13,510 research outputs found
Treugemeintes Ehren- un Wunschgedicht dem edlen ... Johann Conrad Norff von Rheinberg, als derselbe auff der weltberühmten Universität zu Basel den 16. Christ-Monath 1673 zu einem Doctor in beeden Rechten ... erkläret und aussgeruffen worden
No full text... übergeben von Thomas Augustus Grot und Martin NeumannEnth. Gratulations-Gedichte verschiedener AutorenGelegenheitsschrift: HochschulwesenGratulationsschrift iur. Basel, 167
O contrato social de Thomas Hobbes: alcances e limites
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas. Programa de Pós-Graduação em FilosofiaO problema em questão diz respeito ao contrato que funda e legitima o Estado em Thomas Hobbes. Tendo como escopo questionar a possibilidade e/ou impossibilidade de nulidade do contrato social e assim verificar as implicações disto para o conceito de soberania hobbesiana. A leitura que impera na tradição de estudiosos da obra política de Hobbes, em especial do Leviathan, é a de um Estado no qual a soberania é absoluta e irrevogável. A interpretação do contrato firmado entre e, somente, entre os homens, deixando, portanto, o soberano de fora, ofereceria legitimidade a este para agir de forma absoluta e obrigaria ao súdito a obedecer de forma irrestrita. A hipótese que se busca sustentar remete à possibilidade de rompimento, desobediência e mais centralmente da nulidade contratual a partir do vício e/ou desrespeito de determinadas cláusulas fundamentais do contrato, visto se oporem às condições de validade do contrato social. Se isso puder ser sustentado desse modo, isto é, se Hobbes compartilhar mesmo de uma teoria forte da nulidade contratual e pela razão, como declinado acima, que achamos ser a correta, então, tal formulação implicaria em sua teoria uma reconsideração do conceito de soberania e obediência, haja vista o estabelecimento de certos vínculos fortes que condicionam as possibilidades de exigência, autoridade e poder da soberania. Portanto, concentra-se em encontrar uma explicação e/ou teorização da nulidade do contrato social e da sua consequência para a teoria da soberania e obediência hobbesiana
A otobiografia de Thomas Bernhard: por uma Origem indecidível e redentora
No full textTese (doutorado)- Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2015.Esta tese tem como objetivo investigar o procedimento da escrita de si de Thomas Bernhard, sua Origem, a partir de uma ideia que ela mesma monta: entender os escritos de si como um exercício de escuta. Trata-se de um relato de vida do que se ouve e não do que realmente houve. Nem verdade, nem mentira, mas, ao mesmo tempo, verdade e mentira, ou seja, é falar de uma otobiografia que opera sorrateiramente no campo do indecidível, que não se deixa enclausurar em um gênero. Essa estranha instituição bernhardiana é aberta, livre, e não permite sua apreensão pelos discursos totalitários de fechamento. Ela toma forma, assim, de uma escritura de resistência. Deste estranho limbo indecidível surge o ator Thomas Bernhard [um falso mentiroso] e suas performances permeadas de exageros e repetições teatrais que apontam, deste modo, através de suas máscaras, para a desestabilização das representações. Esse é, sobretudo, um gesto político. No trabalho arqueológico proposto na presente tese o pulo original [Ursprung] a essa mesma Origem se revela redentor a partir do momento em que Thomas Bernhard decide contar a história dos vencidos.Abstract : This thesis aims to investigate the self-writing procedure by Thomas Bernhard, its Origin, from an idea that it presents to us: understanding self-writings as a listening exercise, it is a life story of what is heard rather than what really has happened. Neither truth nor lie, but at the same time, truth and lie, that is, talking about an otobiography operating surreptitiously in the field of the undecidable, which cannot be cloistered in a genre. This strange Bernhardian institution is open, free, does not allow its apprehension by the totalitarian speeches of enclosure, and thus being shaped as a writing of resistance. From this alien, undecidable limbo arises the actor Thomas Bernhard [a false liar] and his performances permeated with exaggerations and theatrical repetitions that link, thus, through their masks, to the destabilization of representations. This is, mainly, a political gesture. In the archaeological work proposed in the following thesis the primordial leap [Ursprung] to that same Origin is revealed redeeming from the moment Thomas Bernhard decides to tell the history of the vanquished
Physical Chemistry of Excitable Biomembranes
No full textNeumann E, Bernhardt J. Physical Chemistry of Excitable Biomembranes. Annual Review of Biochemistry. 1977;46(1):117-141
An open reply to "What is going on at the Library of Congress?" by Thomas Mann
No full textThis is an open response to a report by Thomas Mann at the Library of Congress concerning changes in cataloging. The author contends that, although the current changes at the Library of Congress are suspect, changes are imminent and experienced catalogers must offer positive suggestions for change, otherwise they will be ignored by management
Landsat MSS classification of fire fuel types in Wood Buffalo National Park, northern Canada
No full textJ1: Global Ecology & Biogeography Letters; M3: Article; Milne, David Franklin, Steven E. Wilson, Bradley A. Ghitter, Geoff Heathcott, Mark McCaffrey, Thomas M. Ow, Charlotte F. Y.; Source Information: Mar1994, Vol. 4 Issue 2, p33; Subject Term: FOREST fires; Author-Supplied Keyword: Canada (Wood Buffalo National Park); Author-Supplied Keyword: Forest fire; Author-Supplied Keyword: Fuel type classification; Author-Supplied Keyword: Landsat data; Number of Pages: 0p; Document Type: Articl
Thomas Mann’s “Mario und der Zauberer“: The magic of art and the magic of the charlatan.
