Submitted by Maike Costa (maiksebas@gmail.com) on 2016-07-04T11:31:25Z No. of bitstreams: 1 arquivo total.pdf: 1939689 bytes, checksum: e46ad524ecd0186e17aa965be94f3540 (MD5) / Made available in DSpace on 2016-07-04T11:31:25Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1939689 bytes, checksum: e46ad524ecd0186e17aa965be94f3540 (MD5) Previous issue date: 2014-03-23 / This dissertation addresses the problem of evil placed as a challenge to the belief of classical theism. It considers the concept of God held by orthodox theism making a description of his attributes and showing that there are problems of evil can only be sustained if this conception of God is maintained. If the concept of God is modified, the problems of evil no longer make sense. It also proceeds to give a description of the various versions of the challenge of evil and some attempts to solve it in order better understand the contribution that defense of Plantinga brings to the debate. Then it makes a more detailed exposition of the logical problem of evil and how the defense of free will as posited by Alvin Plantinga seeks to answer this challenge. Additionally it also seeks to present some of the new developments that plantingian defense brought the problem of evil and how the american philosopher sought to work these new ways of problem. Finally it elaborates briefly about reformed epistemology and the insertion in his epistemological project of his defense of free will in the treatment of evil. / A presente dissertação trata do problema do mal colocado como desafio à crença do teísmo clássico. Ela considera o conceito de Deus sustentado pelo teísmo ortodoxo fazendo uma descrição dos seus atributos e mostrando que há problemas do mal que só se sustentam se esta concepção sobre Deus for mantida. Se o conceito de Deus é modificado, os problemas do mal deixam de fazer sentido. Ela procede também em fazer uma descrição das várias versões do problema do mal e de algumas tentativas de solucioná-lo a fim de melhor entender a contribuição que a defesa plantingiana traz ao debate. Se propõe a apresentar uma exposição mais detalhada do problema lógico do mal e de como a defesa do livre-arbítrio como posta por Alvin Plantinga busca responder a este desafio. Além disso ela também procura apresentar alguns dos novos desdobramentos que a defesa plantingiana trouxe ao problema do mal e como o filósofo americano procurou trabalhar esses novos caminhos do problema. Por fim ela discorre brevemente sobre a epistemologia reformada e a inserção no seu projeto epistemológico da sua defesa do livre-arbítrio no tratamento do mal.

