Thesis (Ph.D.)--Boston University / Locke, Berkeley, and Hume--referred to as "the classical British empiricists"--are examined for the extent to which a doctrine, called 'imagism' by Price, played a formative role in their philosophies. Imagism as defined has two main varieties, the polemical version and the constructive version. According to the former, images are the primary symbols in thinking and all other symbols are secondary and derivative. According to the latter, thought is the manipulation of mental images. It is this latter doctrine which is demonstrated as applicable to the classical British empiricists; so far as the former doctrine appears at all, it is an aberrant doctrine.[TRUNCATED]

El presente trabajo consta de tres partes: una introducción y dos capítulos. En la introducción busco familiarizar al lector con el contexto histórico en el que se desarrollo el pensamiento de George Berkeley. En el primer capítulo, caracterizo el idealismo berkeleyano como un empirismo cartesiano. De esta forma, muestro que Locke y Descartes influyeron directamente en la filosofía de Berkeley e hicieron posible el idealismo. En el segundo capítulo, examino la supuesta incongruencia, encontrada por George Pitcher en la filosofía de Berkeley, entre las siguientes tesis: i. La mente percibe ideas. ii. La mente y sus ideas son completamente distintas. iii. Es falsa la distinción entre la percepción de una idea y la idea percibida. Del mismo modo, en el segundo capítulo evalúo el análisis de Pitcher e indico los errores del mismo. Mi ataque se centra en demostrar que este es inadecuado porque analiza (ii) y (iii) como sugiriendo que el tipo de relación entre las mentes y las ideas es modal. Expongo como este tipo de distinción cartesiana es insuficiente para establecer lo que Berkeley desea señalar respecto a ambas tesis. Finalmente, muestro porque el análisis de Pitcher genera una serie de problemas que podrían evitarse si es que (iii) fuera interpretado como sugiriendo que la existencia de una idea consiste en su ser percibida. / Tesis

This thesis describes methods for duplicate traffic detection in computer networks. At first, it analyzes the problem of redundant traffic including the description of its origin and causes. The thesis describes on what data and what methods we are able to detect an operation as duplicate. Finally, this thesis explains design of redudant traffic detection algorithm including testing plan and results evaluation.

The thesis analyzes version control system Subversion and its available backends for storing data in a repository. It compares these backends and describes basic features of a new SQL database backend. Design and implementation of the new backend, based on MySQL database, is described and the new backend is then compared with existing backends BDB and FSFS.

Employing a textual analysis within an auteur theory framework, this thesis examines Frederick Wiseman's films At Berkeley (2013), National Gallery (2014), and Ex Libris (2017) and the different ways in which they reflect on the theme of time. The National Gallery, University of California at Berkeley, and the New York Public Library all share a fundamental common purpose: the preservation and circulation of "truth" through time. Whether it be artistic, scientific, or historical truth, these institutions act as cultural and historical safe-keepers for future generations. Wiseman explores these themes related to time and truth by juxtaposing oppositional binary motifs such as time/timelessness, progress/repetition, and reality/fiction. These are also Wiseman's most self-reflexive films, acting as a reflection on his past filmmaking career as well as a meditation on the value these films might have for future generations. Finally, Wiseman's reflection on the nature of time through these films are connected to the ideas of French philosopher Henri Bergson.

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Susan Friedman's recent theory of planetary modernisms, from her book Planetary Modernisms: Provocations on Modernity Across Time, holds that modernism as a distinguishable period, and modernity, as the characteristics of said period, can take place at any point in time and in any place that is experiencing rupture and upheaval. Planetary modernisms studies de-colonizes and de-centralizes traditional modernism and opens it up to logical and important new horizons. It encompasses not only literary output, but all forms of cultural production, including theatre and film. I use this theory to identify and compare two unique moments of modernism which until now have been neglected by modernism studies. Friedman suggests that the side-by-side comparison or "collage" of two disparate instances of modernism throughout history elucidates each respective moment and creates additional meaning.I examine on one hand the "gold digger" showgirl musical film subgenre of the early 1930s, a product of the intense social upheaval of the Great Depression, in which aspiring actresses desperate for jobs are forced to come to illicit agreements with the rich male producers of the shows. I juxtapose this with the #MeToo movement of the 2010s, wherein women speak out en masse against men who have exploited their influence over them to sexually harass them. Both center around women uniting in physical and/or online spaces to work against the abuse committed against them within the entertainment industry. In each case, men have wealth and power on one hand, while on the other hand women in need of jobs have little or no power. This power imbalance creates an environment in which predatory sexual behavior thrives. Furthermore, both time periods, past and present, are marked by rapid social and economic change, which serves both to exacerbate these power imbalances as well as accelerate the need for women to defend themselves despite possible retribution. The pressures of each period vary as do the potential outlets for women to voice their concerns and seek relief. I highlight the effects of women's solidarity in resistance to harassment and abuse and note how far society has yet to go when women today pushing for fairness and change continue to face intense opposition which at times belittles, disregards, and fights back against them.

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<p>**book was missing pages 105-109 (the thesis contents are undisturbed although the pages are missing)</p> / <p>This is a study in intellectual history. The focus is on Carl O. Sauer (1889-1975) and Sauer's ideas. The purpose of the thesis is to account for the intellectual motivation behind the "Berkeley School of (Historical) Geography" for which Sauer was wholly responsible. Historical geography in north America virtually owes its existence to Sauer's efforts. The thesis is not an analysis of the school per se, but rather an investigation into it's origin and underlying world view.</p> <p>The stimulus behind the Berkeley School was Sauer's 1925 essay on "The Morphology of Landscape". The "morphology" had a profound impact on the discipline of geography in North America, and it carefully outlined Sauer's perspective on the field. Accordingly, the bulk of the thesis covers the period from Sauer's birth until the penning of the "morphology". The different milieux of which Sauer was a member during that period are examined to determine their respective contributions to his ideas.</p> <p>It is postulated that Sauer's conception of geography, as expressed through the methodology and epistemological framework delineated in the "morphology", was a reflection if his strong German-American upbringing in the "Missouri Rhineland". In short, it is argued that Sauer was perpetuating the Goethean conception of science he was exposed to as an undergraduate at Central Weslevan. Sauer's graduate school experiences and his early teaching position appear to have had only a passing influence on his definition of the discipline</p> / Doctor of Philosophy (PhD)