This dissertation conducts a phenomenological analysis of Massively Multiplayer Online Games (MMOGs) – networked computer applications that thousands of people play simultaneously using avatars to interact with one another and with computer-controlled entities within a game-world typically rendered in 3D. Part 1 argues that existing studies of MMOGs often utilize concepts that, while presumed to be well understood, are often problematic in ways that conflict with the actual claims of the studies in which they play a central role. Three issues in particular are highlighted. It is argued, first, that common conceptions of virtual should not influence understanding of MMOGs; second, that there are prima facie problems with how existing studies frame the subject of avatars; and, third, that there are substantive problems with accounts of avatars that involve notions of representation or embodiment. Part 2 develops an interpretation of MMOGs that both extends understanding of these games, and reflexively unsettles the traditional phenomenological perspective that orients this interpretation itself. The analysis begins by arguing that MMOGs are worlds – understood as places of meaningful, fallen, thrown, collective conduct – and introduces the idea of conjuncture to account for how Dasein and avatars function together at an existential-ontological level. In so doing, the dissertation puts pressure on the fundamental-ontological distinction between Dasein and entities other than Dasein, the idea that Dasein alone discloses world, and the notion that whatever Dasein uses in its environment only obtains a place because of the de-severing and directionality of Dasein. By interpreting the virtuality of MMOGs as the creative repetition of ontological structures of existence, the dissertation provides insight into the phenomena of virtual death and time. This in turn draws into question the idea that quantifying time blocks access to original human temporality, and that the transcendence of Dasein uniquely involves self-overcoming.

Abstract The research presented in this dissertation is an examination of the manuscript tradition of John Scottus Eriugena’s Latin translation (the Versio Dionysii) of the Greek works of Dionysius the pseudo-Areopagite. The goal of this project is fourfold: first, to establish the relationship between the extant families of the manuscripts; second, to re-examine the state of Greek studies in the 9th century based on the relationship between the manuscript families; third, to trace the continued use of these recensions through the 12th century; and, finally, to examine Eriugena’s interpretation of the writings of the pseudo-Areopagite based on the Irishman’s translations of certain philosophic ideas. The First chapter establishes the existence of three distinct recensions, rather than two, as previously thought. Two of these recensions represent attempted corrections of the third. All three recensions (together with their corrections) are attributable to Eriugena (whether directly or indirectly). The second chapter examines the level of Eriugena’s understanding of Greek, especially within the context of the state of Greek studies in the 9th century. Special attention is given to the corrections of the later recensions, which suggest an improvement in Eriugena’s Hellenism. The third chapter examines the continued use of the Versio’s during the Middle Ages through the 12th century, with special care to clarify which recensions were known to which readers. The fourth and final chapter presents the originality of Eriugena’s interpretation of the pseudo-Areopagite’s thought. This originality stems in part from his understanding of the Greek text, and in part from his attempts to harmonize his sources.

This dissertation examines Leonardo da Vinci’s literary writings, namely those known as the Bestiario, Favole, Facezie, and Profezia, as compelling expressions of how Leonardo envisioned the role and influence of morality in human life. Through an analysis of these four literary collections from the perspective of their genre history, literariness, and philosophical dimension, it aims to bring to light the depth with which Leonardo reflected upon the human condition. The Bestiario, Favole, Facezie, and Profezia are writings that have considerable literary value in their own right but can also be examined in a wider historical, literary, and philosophical context so as to reveal the ethical ideas that they convey. By studying them from a historical perspective, it is possible to contextualize Leonardo’s four collections within the tradition of their respective genres (the bestiary, fable, facetia, and riddle) and thus recognize their adherence as well as contribution to these traditions. The literary context brings to light Leonardo’s intentionality and ingenuity as a writer who uses generic conventions in order to voice his ethical views. Assessed from a philosophical standpoint, these four literary collections prove to be meaningful reflections on the moral state of humanity, thereby justifying the characterization of Leonardo as a moral philosopher. Current scholarship on the Bestiario, Favole, Facezie, and Profezia generally views these writings as minor Leonardo works and treats them as ancillary parts of his production. This dissertation, conceiving Leonardo as a moral philosopher, provides interpretations that lead to the conclusion that his thought pervades both his major and minor works and that these literary writings must be viewed as an extension (and result) of Leonardo’s greater notions of the world and of how all parts relate to one another. The Bestiario, Favole, Facezie, and Profezia are works that deserve greater attention reflecting as they do the thought of this Renaissance man.

