<p>Since the Renaissance, the normative approach to a philosophy of music has concerned itself primarily with the subjective experience of the listener. This was not always the case. From Greek Antiquity to the Renaissance, music was considered a rigorous, mathematical discipline that shed light on objective truths concerning cosmology and cosmogony. <i>Musica theorica</i>, therefore, took precedence over musica practica and was taken much more seiously in musical scholarship. Although tension had always existed between <i>Musica theorica</i> and <i>Musica practica</i>, such tension reached its peak during the Renaissance and as a result, a shift occurred: <i>Musica theorica</i> was pushed into the background, and <i>Musica practica</i> stepped forward.</p><p>The intention of this thesis is to convince its reader of the need to bring <i>Musica theorica</i> back to its proper place in musical and philosphical scholarship, where objective answers can be found, and music's innate eternal nature is revealed. The thesis begins with a historical survey of musical scholarship that eventually brings the reader to the center of the controversy that ensued during the Renaissance, and then forward to present day discussions in philosphy of music that are concerned with music's subjective and temporal properties. It is hoped that the reader will see the need for a new shift to occur in philosophy of music that focuses on music's objective and eternal properies (that are wholly distinct from the subject experiencing it), and will come away with a new perspective regarding the interdisciplinary nature of philosphy and music.

This study examined the interrelatedness of personality attributes related to lifestyle constructs as defined by Adler (Ansbacher & Ansbacher, 1956), personality constructs for career success as defined by Hogan (1983), and transformational leadership style as defined by the Full Range of Leadership model (FRL) (Bass, 1990). Recent studies have suggested that certain personality attributes may be consistent with successful leadership ability (Bass, 1990; Hogan, Curphy, & Hogan, 1994). There is, however, a lack of research looking at personality attributes as determinants of leadership style (Lim & Ployhart, 2004). Adler (Ansbacher & Ansbacher), Hogan (1983), and Bass (1990) posited that all human movement is purposeful and that an individual moves through this world toward and with others and in a concerted effort to overcome adversity. It is hoped that by using models with common theoretical themes that at least one confounding variable will be eliminated and thereby move researchers closer to an understanding of leadership. This study consisted of 240 participants in varying levels of management. Participants were recruited from Masters in Business Administration (MBA) programs and Executive Masters in Business Administration (EMBA) programs as well as a Professional Masters in Business Administration (PMBA) program and a Global Masters in Business Administration program (GMBA) in several local universities and colleges located in and near a major metropolitan area of the southeastern region of the United States. Measurements include the Basic Adlerian Scales for Interpersonal Success – Adult Form (BASIS-A), the Hogan Personality Inventory (HPI), and the Multi-Leader Questionnaire-Short Form (MLQ-5X) as well as a demographic questionnaire. A discriminant analysis identified the Softness scale from the BASIS-A as a classifying discriminator between those participants who self-reported a transformational style of leadership and those who did not. Several stepwise multiple regression analyses resulted in findings suggesting that the Striving for Perfection and Wanting Recognition scales from the BASIS-A as well as the Ambition scale from the HPI were predictive of those who scored as exhibiting a transformational leadership style. The findings in this study suggest the importance of identifying personality traits and their dynamic interactions in relation to leadership style for future recruiting, hiring, selection, and training of organizational leaders as well as the development of educational programs with a focus on personality traits. The consistent and significant relationships between the BASIS-A scales and the Ambition scale of the HPI with the transformational leadership scales suggest that consideration of personality traits as an indicator and predictor of leadership style should continue to be stressed and explored.

The purpose of this essay is to examine the relationship between Christian and humanistic themes within the four large frescoes that Raphael painted in the Stanza della Segnatura in the Vatican Palace. Through this examination I plan to demonstrate how the interrelation of these two seemingly contradictory themes was critical for the political aims and papal identity of the patron, Pope Julius II. I will argue that Julius commissioned the decoration of the stanza as a means of asserting his papal authority and presenting an identification of himself as the new Julius Caesar who ushered in a new Roman Golden Age. I will discuss the composition and iconography of the frescoes, the life of Pope Julius II, and Roman humanism in the Early Modern Period, in an attempt to prove that the representation and collaboration of the themes of humanism and Christianity were essential to Julius’s political strategies and identity-formation.

