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L'œuvre logique d'Albert le Grand a été très peu étudiée jusqu'ici. Ses enseignements sur le problème fondamental du sujet de la logique, entre autres, n'ont suscité que quelques remarques et brèves études. Le peu qui a été fait semble d'ailleurs indiquer que cet oubli est pleinement justifié : le philosophe médiéval paraît incohérent et peu profond. Une étude de plus grande envergure, tenant compte de tous les textes de l'auteur sur ce sujet et de toutes les nuances dont le maître de Thomas d'Aquin est capable, met toutefois en lumière sa connaissance exceptionnelle de tous les aspects de cette difficile question. Plus important encore, elle nous procure une solution équilibrée, solide et fort éclairante pour qui tente de percer le corpus logique aristotélicien: le sujet de la logique se présente comme l'instrument rationnel, d'une part, et comme l'intention seconde (ou l'argument, ou l'expression linguistique), d'autre part.

Yes / This text discusses the films of French director Albert Lamorisse in relation to the poetics of cinema. It focuses on three of Lamorisse’s films, Crin Blanc (1953), Le Ballon Rouge (1956) and Le Vent des Amoureux (1978), in order to examine his fascination with wind, a force of nature, due to its invisibility, that is virtually impossible to capture on film. Certain French theorists, however, have tried to explain the power of the wind, most notably Gaston Bachelard, whose works are quoted here as part of the analysis, while a few distinguished filmmakers, such as Joris Ivens and Andrei Tarkovsky, have used wind in interesting ways. But only Lamorisse had what could be described as a sustained obsession. Despite early success (the great French film theorist André Bazin was praiseworthy about his short films), Lamorisse has been somewhat neglected in recent years. Thus, this essay highlights the unique skills of a ‘forgotten man’ of French post-war cinema.

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Killing another human being is something most people are taught is wrong growing up. Within themilitary profession, killing is not only an acceptable action, but also part of many soldiers' duty andit is expected that they carry out the act. A consequence of killing another human is that soldiers canfind it difficult to adapt their minds to perform such an action or processing it after the fact. Earlierstudies examine soldiers that previously have carried out the act, with a focus on the effect of theaction itself. This study therefore seeks to find out how Swedish military personnel view the actionof taking another life in the military context, and how it can be explained through Albert Bandurastheory Moral Disengagement. This study achieves this through interviewing four Swedish veteransthat have previously served in peacekeeping operations within the armed forces. The result of thisstudy shows that soldiers do not experience any difficulty in justifying the act of killing before ithas taken place, but they struggle to justify the act during and after committing it.

This study concerns the contributions of Major Albert Sobey and his educational leadership during the development of the engineering cooperative education program that became the foundation for the General Motors Institute in Flint, Michigan. This study also examines Albert Sobey's contributions to the emergence of industrial cooperative education in America over the past seventy years.

La manipulation est présente au cœur de l’œuvre d’Albert Camus. Elle s’exerce tant au niveau des personnages qu’au niveau du lecteur. Jean-Baptiste Clamence, dans La Chute, est un personnage extrêmement manipulateur. A la fin de son discours, il énonce ce que furent ses techniques de manipulation. A la lumière de La Chute, on découvre une nouvelle facette de l’œuvre d’Albert Camus, celle de la manipulation.Il existe différents manipulateurs. Il y a ceux qui le font avec un immense plaisir ou ceux qui manipulent pour le bien d’autrui. La manipulation s’exerce parfois au service d’un autre manipulateur. Des événements historiques peuvent être générateurs de manipulation en mettant ces personnages en action.Les personnages manipulés réagissent aussi de différentes manières. On peut dissocier les inconscients des conscients non consentants qui se battent pour s’en libérer. Il existe aussi des personnages conscients de leur manipulation et consentants de l’être.A l’adresse du lecteur, Albert Camus utilise différentes techniques comme le jeu sur les duos, les références à la Bible ou à ses différents écrits. Albert Camus met en place un processus nécessaire de compréhension qui rend le jugement impossible. La Chute apparaît comme le mode d’emploi de la manipulation. A travers les techniques de Jean-Baptiste Clamence, on découvre donc celles d’Albert Camus. Le premier Homme est d’ailleurs la seule œuvre exempte de manipulation et marque un tournant dans l’œuvre d’Albert Camus. / Manipulation is present in Albert Camus’s work. It acts at the level of both the characters and the reader. Jean-Baptiste Clamence, from The Fall, is an extremely manipulative character. At the end of his speech, he lists and describes his manipulation techniques. The Fall reveals a new aspect of Albert Camus’s work : manipulation.There are several kinds of manipulator: those who find personal pleasure in such behaviours, and those who act for the good of others. Manipulation may sometimes benefit another manipulator. Historical events may generate manipulation; they activate Camus’s characters.Manipulated characters also react in different ways. Some are unaware, others may be aware but are non-consenting and fight to free themselves, and other characters are aware of being manipulated and accept it.At the reader’s level, Albert Camus uses different techniques such as the play between duos, references to the Holy Bible or tho his own writings. Albert Camus creates an understanding which makes judgement impossible. The Fall almost resembles an instruction manual for manipulation. Through Jean-Baptiste Clamence’s techniques, we discover those of Camus himself. The First Man is the only one of Camus’s books that is free of manipulation, and in this respect represents a turning-point in his work.