Made available in DSpace on 2014-12-20T01:01:27Z (GMT). No. of bitstreams: 1 000464250-Texto+Completo-0.pdf: 443912 bytes, checksum: 5aa71f054c86ca739b56e8d32700b345 (MD5) Previous issue date: 2014 / Most – if not all – arguments that purport to demonstrate that God does not exist or that the probability of His existence is low depend, explicitly or implicitly, on the idea that there are gratuitous evils or that, if God existed, He would have created a better world. The goal of this MA thesis is to evaluate the difficulties that the consequential complexity of history could pose to the formulation of this type of arguments. Additionally, I seek to briefly investigate how the molinist model of divine providence, which postulates God’s knowledge of what became known in the literature as counterfactuals of freedom, incorporates or should incorporate the question of the causal complexity of the world. / A maioria – ou talvez mesmo todos – os argumentos que procuram demonstrar a não existência ou a baixa probabilidade da existência de Deus a partir do mal existente no mundo dependem, explicita ou implicitamente, da ideia de que há males gratuitos no mundo ou da ideia de que, se Deus existisse, Ele teria criado um mundo melhor que este. O objetivo desta dissertação é avaliar as dificuldades que a complexidade consequencial da história coloca para a formulação desses tipos de argumentos. Adicionalmente, procuro investigar brevemente como o modelo providencial molinista, que pressupõe o conhecimento por Deus dos chamados contrafatuais da liberdade, incorpora ou deveria incorporar a questão da complexidade causal do mundo.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Humanidades, Departamento de Filosofia, Programa de Pós-Gradução, 2006. / Submitted by Alexandre Marinho Pimenta (alexmpsin@hotmail.com) on 2009-10-03T21:22:19Z No. of bitstreams: 1 2006_Maurício Mota Saboya Pinheiro.pdf: 636303 bytes, checksum: 3bcded7e63dbd24f927677f883f1da39 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2009-10-05T12:02:21Z (GMT) No. of bitstreams: 1 2006_Maurício Mota Saboya Pinheiro.pdf: 636303 bytes, checksum: 3bcded7e63dbd24f927677f883f1da39 (MD5) / Made available in DSpace on 2009-10-05T12:02:21Z (GMT). No. of bitstreams: 1 2006_Maurício Mota Saboya Pinheiro.pdf: 636303 bytes, checksum: 3bcded7e63dbd24f927677f883f1da39 (MD5) Previous issue date: 2006-07 / Esta dissertação analisa a relação entre experiência religiosa e credenciais epistêmicas das crenças teístas, com base principalmente nas obras de William Alston (Perceiving God) e Alvin Plantinga (Warranted Christian Belief). Após passar em revista os conceitos clássicos de experiência religiosa, examinam-se em profundidade os argumentos de Alston e de Plantinga em defesa do teísmo para, em seguida, serem criticados e comparados esses autores. A análise comparativa entre ambos sugere vários pontos de complementaridade que poderiam conduzir a futuros aperfeiçoamentos nos trabalhos de cada um. Em particular, uma alternativa indicada por McLeod – um holismo epistemológico de base externalista – parece ser bastante promissora no sentido de se alcançar uma síntese e uma superação de Alston e Plantinga. Tanto os conceitos centrais de prática doxástica (Alston) quanto de aparato cognitivo (Plantinga) poderiam ser integrados em uma estrutura de formação de crenças cujos dados de entrada seriam as experiências do sujeito – considerado tanto individual quanto coletivamente. Nesse esquema, a experiência religiosa ou mística teria um papel meramente causal (ou de “catalisação”) na formação das crenças teístas e estas seriam credenciadas de acordo com os critérios do holismo epistemológico, a saber: o compromisso e o poder de ordenamento do mundo, dentre outros. _________________________________________________________________________________________ ABSTRACT / This dissertation aims at analyzing the bearings between religious experience and the theistic beliefs epistemic credentials, on the basis of the works of William Alston (Perceiving God) and Alvin Plantinga (Warranted Christian Belief). After surveying the classical concepts of religious experience, one deeply examines the arguments of Alston and Plantinga for the theism and, after that, one criticizes and compares both authors. The comparative analysis suggests various complementary points that could lead to improvements in each other’s works. In particular, an alternative pointed out by McLeod – an externalist epistemological holism – looks quite promising in order to attain both a synthesis and an overriding of Alston and Plantinga. The crucial concepts of doxastic practice (Alston) and of cognitive apparatus (Plantinga) could be integrated in a structure of belief formation whose inputs would be the subject’s experiences – this considered both from individual and collective points of view. Under such scheme, religious or mystical experience would have a merely causal role in the formation of theistic beliefs; these beliefs would be credentialed according to the epistemological holism criteria: the commitment and the ordering-world power, among others.

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Since the middle of the twentieth century, American dance artists have presented complicated images of American identity to world audiences, as dance companies traveled abroad under the auspices of the US State Department. This dissertation uses oral history interviews, archival research, and performance analysis to investigate how dancers navigated their status as official American ambassadors in the Cold War and the years following the 2001 terrorist attacks in the US. Dance companies worked and performed in international sites, enacting messages of American democratic superiority, while individual dancers re-interpreted the contours of American identity through personal encounters with local artists and arts practices. The dancers’ memories of government-sponsored tours re-insert the American artist into American diplomatic history, prompting a reconsideration of dancers not just as diplomatic tools working to persuade global audiences, but as creative thinkers re-imagining what it means to be American. This dissertation begins in the late 1950s, as the State Department began discussing appropriate dance companies to send to the Soviet Union, as part of the performing arts initiatives that began in 1954 under the direction of President Dwight Eisenhower. The dissertation concludes by examining more recent dance in diplomacy programs initiated in 2003, coinciding with the US invasion of Iraq. My analysis considers New York City Ballet’s 1962 tour of the Soviet Union, where the company performed programs that included George Balanchine’s Serenade (1934), Agon (1957), and Western Symphony (1954), and Jerome Robbins’ Interplay (1945) during the heightened global anxieties of the Cuban Missile Crisis. My analysis of Ailey’s 1967 tour of nine African countries focuses primarily on Revelations (1960), which closed every program on the tour. Moving into the twenty-first century, I analyze A Slipping Glimpse (2007), a collaboration between Margaret Jenkins Dance Company and Tansuree Shankar Dance Company, which began as a US State Department-sponsored 2003 residency in Kolkata. To explore each tour, I consider government goals documented in archived minutes from artist selection panels; dancers’ memories of the tours, which I collected in personal interviews conducted between 2007 and 2009; and performance analysis of the pieces that traveled on each tour. / text