No full textopenLa seguente tesi di laurea analizza il racconto di Thomas Mann “Mario und der Zauberer” pubblicato nel 1930 in Germania. Il racconto è costituito da due parti ed è ambientato in una località marittima italiana, dove, sulla base di quanto ci viene detto dal narratore che parla di caldo africano e clima sciovinista, si sta vivendo una sorta di regressione ad uno stadio precedente dell’umanità caratterizzato dal dominio dell’irrazionalità e della barbarie. Gli italiani costituiscono un gruppo coeso e unito da ideali di patria e di nazione che non risparmiano nemmeno i bambini. Il narratore straniero e la famiglia con cui è in vacanza sono vittime di una serie di fatti strani e, nonostante tali eventi procurino loro disagio, decidono comunque di rimanere e di non andarsene. La seconda parte della novella è caratterizzata dallo spettacolo del mago Cipolla che durante la sua performance fa una serie di trucchi di magia basati sull’ipnosi e sull’annientamento dell’Io di ogni singolo individuo. Dopo che Cipolla ha ipnotizzato il cameriere Mario e gli ha fatto credere di essere Silvestra, la donna amata, Mario bacia il mago. Una volta risvegliatosi dallo stato di ipnosi, Mario si rende conto di quanto è successo e spara a Cipolla. Nel pubblico esplode il panico e il narratore parla di una fine fatale, ma liberatoria.
Dopo aver inquadrato l’opera, aver delineato le fonti della stessa e le varie letture a cui essa è stata sottoposta dai critici nel primo capitolo, si è cercato nel secondo capitolo di analizzare la dialettica arte e spirito che costituisce un Leitmotiv dell’intera opera manniana. Thomas Mann si è confrontato per tutta la vita con questi due aspetti che ha cercato di conciliare nel tentativo di fare un’arte morale. A quest’arte che prende in considerazione la morale si contrappone l’arte dell’artista demagogo Richard Wagner da cui Thomas Mann, soprattutto a seguito della ricezione della critica a Wagner da parte di Nietzsche, ha cercato di allontanarsi. Nel secondo capitolo si analizzano dunque le opere nietzschiane dove emerge la critica a Wagner, così come una serie di saggi manniani, tra cui primo fra tutti “Geist und Kunst”, in cui Thomas Mann ha cercato di opporre all’artista ciarlatano un letterato che facesse letteratura tenendo conto dello spirito. L’arte della modernità è tuttavia un’arte decadente che rischia di creare un rapporto tra artista e pubblico che è comparabile a quello tra leader e massa nei regimi dittatoriali, dove l’artista seduce il pubblico e lo ammalia. Con l’estetizzazione della politica, che si viene ad accentuare negli anni Venti del Novecento, il politico diventa demagogo e utilizza le stesse arti ciarlatanesche dell’artista decadente per eccellenza, ovvero Wagner. Nel terzo capitolo si è cercato quindi di far emergere come Cipolla non rappresenti soltanto un artista malato, bensì anche l’immagine di un leader fascista che impone la propria volontà di potenza. In questa parte si è voluto dunque far notare come la novella possa essere interpretata dal punto di vista politico come un avvertimento da parte dell’autore di Lubecca nei confronti della realtà fascista. Nella spiaggia di Torre di Venere è possibile ravvisare una massa fascista, così come alla performance del ciarlatano e mago Cipolla possiamo vedere un leader che usa la psicologia di massa, di cui si parla in riferimento alle opere di Freud e di Le Bon, per imporre la propria volontà su un pubblico di individui a loro volta trasformatisi in massa. Secondo questa lettura la morte di Cipolla rappresenterebbe dunque la caduta del Fascismo e potremmo vedere l'opera come espressione della volontà dell'autore di mettere in guardia contro quella realtà fascista nel rinnovato tentativo di riconciliare arte e spirito.The following thesis analyses Thomas Mann's short story “Mario und der Zauberer”, which was published in Germany in 1930. The story consists of two parts and is set in an Italian seaside resort, where, based on what we are told by the narrator who speaks of African heat and chauvinistic atmosphere, there is a sort of regression to an earlier stage of the humanity characterised by the dominance of irrationality and barbarism. Italians form a cohesive group united by ideals of fatherland and nation that do not spare even children. The foreign narrator and his family are here in holiday and are victims of a series of unusual events. These events annoy them, but they decide however to stay and not to leave. The second part of the story presents the magician Cipolla performing a series of magic tricks based on hypnosis and the annihilation of the personality of each individual. After Cipolla hypnotises the waiter Mario and makes him believe he is Silvestra, the woman he loves, Mario kisses the magician. Once he awakens from his state of hypnosis, Mario realises what has happened and shoots at the magician. Panic explodes in the audience and the narrator speaks of a fatal but liberating end.