<p>Since the Renaissance, the normative approach to a philosophy of music has concerned itself primarily with the subjective experience of the listener. This was not always the case. From Greek Antiquity to the Renaissance, music was considered a rigorous, mathematical discipline that shed light on objective truths concerning cosmology and cosmogony. <i>Musica theorica</i>, therefore, took precedence over musica practica and was taken much more seiously in musical scholarship. Although tension had always existed between <i>Musica theorica</i> and <i>Musica practica</i>, such tension reached its peak during the Renaissance and as a result, a shift occurred: <i>Musica theorica</i> was pushed into the background, and <i>Musica practica</i> stepped forward.</p><p>The intention of this thesis is to convince its reader of the need to bring <i>Musica theorica</i> back to its proper place in musical and philosphical scholarship, where objective answers can be found, and music's innate eternal nature is revealed. The thesis begins with a historical survey of musical scholarship that eventually brings the reader to the center of the controversy that ensued during the Renaissance, and then forward to present day discussions in philosphy of music that are concerned with music's subjective and temporal properties. It is hoped that the reader will see the need for a new shift to occur in philosophy of music that focuses on music's objective and eternal properies (that are wholly distinct from the subject experiencing it), and will come away with a new perspective regarding the interdisciplinary nature of philosphy and music.

This 15 point level essay intends to carry out an ideological critic of the scientific humanism; the main question the essay asks is: do the Humanists practice a rational dialog. In able to find an answer to this question have I developed an analyze scheme that show what the skilful demagogue should avoid, if he have an interest in practicing a rational dialog. The essay shows that, when it comes to debating their most important issues, the Humanist does not practice a rational dialog. The Humanists deny that other forms of humanism than the one they practice exists, according to their beliefs´ humanism must contain an atheistic attitude to the world. When it comes to the Humanists debates concerning religion they accentuate those parts of the bible that they believe is destructive for mankind, these arguments have no rele-vance and are therefore not rational.

Thesis--Paris. / Includes bibliographical references (t. 1, p. [1]-12 (2d group)) and index.

Thèse - Paris. / At head of title: Université de Paris, Faculté des Lettres et Sciences Humaines. Bibliography: p. [445]-476.

Inaug.-Diss.--Bonn. / Lebenslauf. "Verzeichnis der benutzten Werke": p. 100-104.

Thesis (D. Min.)--Catholic Theological Union at Chicago, 1999. / Abstract and vita. Includes bibliographical references (leaves 203-207).

 This thesis sets to sketch Chinese intellectuals’ sustained efforts to search for an alternative modernity to the Western model throughout the twentieth century, and uncover the interaction between intellectual politics and Chinese modernity discourse by historicizing and contextualizing Chinese modernity discourse. This study starts with delineating the consistence and the inconsistence of Chinese modernity discourses by juxtaposing different historical conditions and examining reappeared trends of thoughts. Three intellectual currents, i.e., cultural conservatism, humanism, and professionalism, which emerged in the May Fourth period and remerged in the post-socialist condition, are examined to mirror the spiral dynamics and the locus of Chinese modernity. Their respective roles in reconstructing Chinese cultural, ethical and academic orders in response to Western model of modernity are highlighted in the research. Cultural conservatism attempts to legitimize the Chinese culture in the framework of global modernity by resetting or reinterpreting the dialectical relation between the whole and part, universalism, and essentialism. Humanism emphasizes the standard, the guidance of authority, and the self-perfection to resist the ethical disorder caused by the so-called “modern spirit”, which is embodied by individualism, romanticism, and the immoderate expansion of desire. Professionalism influences the pattern of producing and reproducing knowledge about modernity by re-standardizing the academic and the discursive fields and by remolding the identity of the agents. After exposing how the “alternative modernity” in China, as a discursive-political device, has been produced and repackaged with various contents and meanings, this thesis proceeds to explore the intellectual pedestal of Chinese modernity discourses from two aspects. First, how do the intellectual strategies of self-positioning and position-taking influence knowledge production and reproduction of the Chinese modernity discourse; second, how articulation and re-articulation of modernity discourse reflect the self-adjustments of intellectual politics as well as identity shifts. Through the comparative and diachronic examinations, it poses that, as Chinese modernity discourse is increasingly served as a symbolic capital or a strategy of intellectual politics, it gradually loses its authenticity or even becomes a signifier without signified. Meanwhile, the state-led modernization practice is reversely becoming homogenous, stable, and less diverse, although the dominant ideology, namely, socialism with Chinese characteristics, is, in itself, hybrid, paradoxical, and strategically manufactured. / published_or_final_version / Comparative Literature / Doctoral / Doctor of Philosophy