». St. Ingbert : Röhriguniversitätsverl, 1997. http://catalogue.bnf.fr/ark:/12148/cb388992980.

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34

Synofzik, Thomas. « Das Robert-Schumann-Haus Zwickau ». Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1237559062622-24488.

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Als 1901 ein Denkmal für Robert Schumann in seiner Geburtsstadt Zwickau eingeweiht wurde, regte der Musikforscher Max Friedländer in einer der Festreden die Einrichtung eines Schumann-Museums an. Bald gründete sich ein Museumsausschuss, dessen Vorsitz der Oberlehrer Martin Kreisig übernahm. In Schumanns Todesjahr 1856 geboren, war Kreisig über die mit Schumann eng befreundete Familie Serre von Kind auf in die Schumann-Tradition eingeführt worden. Zur 100. Wiederkehr des Geburtstags Robert Schumanns am 8. Juni 1910 konnte die erste Frucht dieser Bemühungen durch eine Sonderausstellung in der Aula des Zwickauer Gymnasiums präsentiert werden.
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Ankele, Gabriele, et Heidrun Renger. « Zum 200. Geburtstag Robert Schumanns ». Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-61312.

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Die Musikbibliothek Bautzen widmet sich jedes Jahr einem Jubilar. Das Jahr 2010 steht ganz im Zeichen des 200. Geburtstages von Robert Schumann. Es werden Ausstellungen gestaltet und Neuerscheinungen seiner Werke präsentiert. Höhepunkt ist eine gemeinsame Lesung mit Musik mit der Kreismusikschule Bautzen.
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Aïssaoui, Driss. « Robert Challe écrivain de soi ». Thesis, University of Ottawa (Canada), 1999. http://hdl.handle.net/10393/8936.

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Jusqu'au XVIIIe siècle, la représentation de soi par l'écriture soulève l'indignation de la mentalité régnante qui y voit un risque de complaisance à soi. Les individus voulant laisser des traces écrites de leur vie doivent, afin de ne pas transgresser l'idéal normatif de leur époque, accommoder leur entreprise à des genres où la mise en scène du Je ne se fait que sur le mode de l'implicite ou de la discontinuité. L'oeuvre de Robert Challe est, à cet égard, digne d'intérêt. Se plaçant sous l'égide de la fiction romanesque, comme dans les Illustres Françaises , ou se soumettant aux contraintes du témoignage historique, comme dans les Mémoires et le Journal d'un voyage aux Indes Orientales , cet écrivain trouve à chaque fois le moyen de faire de son Moi une composante essentielle de son écriture tout en ménageant la sensibilité de ses contemporains. Ce qui, par ailleurs, distingue Robert Challe des autres auteurs qui ont tenté l'expérience autobiographique, c'est sa façon de doubler les procédés rhétoriques destinés à diluer l'allure intimiste de son oeuvre d'une poétique visant à camoufler le jeu de mystification par lequel il tente de substituer son Moi rêvé à son Moi réel. Ses textes permettent ainsi d'explorer une forme autobiographique tiraillée entre les convenances d'une société hostile à tout étalage abusif de l'individualité et les aspirations d'un être désirant se donner, par l'écriture, toute la grandeur qu'il n'a pas pu atteindre dans la vraie vie.
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Aissaoui, Driss. « Robert Challe ecrivain de soi ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/NQ45258.pdf.

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Fleig, Anne. « Robert Musils Ästhetik des Sports / ». Berlin : De Gruyter, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=2997905&prov=M&dok_var=1&dok_ext=htm.

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Kathan, Robert [Verfasser]. « Verlustmechanismen in Raketenbrennkammern / Robert Kathan ». München : Verlag Dr. Hut, 2013. http://d-nb.info/1042308217/34.

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D'Ulisse, Nicolas. « La critique de Robert Charbonneau / ». Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=60039.