Esta dissertação discutirá, com uma abordagem predominantemente analítica, aspectos em aberto do Modelo Sznajd e de algumas de suas variantes. Apresentaremos uma equação mestra que descreve a evolução de opiniões para o modelo e estudaremos seus estados estacionários numa aproximação de campo médio. Mostraremos que esta simples abordagem é suficientemente para descrever seu comportamento qualitativo. A introdução de ruído à dinâmica do modelo também é analisada. Observa-se, neste caso, a existência de uma transição de fase entre um estado onde há um candidato majoritário (estado ordenado) e um estado onde todas as opiniões coexistem com aproximadamente o mesmo número de eleitores (estado desordenado), dependendo da intensidade desse ruído. Resultados de simulações de Monte Carlo numa rede de Barabási-Albert apresentam boa concordância quando confrontadas com resultados analíticos. / This work discusses, mainly with an analytical approach, the Sznajd Model and some of its variants. We propose a master equation that describes the evolution of opinions in the model, studying its possible steady states in a mean-field approximation. We show that this approach, although very simple, is enough to describe the qualitative behavior of the model. The introduction of noise in the dynamics is also studied in detail. In this case we show that there is a phase transition between an state in which a single candidate has the majority of the votes (ordered phase) and another one where the votes are well distributed among all the candidates (disordered phase), depending on the level of noise. Monte Carlo simulations in a Barabási-Albert network show good agreement with the analytical results.

Dentre os planos que Albert Camus estabeleceu para a sua obra, prevaleceu nos seus escritos e declarações a tríplice que incluía os ciclos do absurdo, da revolta e do amor. Cada um dos ciclos seria composto de pelo menos uma peça de teatro, um romance e um ensaio, além de também ser acompanhado de um mito central, sendo respectivamente Sísifo, Prometeu e Nêmesis. Com a sua morte súbita em acidente de carro aos 46 anos, o escritor deixou alguns vestígios do que viria a compor o seu terceiro ciclo: o romance inacabado O primeiro homem, anotações sobre a peça Don Fausto e elementos para o ensaio O mito de Nêmesis. A presente pesquisa reúne e contextualiza os rastros deixados por Camus em torno da sua relação com o mito de Nêmesis a fim de oferecer uma chave de leitura para a sua obra e expor um panorama formal, temático e filosófico de um dos seus últimos projetos de ensaio. / Among the plans that Albert Camus has established to his work it has prevailed, in his writings and declarations, the triple that includes cycles of absurd, revolt and love. Each one of the cycles would be composed at least of a theater play, a novel and an essay. Besides, they are also followed by a central myth, being Sisyphus, Prometheus and Nemesis. After Camus sudden death at age 46, he left some traces of what would it be consisted his third cycle: the unfinished novel The first man, notes about the play Don Faust and elements for the essay The myth of Nemesis. The presented research reunites and contextualizes the traces let by Camus around his relationship with the myth of Nemesis in order to offer a reading key to his work and to expose a formal, thematic and philosophical overview of this essay project.