Made available in DSpace on 2015-04-14T13:55:25Z (GMT). No. of bitstreams: 1 464250.pdf: 443912 bytes, checksum: 5aa71f054c86ca739b56e8d32700b345 (MD5) Previous issue date: 2014-12-05 / Most if not all arguments that purport to demonstrate that God does not exist or that the probability of His existence is low depend, explicitly or implicitly, on the idea that there are gratuitous evils or that, if God existed, He would have created a better world. The goal of this MA thesis is to evaluate the difficulties that the consequential complexity of history could pose to the formulation of this type of arguments. Additionally, I seek to briefly investigate how the molinist model of divine providence, which postulates God s knowledge of what became known in the literature as counterfactuals of freedom, incorporates or should incorporate the question of the causal complexity of the world. / A maioria ou talvez mesmo todos os argumentos que procuram demonstrar a n?o exist?ncia ou a baixa probabilidade da exist?ncia de Deus a partir do mal existente no mundo dependem, explicita ou implicitamente, da ideia de que h? males gratuitos no mundo ou da ideia de que, se Deus existisse, Ele teria criado um mundo melhor que este. O objetivo desta disserta??o ? avaliar as dificuldades que a complexidade consequencial da hist?ria coloca para a formula??o desses tipos de argumentos. Adicionalmente, procuro investigar brevemente como o modelo providencial molinista, que pressup?e o conhecimento por Deus dos chamados contrafatuais da liberdade, incorpora ou deveria incorporar a quest?o da complexidade causal do mundo.

This creative project presents an overview of the architectural styles and history of the surviving commercial architecture of A.M. Strauss in Fort Wayne, Indiana. He was the best known architect working in Fort Wayne during the period covered by this creative project, and his work is an excellent example of how national architectural trends affected architecture in Fort Wayne. His commercial architecture represents his best known and most significant work. He did far too many buildings to cover in a single thesis, and so his residential and institutional architecture in Fort Wayne remains for another study, as do his many works outside of Fort Wayne. This project also brings together in one treatment as much photographic, historical and architectural documentation of these buildings as possible — documentation now scattered across east central and northeast Indiana. It traces Strauss's stylistic changes from Spanish Eclecticism through Art Deco and Art Moderne to Modernism. The surviving buildings represent each of these styles and shifts in historical context. / Department of Architecture

Master of Music / Department of Music / Kurt R. Gartner / This is a report intended for musicians planning to perform any number of, or scholars seeking to enrich understanding of, the following compositions: Concerto for Marimba and Wind Ensemble by David Gillingham, XL Plus One by Alvin Etler, March from Eight Pieces for Four Timpani by Elliott Carter, 42nd Street Rondo by Wayne Siegel, and Oceanus by Steve Houghton and Wendell Yuponce. Each work is analyzed in accordance with Jan Larue's method of style analysis. For some compositions, analysis of harmony has been omitted. For all compositions, the author has added a pedagogical realm of analysis, dedicated to notable performance considerations, interpretive possibilities, and technical considerations, to Larue's organizational scheme. Therefore, the approach taken in this document can be expressed as: Sound, Harmony, Melody, Rhythm, Growth, and Performance.

Der Komponist und Klangkünstler Alvin Lucier ist einer der Mitbegründer der Live Electronic Music-Szene der 60er Jahre in den USA. Vergangenes Jahr feierte er seinen 80. Geburtstag. Im Dezember 2009 widmete sich das SOLOLALA Festival, eine Veranstaltungsreihe des ausland Berlin unter der Leitung von Gregor Hotz, Alvin Luciers Solo-Stücken. Fünf seiner Stücke wurden hierfür von fünf Performerinnen neu interpretiert, darunter zwei seiner bekanntesten, 'Music for Solo Performer' (1965) und 'I Am Sitting in a Room' (1970). Der Beitrag führt Interviews und Statements der Beteiligten – Performerinnen, Techniker, Lichtdesignerin und Kurator – zusammen. In dieser Vielstimmigkeit wirft er den Blick auf das Solo als Teamarbeit, die Aufführungspraxis in Musik und Performancekunst und fragt nach der inspirierenden Essenz von Luciers langjährigem Schaffen.