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This study focuses on a rather neglected, although significant, part of Robert Charbonneau's (1911-1967) works: his criticism. Founder, with some friends from college, of la Releve (1934) and les editions de l'Arbre (1940), well-known novelist Charbonneau creates a critical work closely linked to that publishing and intellectual experience. Thus, literature, according to Charbonneau, is an economic phenomenon. But literature also fits in a world where the human is the dominant feature, where it is a preferred way to shed light on the human mystery. Influenced by Maritain and Mounier, admirer of Dostoevski and Mauriac, Charbonneau, with his Catholic viewpoint, conflicts with traditional French-Canadian nationalism because of the opening onto the world and the search for universality he proposes. The novel appears as the human expression's ideal form. Charbonneau finally wishes that French-Canadian literature be alive, human, and universal, and that its American meaning be understood. National is, in his opinion, unessential since a literary work is necessarily produced somewhere and, above all, intended to be literary in the first place.
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Martin, Timothy Daniel. « Robert Smithson : writings, sculptures, earthworks ». Thesis, Goldsmiths College (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324920.

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Besterman, Andreas, et Larsson Tobias. « Indexerade beräkningsenheter : Robert Shillers indexeringsparadox ». Thesis, Linköpings universitet, Nationalekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-120200.

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Bakgrund: Olika forskare har under åren identifierat problem relaterade till inflation, samt även bidragit med förslag på lösningar på dessa. Begreppet Money Illusion är ett välkänt begrepp inom området som tycks vara en del i förklaringen till allmänhetens motvilja att hantera inflationsrelaterade problem. Det är bestämt i Sverige av Riksbanken att inflationen skall vara låg men positiv och inflationsmålet är satt till två procent. Indexerade beräkningsenheter presenteras av Robert Shiller som lösning på kunskaps- och beteendeproblem förknippade med inflation. Han definierar en indexerad beräkningsenhet som ska fungera parallellt med den lokala valutan. Syfte: Syftet är att diskutera förutsättningar för en implementering av nya indexerade beräkningsenheter, som fungerar parallellt med valutan, i Sverige samt att kritiskt granska Robert Shillers teorier om indexerade beräkningsenheter. Genomförande: Uppsatsen är av kvalitativ karaktär och bygger på semistrukturerade intervjuer med personer inom bank- och försäkringsväsendet samt en universitetslektor i nationalekonomi vid Linköpings Universitet. Intervjuerna har utgått från samma intervjumall. Insamlat intervjumaterial har tillsammans med teorier om inflation, indexering och transaktionskostnader legat till grund för analysen. Slutsats: Slutsatsen i uppsatsen är att den låga inflation som råder i Sverige inte ses som ett tillräckligt stort problem för att motivera en mer vida indexering hos privatpersoner. De kostnader som förknippas med indexering, i form av transaktionskostnader, har även underskattats av Robert Shiller vilket gör att hans förespråkande för indexering i låginflationsländer i själva verket högst troligen är en paradox.
Background: Several scientists have, over the years, identified problems related to inflation and contributed with suggestions to solutions. The term Money Illusion is a well-known phenomenon that explains difficulties of separating nominal value from real value. The central bank of Sweden has decided that inflation should be low but positive and the inflation target is set to two percent. Robert Shiller presents Indexed Units of Account as a solution to problems related to inflation depending on knowledge and behavior. He defines an Indexed Unit of Account that is meant to operate in parallel to the local currency. Aim: The aim is to discuss the prerequisites for an implementation of new indexed units of account, which works in tandem with the currency, in Sweden as well as critically examine the theories of indexed units of account made by Robert Shiller. Completion: The thesis is qualitative in nature and is based on semi-structured interviews with people in banking, insurance and a senior lecturer in economics at the University of Linköping. The interviews have assumed the same interview template. Collected interview data, together with theories of inflation, indexing and transaction costs has formed the basis for the analysis. Conclusion: The conclusion in the paper is that the low inflation prevailing in Sweden is not seen as a big enough problem to warrant a more widespread use of indexation by individuals. Robert Shiller has also underestimated the costs associated with indexing, in the form of transaction costs, which most likely means that his advocacy of indexation is a paradox.
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Wellard, Andrew John. « Robert Hamer and Ealing Studios ». Thesis, University of Ulster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287223.