After the presentation of the story, its summary, its sources and the different interpretations of the story in the first chapter, the second chapter attempts to analyse the dialectic of art and spirit that constitutes a leitmotif of Mann’s entire oeuvre. Thomas Mann was confronted throughout his entire life with these two aspects, which he tried to reconcile in order to make a moral art. This art that takes morality into account is the opposite of the art of the demagogic artist Richard Wagner, from whom Thomas Mann, especially after the reception of Nietzsche's critique of Wagner, tried to distance himself. The second chapter analyses Nietzsche's works in which we can see the Nietzschean critique of Wagner, as well as a series of essays of Thomas Mann, first and foremost "Geist und Kunst", in which the author of Lübeck tries to substitute the charlatan artist with a writer who makes an art that takes into account the spirit.
The art of modernity is, however, a decadent art that risks creating a relationship between artist and public that is comparable to that between leader and mass in dictatorial regimes where the artist seduces the public and bewitches it. With the aestheticization of politics, which becomes more pronounced in the 1920s, the politician becomes a demagogue and uses the same charlatan arts as the decadent artist par excellence, Richard Wagner. The purpose of the third chapter is to show how Cipolla not only represents a sick artist, but also the image of a fascist leader who imposes his will to power. In this section, it is therefore pointed out that the story can be interpreted politically as a warning by the author of Lübeck against the Fascism. At the seaside of Torre di Venere we can see a fascist mass and during the performance of the charlatan and magician Cipolla we can see a leader who uses mass psychology, that is explained in the presentation of the works of Freud and Le Bon, to impose his will on an audience of individuals who have themselves become a mass. According to this reading Cipolla's death would represent the fall of the Fascism. We could see the short story as an expression of the author's aim to warn against sick art and Fascism in a renewed attempt to reconcile art and spirit
A course space construction based on local Dirichlet-to-Neumann maps
No full textCoarse-grid correction is a key ingredient of scalable domain decomposition methods. In this work we construct coarse-grid space using the low-frequency modes of the subdomain Dirichlet-to-Neumann maps and apply the obtained two-level preconditioners to the extended or the original linear system arising from an overlapping domain decomposition. Our method is suitable for parallel implementation, and its efficiency is demonstrated by numerical examples on problems with large heterogeneities for both manual and automatic partitionings
(Never) Mind your p's and q's: Von Neumann versus Jordan on the Foundations of Quantum Theory
No full textIn early 1927, Pascual Jordan (1927b) published his version of what came to be known as the Dirac-Jordan statistical transformation theory. Later that year and partly in response to Jordan, John von Neumann (1927a) published the modern Hilbert space formalism of quantum mechanics. Central to both formalisms are expressions for conditional probabilities of finding some value for one quantity given the value of another. Beyond that Jordan and von Neumann had very different views about the appropriate formulation of problems in the new theory. For Jordan, unable to let go of the analogy to classical mechanics, the solution of such problems required the identification of sets of canonically conjugate variables, i.e., p’s and q’s. Jordan (1927e) ran into serious difficulties when he tried to extend his approach from quantities with fully continuous spectra to those with wholly or partly discrete spectra. For von Neumann, not constrained by the analogy to classical physics and aware of the daunting mathematical difficulties facing the approach of Jordan (and, for that matter, Dirac (1927)), the solution of a problem in the new quantum mechanics required only the identification of a maximal set of commuting operators with simultaneous eigenstates. He had no need for p’s and q’s. Related to their disagreement about the appropriate general formalism for the new theory, Jordan and von Neumann stated the characteristic new rules for probabilities in quantum mechanics somewhat differently. Jordan (1927b) was the first to state those rules in full generality, von Neumann (1927a) rephrased them and then sought to derive them from more basic considerations (von Neumann, 1927b). In this paper we reconstruct the central arguments of these 1927 papers by Jordan and von Neumann and of a paper on Jordan’s approach by Hilbert, von Neumann, and Nordheim (1928). We highlight those elements in these papers that bring out the gradual loosening of the ties between the new quantum formalism and classical mechanics
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