This dissertation conducts a phenomenological analysis of Massively Multiplayer Online Games (MMOGs) – networked computer applications that thousands of people play simultaneously using avatars to interact with one another and with computer-controlled entities within a game-world typically rendered in 3D. Part 1 argues that existing studies of MMOGs often utilize concepts that, while presumed to be well understood, are often problematic in ways that conflict with the actual claims of the studies in which they play a central role. Three issues in particular are highlighted. It is argued, first, that common conceptions of virtual should not influence understanding of MMOGs; second, that there are prima facie problems with how existing studies frame the subject of avatars; and, third, that there are substantive problems with accounts of avatars that involve notions of representation or embodiment. Part 2 develops an interpretation of MMOGs that both extends understanding of these games, and reflexively unsettles the traditional phenomenological perspective that orients this interpretation itself. The analysis begins by arguing that MMOGs are worlds – understood as places of meaningful, fallen, thrown, collective conduct – and introduces the idea of conjuncture to account for how Dasein and avatars function together at an existential-ontological level. In so doing, the dissertation puts pressure on the fundamental-ontological distinction between Dasein and entities other than Dasein, the idea that Dasein alone discloses world, and the notion that whatever Dasein uses in its environment only obtains a place because of the de-severing and directionality of Dasein. By interpreting the virtuality of MMOGs as the creative repetition of ontological structures of existence, the dissertation provides insight into the phenomena of virtual death and time. This in turn draws into question the idea that quantifying time blocks access to original human temporality, and that the transcendence of Dasein uniquely involves self-overcoming.

The TaRYaG count, that is the traditional enumeration of the 613 commandments contained in the five Mosaic books (Torah), has gained a prominent place in Judaism. The count is based on a dictum found in the Babylonian Talmud and attributed to R. Simlai, a Palestinian rabbi of the late third century. No one did more to see this count achieve the importance it has than Moses Maimonides, the prominent 12th-century Jewish philosopher and perhaps the most important post-talmudic jurist of all times. M. offered an impressive methodology, made up of rules of individuation, identification and interpretation - in all, fourteen rules - to support his proposed enumerative scheme and used it to critique all previous such attempts. By his own account, Maimonides undertook this project with the sole aim to provide a comprehensive outline for his upcoming Code of Jewish Law. This thesis demonstrates the enormous difficulties inherent in such a project - difficulties that could not have passed unnoticed by such an accomplished author - and seeks to uncover any other reason or reasons that may have prompted him to adopt such a constraining count. The thesis concludes by speculating that Maimonides may have found it convenient to use the TaRYaG scheme in order to introduce into the list of commandments the beliefs in the existence of God and in His unity - beliefs that had previously not been considered commandments. An ancillary product of the dissertation is the discovery that many of the commandment designations proposed in the enumerative scheme are abandoned in the Halakhot, a discovery that was noted, albeit only partially, by less than a handful of scholars over the past eight hundred and fifty years. The dissertation examines the proposed solutions and rejects them on a number of counts. A systematic analysis of these occurrences suggests a more consistent solution and reveals an aspect of Maimonides that has not been sufficiently appreciated, Maimonides the exegete and legal philosopher. The agenda-oriented research also examines some of the important innovations contained in M’s list of positive commandments, the hermeneutics behind them and the politico-philosophical ideas that may have informed them.