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CORREA, PATRICIA LEAL AZEVEDO. « ROBERT MORRIS IN DANCE STATE ». PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=11508@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
NEW YORK UNIVERSITY
O artista norte-americano Robert Morris é conhecido sobretudo como escultor, mas sua obra abrange uma diversidade de meios, procedimentos e materiais, dentre os quais a dança. Morris esteve diretamente envolvido com grupos de dança entre o final da década de 1950 e meados da década de 1960, período em que participou do que foram talvez os dois mais importantes focos de pesquisa em dança, nos Estados Unidos, para a sua geração: as atividades que se desenvolveram em São Francisco, ao redor da professora e dançarina Ann Halprin, e as atividades que, em Nova York, resultaram da formação do grupo Judson Dance Theater. Nesse período, além de atuar como dançarino em trabalhos de outros artistas, Morris criou um pequeno mas significativo conjunto de trabalhos de dança. A tese toma esse conjunto como base para um estudo da obra do artista e procura vê- la, em grande parte, como desdobramento de experiências e questões surgidas no âmbito da dança, em diálogo com o seu concomitante envolvimento na pintura, no desenho e na escultura. Discutindo alguns dos pontos principais desse diálogo - como o reducionismo minimalista, os procedimentos de tarefa e instruções, a ênfase na temporalidade e na literalidade da ação corporal - e alguns de seus conceitos centrais - como estado de dança, forma vazia e anti-forma - , a tese se propõe a ampliar as possibilidades de análise e compreensão de um momento crucial não só para a formação e o curso subseqüente da obra de Morris, mas também para a constituição do campo ampliado da arte contemporânea.
The North American artist Robert Morris is known mostly as a sculptor, but his work encloses a diversity of means, procedures and materials among which dance. Morris was directly involved with dance groups between the end of the decade of 1950 until mid 1960, period in which he participated in what were maybe the two most important focuses of research in dance, in the United States, for his generation: the activities that were developed in San Francisco related to the professor and dancer Ann Halprin, and activities in New York City resulting from the formation of the group Judson Dance Theater. In this period, aside of acting as dancer in works from other artists, Morris created a small but significant set of dance works. The thesis considers this set as the basis for the study of the artist work and strives to see it, mainly, as a deployment of the experiences and questions arisen in the scope of dance, in dialogue with his concomitant involvement in painting, drawing and sculpture. Discussing some of the main points in this dialogue - as the minimalist reductionism, the procedures of tasks and instructions, the emphasis in the temporality and in the literality of the corporal action - and some of its central concepts - such as dance state, blank form and anti form - the thesis intends to extend the possibilities of analysis and comprehension of a crucial moment not only for the formation and the subsequent course of Morris work but also for the constitution of the expanded field of contemporary art.
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Shakespeare, Alex Andriesse. « Robert Lowell, Lyric and Life ». Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104264.

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Thesis advisor: Paul Mariani
Robert Lowell, Lyric and Life investigates the meaning of autobiography as it is represented and produced by the work of art. I begin by tracing Lowell's poetics to the highly personal Romanticism of William Wordsworth and the highly impersonal Modernism of T.S. Eliot, Ezra Pound, and Allen Tate. Reading Lowell's writing in light of this dual inheritance, I am able to point out the limitations of calling Lowell's poetry "confessional" and to propose a model of the lyric self that accounts for the significant semiotic and psychological complexity that goes into the making of a lyric "I." I argue that, from a reader's point of view, Lowell's autobiographical poems are more creations of experience than they are records of experience; that, although the reader is supposed to believe he is "getting the real Robert Lowell," what he really gets is a fictive representation. Taking hold of what Robert Lowell called the "thread of autobiography" that strings together his life's work, I then trace the changing role of Lowell's autobiographical lyric self in a series of three chapters. The first of these chapters concerns the manuscript drafts and published poems of Life Studies (composed from 1953-1959) and, through attention to Lowell's revisions, demonstrates the great extent to which Lowell fictionalized his experience: for instance, by omitting some of the most personal details of the poems in favor of elegant prosodic or thematic composition. The next chapter takes up what I designate "the Notebook poems" (the sonnets published between 1967 and 1972 in the volumes Notebook 1967-68, Notebook, History, and For Lizzie & Harriet), examining the ways in which Lowell's move to New York City and his readings of Hannah Arendt, Eric Auerbach, Simone Weil, and Herbert Marcuse (among others) affected his views of the lyric self in relation to history. This chapter ends by arguing for the Dantesque contours of the Notebook poems, and again takes a close look at Lowell's drafts, including an unpublished essay on Dante. A final chapter examines two ekphrastic autobiographical poems ("Marriage" and "Epilogue"), from Lowell's final volume, Day by Day (1977), in relation to poems by Elizabeth Bishop and William Wordsworth. It concludes by showing, through a close reading of "Epilogue" and its drafts, Lowell's own retrospective concern to question and doubt the autobiographical pursuits of his poetry. A brief epilogue draws the variegated threads of these chapters together and offers a final reflection on the inextricable knot of Lowell's lyrics and his life by way of reading his final poems and the biographical record of his death
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Phillippo, Simon Richard. « The symphonism of Robert Simpson ». Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621843.

