Neste trabalho é mostrado que para um anel local de Cohrn-Macaulay e para. um anel local cujo corpo residual seja algebricament.c fechado e cujo anel gnKluado associado seja um domínio, vale que a dimensão ele mergulho ( embedcling dimension) é menor ou igual a sua dimensão de I~rull mais sua multiplicidade menos um. Na segunda parte do trabalho vemos que, dados dois inteiros m ≥ 1, d ≥ 2 e um inteiro arbitrário e ≥ dm, existe um anel local com multiplicidade, dimensão de Krull e dimensão de mergulho iguais a m, d e e respectiYamente. / In this work we show that. for a Cohen-Macaulay ring and for a local ring with algebraically closed residual field and associated graded ring a domain. we hav: the embedding dimension is less than or equal t.o t.he Erull climension plus the multiplicity mines one. Secondly, we see that, given integers m ≥ 1, d ≥ 2 anel given an arbitrary integer e ≥ dm , there exists a local ring with multiplicity Krull dimcnsion d and embedding dimension t.

Neste trabalho é mostrado que para um anel local de Cohrn-Macaulay e para. um anel local cujo corpo residual seja algebricament.c fechado e cujo anel gnKluado associado seja um domínio, vale que a dimensão ele mergulho ( embedcling dimension) é menor ou igual a sua dimensão de I~rull mais sua multiplicidade menos um. Na segunda parte do trabalho vemos que, dados dois inteiros m ≥ 1, d ≥ 2 e um inteiro arbitrário e ≥ dm, existe um anel local com multiplicidade, dimensão de Krull e dimensão de mergulho iguais a m, d e e respectiYamente. / In this work we show that. for a Cohen-Macaulay ring and for a local ring with algebraically closed residual field and associated graded ring a domain. we hav: the embedding dimension is less than or equal t.o t.he Erull climension plus the multiplicity mines one. Secondly, we see that, given integers m ≥ 1, d ≥ 2 anel given an arbitrary integer e ≥ dm , there exists a local ring with multiplicity Krull dimcnsion d and embedding dimension t.