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Thèse numérisée par la Direction des bibliothèques de l’Université de Montréal / L'objet lointain de ce travail situe la recherche dans le champ de l’Histoire de la Philosophie. Nous voudrions, en effet, remonter le plus haut possible dans l’histoire de la pensée grecque pour découvrir, s'il y a lieu, la conception originelle du temps dans ces premiers textes écrits qui nous sont parvenus. Sceptique devant la division souvent arbitraire établie entre la littérature et la philosophie, et cela au niveau même des Facultés universitaires, nous n'avons pas hésité à choisir comme point de départ de notre enquête les premiers textes littéraires grecs: l’Iliade et l’Odyssée, poésie homérique.

Master of Arts / Department of Economics / Peri da Silva / Economists use various models to explain why it is that firms are capable of pricing above marginal cost. In this paper, we will examine two of them: the Cournot and Bertrand duopoly models. Economists generally accept both models as good explanations of the phenomenon, but the two models contradict each other in various important ways. The puzzle is that two inconsistent explanations are both regarded as good explanations for the same phenomenon. This becomes especially worrisome when the two models are offering divergent policy recommendations. This report presents that puzzle by laying out how the two models contradict each other in a myriad of ways and then offers five possible solutions to that puzzle from various economists, philosophers of science, and philosophers of economics.

Le Charmide de Platon s’inscrit légitimement dans ce qu’il est convenu de nommer les « dialogues de jeunesse », et nous y constatons la forte présence de ce qui caractérise traditionnellement l’activité philosophique de Socrate, soit la réfutation. Cependant, tandis que les réfutations effectuées directement sur le jeune Charmide ne produisent aucun effet, celui-ci réagit fortement aux réfutations que Socrate fait subir à son tuteur Critias et auxquelles il assiste passivement. Qu’est-ce qui, dans ce qui s’apparente vraisemblablement à une réfutation indirecte, produit l’ébranlement de Charmide? Nous voulons regarder en quoi la réfutation est ici un traitement purgatif non pas par l’usage d’affirmations propositionnelles contradictoires, mais par une certaine dialectique de l’image, celles de Critias et de Socrate devant Charmide. Cette dialectique de l’image en appelant à une réflexion sur la dimension mimétique du rapport qu’entretient le jeune garçon avec ces deux hommes, nous voulons ainsi regarder en quoi la réfutation indirecte de Charmide nous dresse les contours d’une possible activité poétique de Socrate. Cette poésie résisterait à la critique que celui-ci en fait plus tard dans la République par un usage de l’image qui vise non plus à proposer des modèles fixes de la vertu, mais à montrer le mouvement de la pensée, et donc à « sensibiliser » Charmide à l’élan intellectuel qui l’habite et l’anime lui-même. Ainsi, en nous penchant sur la présence dans le Charmide de ce que nous nommons une « réfutation poétique », ce mémoire explore la possibilité de penser ensemble ce qui semble assoir l’intellectualisme socratique des premiers dialogues et la poésie qui, par son absence de visée intellectuelle, est rejetée par le Socrate de la République à moins qu’elle ne prenne la forme d’un « éloge des hommes bons ». / Plato's Charmides is part of what we refer to as the «early dialogues», and we find in these dialogues a major feature of Socrates's philosophy, mainly refutation. However, while these refutations don't have any effects on the young Charmides, he still reacts to Socrates's refutation of Critias. We wonder how this indirect refutation produces such a reaction on Charmides. We look at how refutation represents here a purgative treatment not by using contradictory propositions, but with the use of a certain dialectic of the image, the ones of Critias and Socrates facing Charmides. Examining this dialectic, which refers to the study of the mimetic dimension that the young boy maintains with the two men, we wish to reflect on how the indirect refutation of Charmides draws the outline of Socrates's possible poetical activity. This poetry resists to the critics made later in the Republic pertaining to the use of images relating to certain models of virtue, by showing the motion of thought, and hence guiding Charmides in his own intellectual motion. By reflecting on the «poetical refutation» we find in Plato's Charmides, this thesis explores the possibility of linking what seems to ground Socrates's intellectualism in the early dialogues to the poetry that is rejected par Socrates in the Republic, besides the one that pertains to the «defense of good men».