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Barone, Luciana Paula Castilho. « Sete afluentes para Robert Lepage ». [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285121.

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Orientador: Antonio Fernando da Conceição Passos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-09T01:13:03Z (GMT). No. of bitstreams: 1 Barone_LucianaPaulaCastilho_D.pdf: 6268679 bytes, checksum: ab101a1fa5dc6f09ed55963f93a88aea (MD5) Previous issue date: 2007
Resumo: Este trabalho desdobra-se sobre a obra do encenador canadense Robert Lepage, refletindo sobre o modo pelo qual ele traz à cena teatral ou cinematográfica determinados elementos, criando, através do jogo entre eles, uma poética singular e híbrida. Partindo do processo criativo da autora na encenação de Ofélia em Off e das memórias de sua experiência como espectadora da cena lepagiana, o trabalho apresenta, através das memórias de Robert Lepage, passagens de sua trajetória pessoal, relacionando suas possíveis repercussões sobre o processo de criação do encenador. Através de sete espetáculos criados e dirigidos por Robert Lepage (Vinci, Trilogia dos Dragões, Agulhas e Ópio, Os Sete Afluentes do Rio Ota, Elsinore, Geometria dos Milagres e A Face Oculta da Lua), é analisado o modo singular pelo qual o encenador faz uso de sete elementos recorrentes em sua arte: o idioma, os objetos, as imagens, o espaço, a palavra, a memória e o jogo. Apresentando a obra cinematográfica de Lepage, através da sinopse dos filmes Lê Polygraphe, Nô, Le Confessional e La Face Cachée de la Lune, relaciona sua criação teatral à cinematográfica, confluindo para a singularidade de sua poética multidisciplinar e híbrida. Nas conclusões, o trabalho apresenta as ressonâncias da pesquisa sobre a prática e o pensar artístico da autora, relacionando ainda a harmônica interdisciplinaridade da poética lepagiana e sua abertura à recepção criativa do público a uma visão contemporânea de mundo que parece apontar para a a integração dos opostos como elementos complementares, na dissolução de dualidades, correntemente tidas como irreconciliáveis .
Abstract: This dissertation discusses the work of the Canadian director Robert Lepage. It proposes to reflect on his method of bringing specific elements to theater or cinema, creating, through the dialectics between them, a singular and hybrid poetics. A director herself, the dissertation.s author uses as a foundation her own creative process (in the play Ofélia em Off) and her experience as a spectator of Lepage.s works. She then examines Lepage.s memoirs and parts of his personal trajectory, relating their possible repercussions on his work. Focusing on seven theatrical pieces created and directed by Robert Lepage (The Dragon.s Trilogy, Vinci, , Needles and Opium, The Seven Streams Of the River Ota, Elsinore, Geometry of Miracles and The Far side of the Moon), the author analyses Lepage.s unique methods in treating seven elements: language, objects, images, space, words, memory, and games. Examining Lepage.s cinematographic work, via his films Le Polygraphe, Nô, Le Confessional and The Far side of the Moon, the author relates Lepage.s theater to his cinema, bringing together the singularity of his multidisciplinary and hybrid poetics. In her conclusions, the author shows how researching Lepage.s work has resonated in her own artistic praxis and thought, relating Lepage.s harmonic, interdisciplinary poetics and his openness to the audience.s creative participation to a contemporary vision of the world, one that seems to point to the integration of opposites as complementary, dissolving dualities normally seen as irreconcilable.
Doutorado
Multimeios
Doutor em Multimeios
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Bost-Sandberg, Lisa. « The Pedagogy of Robert Dick ». Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700017/.