Den Mittelpunkt des folgenden Diskurses bildet ein Projekt des Neukantianers Hermann Cohen (1842-1918), das dieser unter dem Titel „Das Prinzip der Infinitesimal-Methode und seine Geschichte“ 1883 präsentiert hat. Sein Vorhaben, die Fruchtbarkeit der infinitesimalen Größe in der Mathematik und den Naturwissenschaften auch für die Philosophie, vor allem die Kantische Transzendentalphilosophie, nutzbar zu machen, erwies sich zu damaliger Zeit als wenig populär. Infolge von Schwierigkeiten mit der Interpretation seiner komplizierten Schrift und heftiger Kritik führender Mathematiker blieb sein Werk weitgehend unbeachtet. Anhand eines Blickes auf den Gang der Wissenschaft der Infinitesimal-Mathematik soll diese Kritik im Folgenden entkräftet und neu bewertet werden. Es zeigt sich hierbei, dass, anders als zu Lebzeiten Cohens, heute gezielt versucht wird, die infinitesimale Größe in die mathematische Lehre zu integrieren – auch wenn dies mit erheblichen, vor allem philosophischen Schwierigkeiten verbunden ist. Hierbei soll auch das wieder erstarkte Interesse an den Infinitesimalien in der Nonstandard-Analysis als Anreiz dienen, die Philosophie Cohens am heutigen Forschungsdiskurs teilhaben zu lassen. In jüngerer Zeit spielt zudem auch in der Smooth Infinitesimal Analysis die Position des Intuitionismus wieder eine Rolle, welche der um Hermann Cohen und Paul Natorp entstandenen „Marburger Schule“ nahesteht. Auf den folgenden Seiten soll anhand Cohens „Logik der reinen Erkenntnis“ (1902) eine Lesart für eine „Infinitesimal-Logik“ Cohens präsentiert werden, die die Gedanken Cohens zur Infinitesimal-Methode in ein philosophisches System eingliedert. Wie schon in Cohens "`Prinzip der Infinitesimal-Methode und seine Geschichte"' soll es auch hier als "`unmittelbar nützlich"' erscheinen, "`zugleich mit der Durchführung eines systematisch entscheidenden Gedankens seine geschichtliche Entwicklung zu verfolgen."' [Cohen 1883, Vorwort] Dieser Rückblick auf die bewegte Historie des Infinitesimal-Begriffs soll grob die Entwicklungen hin zur Schaffenszeit Cohens umreißen und sodann als Prüfstein für dessen Ideen gelten. / This study focuses on a project of the neo-Kantian Philosopher Hermann Cohen (1842-1918), entitled “Das Prinzip der Infinitesimal-Methode und seine Geschichte,” which was presented in 1883. In this work, Cohen attempted to make the fruitfulness of the infinisimal magnitude in mathematics and natural science beneficial to philosophy as well, especially to Kantian transcendental philosophy. This project has proved unpopular in contemporary philosophy; difficulties in interpreting his complex writing and harsh criticism by prestigious mathematicians have resulted in his work remaining largely unnoticed. This study provides a refutation and reappraisal of this criticism in the light of subsequent historical developments in [the pedagogy of] infinitesimal analysis. Nowadays, in contrast to Cohen’s lifetime, the infinitesimal magnitude is being reintegrated into mathematical teaching – even where it is associated with significant (especially philosophical) difficulties. In addition, the renewed intensity of interest in infinitesimals in Nonstandard Analysis should be a stimulus for reintegrating Cohen‘s philosophy into contemporary research. Recently, moreover, intuitionism, which was closely affiliated with the “Marburger Schule” established by Hermann Cohen and Paul Natorp, has once again come to play a role in Smooth Infinitesimal Analysis. Following Cohen‘s “Logik der reinen Erkenntnis” (1902), this study presents an interpretation of Cohen‘s “Infinitesimal-Logik” by incorporating Cohen’s thoughts about the infinitesimal method into a philosophical system. In the spirit of Cohen’s remarks in his “Prinzip der Infinitesimal-Methode und seine Geschichte,” it should be “immediately useful. . .simultaneously to apply a systematically decisive idea and to follow its historical development” [Cohen 1883, Foreword]. A review of the colorful history of the infinitesimal traces this development up to the point of Cohen’s productive period; from that point on it is used as a performance test for his ideas.

No description available.

Texte remanié de: Diss. Ph. D.--Philosophy--Jerusalem--Hebrew university of Jerusalem, 1991. / Mention parallèle de titre ou de responsabilité : Myth and metaphor : Abraham Cohen Herrera's philosophic interpretation of Lurianic Kabbalah / Nissim Yosha. Table des matières trad. en anglais. Contient un résumé en anglais. Bibliogr. p. 375-398. Index.

München, Techn. Universiẗat, Diss., 2007.

Breslau, Phil. Diss. v. 30. Nov. 1932.

