Audiovisuelle Bestandsaufnahme des Sprachunterrichts für Ausländerkinder

Bachelor/master dissertation (1989)

Sous le signe de la grande grève de mars 1921. Les années sans pareilles du mouvement ouvrier luxembourgeois, 1918-1923

Bachelor/master dissertation (1988)

Les œuvres d’art temporelles de Voth - Les coordonnées de Hannsjörg Voth entre l’art du passé et les expressions plastiques contemporaines

Dissertation and these (1987)

Hannsjörg Voth produces with the evident necessity of high physical endurance art projects with mythical and utopian contents. The creations of the artist touch so many artistic domains that it is not ... [more ▼]

Hannsjörg Voth produces with the evident necessity of high physical endurance art projects with mythical and utopian contents. The creations of the artist touch so many artistic domains that it is not possible to attach him to a single typology of art expression. The present research features an analyze and an interpretation of Voths’ artwork in the setting of his personal artistic evolution. In his creative approach, the methodical progress to accomplish what is called in this research an art project, is studied in all its sequences in order to define in a more clear way this new artistic expression. It tries not only to overcome the traditional supports but also includes modern medias, so as photos and videos as integral and essential parts of the artists’ works. A confrontation with the art of the past and simultaneously contemporary creative expressions allows to better define the art coordinates of Voth and to give an evaluation of originality and artistic quality in the context of countless aesthetic forms that represent visual arts at the end of the XXth century. [less ▲]

Sprachpolitik in Katalonien

Bachelor/master dissertation (1985)

Réminiscences des maîtres anciens et éléments modernes dans le réalisme de Claudio Bravo

Bachelor/master dissertation (1984)

At the beginning of his career, Claudio Bravo became known as a portraitist of the jet set people. Yet, to reduce him on these activities would not do justice to him. In fact, he was a neo-realistic ... [more ▼]

At the beginning of his career, Claudio Bravo became known as a portraitist of the jet set people. Yet, to reduce him on these activities would not do justice to him. In fact, he was a neo-realistic painter with many facets. His trompe-l’oeil paintings showed that Bravo was fascinated by form and texture of the represented characters or objects. The artist tried in same way to give the signs of reality a metaphysical presence: Conceptually significance should go beyond their outward appearance. Just as his technique, his paintings become statements of perfection. Compared to his contemporary mainstream fellows, his approach was somehow an anachronism. He borrowed iconographic content or image composition from famous artist of the past such as Rafael, Caravaggio, Velasquez, Titian or Manet, in order to transform the appropriations with his hyper-realistic technique into a modern version, stating a touch of timelessness, due to the sobriety of the decoration and time neutral garment of the protagonists. He had also formal affinities to photo- or hyper-realistic US-painters of the 1960s such as Estes, Close and Goings or even the American illustrator Rockwell. His package wrapped subject paintings were obviously inspired by the smaller cloth enveloped and tied up objects of an early Christo. Pop artists gave also inspiration with their representation of banal consumer objects. However, Bravo did not share the message of the pop artists, who were critical time spirit oriented reporters of popular consuming routines in a society that was switching more and more to futility and sometimes vulgar communication. This lack of a deeper message, going beyond celebrating the aesthetics of super-realistic representation, was pointed out by many art critics, committed to a more contemporary view on art. When Bravo painted a pop icon like a Coca-Cola bottle or a moto-sport helmet, his inherent interest focused on the fidelity to the outward appearance and conceptually on a metaphysical sublimation of its mere physical presence. The research deals with the above mentioned questions and discusses whether the approach of Bravo was simple epigonism or an authentic renewal of realistic painting. [less ▲]

Evaluations distributionnelles sur une échelle de préférence qualitative

Doctoral thesis (1981)

In a first Chapter, we present a critical review of the weighted average when facing distributional performance evaluations measured on an essentially qualitative preference scale. In a second Chapter we ... [more ▼]

In a first Chapter, we present a critical review of the weighted average when facing distributional performance evaluations measured on an essentially qualitative preference scale. In a second Chapter we develop a general typology of qualitative preference scales between between ordinal and cardinal; from non gradual, non metrifyable, partially gradual, gradual, metrifyable, metric extensive to additive, additive-archemidian and measurable scales. The typology is based on the subjective degree of indeterminateness of the numerical representation of the performance contrasts. In a third Chapter we finally define a typology of subjective outranking situations: elementary, intensive or extensive; based on the corresponding underlying type of the preference measurement scale. [less ▲]

Das lullische Gedankengut in Cusanus' Sermo 1 und seine Wiederaufnahme in "de docta ignorantia"

Bachelor/master dissertation (1980)

Wirtschaftliche und soziale Aspekte der Geschichte der Stadt Luxemburg im 14.-15. Jahrhundert

Dissertation and these (1978)

Unveröffentlichte Qualifikationsarbeit