Thesis (Ph. D.)--Columbia University, 1917. / Vita. "Reprinted from Archives of Philosophy, no. 14."

Thesis--University of Chicago, 1901. / Bibliography: 2d prelim. leaf.

Inaug.-Diss.--München.

Freie Univ.. Diss.--Berlin, 2002. / Literaturverz. S. 192 - 200.

Thesis (Ph. D.)--University of Pennsylvania, 1929. / "Selected bibliography": p. 50.

In the fragments of Melissus we find the earliest metaphysical treatment of pain in the Western philosophical tradition. Famous for his one-entity ontology, Melissus argues that “what is” does not suffer pain or grief (B7.4–6). The scholarly literature on this passage has focused on two questions: (1) What is the argumentative structure of the passage? (2) Who, if anyone, might Melissus be responding to? I will focus on question (1). First, I will provide an account of the argumentative strategy of the passage by viewing it in the wider context of B7 as a whole. I will then note how this strategy, as well as certain features of Melissus’ diction, suggest an initial account of the structure of the passage, according to which it contains three independent arguments. This structure will be confirmed as we delve into the details of the arguments themselves. One of these arguments will prove the most difficult to interpret, and I will suggest two plausible interpretations of this argument, as well as two possible roles for the puzzling claim in 7.4 which invokes the notion of an “equal power” (isēn dunamin). Finally, we will see that one of the two readings of this claim has the accidental virtue of suggesting a response to question (2) above. / text

What does it mean to truly dwell within a city marked by the cycles of political turnover? How does one carve out for himself a unique sense of belonging in a city with such a grand history? Martin Heidegger suggests that in building "nests" for ourselves, we begin to build our lives. We build our own stories into the traditions and myths of a place. This thesis proposes four unique stories, or four dwelling typologies, stitched together by a common alley site. Each dwelling typology finds its primary expression in one of the Four Classical Elements — Earth, Water, Air, and Fire. The four are intended to be read as distinct artifacts within the urban fabric of Washington, D.C., yet also as siblings of the same architectural family. The four dwelling typologies include (1) a studio for an artist, (2) a residence above a small business, (3) loft apartments and (4) a boutique hotel. Each occupies an infill site along the District of Colombia's historic Blagden Alley. / Master of Architecture

Thesis (M.A.)--Memorial University of Newfoundland, 2003. / Bibliography: leaves 104-107.

No description available.

Il s’agit d’examiner la signification du choix d’Empédocle d’exprimer son système philosophique dans un mètre, l’hexamètre dactylique, qui n’est pas seulement envisagé ici en tant que forme versifiée mais comme une tradition poétique. Les raisons de ce choix se laissent reconstituer de différents points de vue. D'abord, dans une perspective historique et comparative, l'usage de l'hexamètre inscrit l'œuvre d'Empédocle dans un moment particulier du développement de la « philosophie » ancienne. Le problème a également une dimension sociologique qui tient aux modalités traditionnelles de diffusion de la poésie hexamétrique, dans le cadre notamment des grands concours panhelléniques. De façon plus fondamentale encore, se pose le problème de déterminer le degré de nécessité du lien qui unit poésie et philosophie au sein de l'œuvre même d'Empédocle. Le mètre est-il l'ornement d'une pensée qui aurait tout aussi bien pu s'exprimer en prose ? Est-il un vernis artificiel, qui ne ferait que dissimuler la clarté du message philosophique ? Au contraire, le choix du vers témoigne-t-il d'une prise de position substantielle, qui signifierait que la compréhension du choix de la forme est indissociable de l'interprétation du message qui s'y déploie ? Les chapitres 1 à 4 examinent la théorie poétique développée par Empédocle. Les chapitres 5 à 7 étudient la façon dont ce projet se réalise dans la pratique poétique. Les chapitres 8 à 10 se proposent d’évaluer la signification du choix d’Empédocle dans le contexte du 5e siècle. / The dissertation intends to examine the signification of Empedocles’ choice to express his philosophical system into a peculiar meter, the dactylic hexameter, which is not only considered here as a poetic form but also as a poetic tradition. The reasons why Empedocles made this choice may be studied from several points of view. From a historic and comparative point of view, Empedocles’ use of the dactylic hexameter has his philosophy embedded into a particular moment of the development of ancient « philosophy ». Another, sociological, dimension of this problem pertains to the traditional modes of diffusion of dactylic poems, within the frame of panhellenic competitions for instance.More fundamental even is the question of how necessary is the link between poetry and philosophy in Empedocles’ work itself. Is the dactylic meter merely ornamental for a thought that could have been expressed in prose? Is it some artificial varnish, whose only effect would be to obscure the philosophical message? Or does the use of verses show, on the contrary, a substantial stance, meaning that the interpretation of the poetic features and the interpretation of the philosophical doctrine cannot be dissociated?The poetic theory of Empedocles is examined in chapters 1 to 4. Then, a study of the poetic realization of this project takes place in chapters 5 to 7. Finally, an evaluation of the meaning and relevance of Empedocles’ choice in the context of the 5th century is done through the last 3 chapters.