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Robert Dick is best known as a leading proponent of contemporary music and extended techniques for the flute; however, his teaching is informative on a broader level that encompasses technical and musical aspects of traditional playing as well as contemporary practices. This dissertation is intended to serve as a resource for flutists, providing a detailed documentation of his approach to playing and teaching the flute. Dick’s highly integrated pedagogy—informed by his traditional training, revolutionary work in documenting and codifying extended techniques on the flute, and his equal personal involvement in performance, composition, and improvisation—provides a strong basis and clear trajectory, musically as well as technically, to his students. The primary research material for this document is the author’s personal collection of detailed notes from her studies with Dick. Additionally, as no pedagogy exists in a vacuum, a number of sources including historical treatises and more recent published documentations of flutists’ pedagogies provide context and support. Such publications are of current and continuing educational value; considering Dick’s contributions to the development of flute playing and his integrated approach to teaching the flute, a document that accurately and thoroughly addresses his pedagogy is a logical addition to this literature.
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Mounic, Anne. « Mythe et littérature : Robert Graves ». Paris 3, 1991. http://www.theses.fr/1993PA030022.

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Ne en 1895, robert graves ne surmonta la traumatique experience de la premiere guerre mondiale et l'effondrement des valeurs qui s'ensuivit qu'en elaborant un mythe personnel et en recreant, a partir de sources antiques, la deesse blanche, celle-ci lui permit de symboliser les phases de son drame existentiel. La poesie est invocation religieuse de la muse. Tout poeme, a ses yeux, doit etre necessaire et vrai
Born in 1895, robert graves could only overcome the traumatic experience of the first world war and the consequent collapse of values through elaborating a personal myth and recreating the white goddess from ancient sources. She allowed him to symbolize the phases of his existential drama. Poetry is religious invocation of the muse. In her eyes each poem must be necessary and true
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Pimont, Anne. « L'oeuvre poétique de Robert Mallet ». Paris 4, 1994. http://www.theses.fr/1993PA040285.

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L'oeuvre poetique de robert mallet est le fruit d'un profond instict vital qui fait de lui le temoin attentif et actif de notre univers en danger. Solidaire de la nature comme de tout etre vivant il en revendique la dignite et participe a leurs blessures. Sa demarche est resolument humaniste. Aux mysteres et aux contradictions de l'existence, le poete ne pretend pas apporter de reponses metaphysiques mais un patient concours a l'elaboration d'un monde respectueux de la vie. Son langage riche en images, epure par le souci du mot essentiel et de l'expression feconde, traduit une vive sensibilite dans un elan creatif toujours maitrise par la raison, au service d'un equilibre proprement humain et d'une harmonie a l'echelle planetaire. Son "chant du monde" est aussi le champ du monde qui appelle au travail car pensee et action sont indissociables. Tel est le message de robert mallet
Robert mallet's poetry work is based on a deep and vital instinct that makes him a sensitive witness of the endangered universe. In sympathy with nature and every living being, robert mallet speaks with feeling for their dignity and shares their wounds. His thoughts and action are determinely humanist. The poet does not pretend to give any metaphysical answers to the unexplained things and the contradiction of life, but a support to a life that is respectful of the world. His language filled with images, purified by the constant care of using the right word and the productive expression, translates an important sensitiveness with a creative spirit always balanced by reason for man's sake. His poetry is an incentive to work for a better world as though and action have always been closely linked to his life. That is robert mallet's message
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