Leitura da narrativa O estrangeiro, de Albert Camus, e da narrativa fílmica O homem que não estava lá, dos irmãos Ethan Coen e Joel Coen, com vistas a propor uma reflexão literária sobre o desconcerto do sujeito num mundo de solidão, indiferença e nonsense existencial. Oriundas do esmaecimento de qualquer sentimento diante da inexorabilidade da consciência da finitude, pelo comparatismo e com apoio no conceito de intertextualidade, são passadas em revista as trajetórias contingentes de Ed Crane − protagonista da obra cinematográfica − e Meursault, personagem central do romance camusiano. Luz e sombra potencializam a aterradora atmosfera de absurdo na qual se desequilibra Ed Crane, em sua existência obscura, em contraponto com a claridade reinante no percurso de Meursault. Ambos os personagens são condenados pela sociedade, de maneira insólita e definitiva, por intermédio de textos que denunciam, outrossim, a engrenagem trágica do sistema judiciário, permitindo-nos conectar os citados personagens, Plume Um certo Plume, de Henri Michaux e Joseph K. angústia errante engendrada por Franz Kafka em O processo / A reading of Albert Camus narrative The Stranger and of the narrative of the movie The Man Who Wasnt There, by Cohen brothers (Ethan Coen and Joel Coen), so as to propose a literary reflection on the uneasiness of the subject in a world of loneliness, indifference and existential nonsense. Arising from the fading out any feeling towards the inevitable awareness of finitude, by the comparatism and the support of the concept of "intertextuality", contingent trajectories of Ed Crane - protagonist of the movie - and Meursault, central character of the camusian novel, are reviewed. Light and shadow potentiate the fearful atmosphere of absurdity in which Ed Crane unbalances, in his obscure existence, as opposed to the light reigning in Meursault. Both characters are condemned by society in an unusual and definite way, through texts which show the tragic gear of the judiciary system, allowing us to connect the cited characters, Plume Un certain Plume, by Henri Michaux and Joseph K. "anguish errant" created by Franz Kafka in The Trial

Leitura da narrativa O estrangeiro, de Albert Camus, e da narrativa fílmica O homem que não estava lá, dos irmãos Ethan Coen e Joel Coen, com vistas a propor uma reflexão literária sobre o desconcerto do sujeito num mundo de solidão, indiferença e nonsense existencial. Oriundas do esmaecimento de qualquer sentimento diante da inexorabilidade da consciência da finitude, pelo comparatismo e com apoio no conceito de intertextualidade, são passadas em revista as trajetórias contingentes de Ed Crane − protagonista da obra cinematográfica − e Meursault, personagem central do romance camusiano. Luz e sombra potencializam a aterradora atmosfera de absurdo na qual se desequilibra Ed Crane, em sua existência obscura, em contraponto com a claridade reinante no percurso de Meursault. Ambos os personagens são condenados pela sociedade, de maneira insólita e definitiva, por intermédio de textos que denunciam, outrossim, a engrenagem trágica do sistema judiciário, permitindo-nos conectar os citados personagens, Plume Um certo Plume, de Henri Michaux e Joseph K. angústia errante engendrada por Franz Kafka em O processo / A reading of Albert Camus narrative The Stranger and of the narrative of the movie The Man Who Wasnt There, by Cohen brothers (Ethan Coen and Joel Coen), so as to propose a literary reflection on the uneasiness of the subject in a world of loneliness, indifference and existential nonsense. Arising from the fading out any feeling towards the inevitable awareness of finitude, by the comparatism and the support of the concept of "intertextuality", contingent trajectories of Ed Crane - protagonist of the movie - and Meursault, central character of the camusian novel, are reviewed. Light and shadow potentiate the fearful atmosphere of absurdity in which Ed Crane unbalances, in his obscure existence, as opposed to the light reigning in Meursault. Both characters are condemned by society in an unusual and definite way, through texts which show the tragic gear of the judiciary system, allowing us to connect the cited characters, Plume Un certain Plume, by Henri Michaux and Joseph K. "anguish errant" created by Franz Kafka in The Trial

G.A. Cohen argues that John Rawls' method of political philosophy--in particular his sensitivity to the facts of human nature--leads him inexorably to producing a nonideal conception of justice. In this thesis I defend Rawls against this accusation by demonstrating that the facts of human nature that he shows deference towards are a product of the "free development" of his ideal conception of the person. The result is that Rawls' conception of justice has the power and status that Rawls affords it, and that Cohen's critique fails to cause internal damage to Rawls' theory. My thesis is thus what the subtitle says it is: an essay in defence of John Rawls' deference to "human nature" from the "concessionary criticism" of G.A. Cohen.