La noción de idea en Descartes es uno de los términos trasversales en el conjunto de su obra y muestra una nueva consideración al respecto de lo anímico y de su relación con lo material. Procurar negar el rol fundamental de las ideas cartesianas nos dejaría sin la capacidad de comprender una de las obras más importantes de este autor, en la cual nos centraremos en el presente trabajo: Meditaciones metafísicas. La noción de “idea”, que recibe un tratamiento detallado recién en la tercera de las meditaciones, nos sirve como elemento fundamental para la comprensión del conjunto del texto, al punto que incluso las dudas escépticas de la primera meditación pueden ser vistas como el despliegue de un camino hacia el descubrimiento del terreno del cogito, región de una clase de los entes puramente espirituales, que son las ideas / Tesis

Le présent travail de thèse se place à l’intérieur du débat historiographique concernant le manuscrit VII C 52 de la Bibliothèque Nationale de Naples: il s’agit d’un codex unique et autographe, du maître Augustin Jacques de Viterbe, qui garde une oeuvre connue sous le titre de Abbreviatio in I Sententiarum Aegidii Romani. La recherche, qui a été conduite directement sur le manuscrit, a permis d’identifier l’oeuvre du manuscrit napolitain avec les brouillons dont Jacques s’est servi pour tenir son cours de Lectura super primum Sententiarum, à Paris (1287-1288). Un tel résultat (chapitre 1), conjontement avec la transcription (appendix) et l’analyse doctrinale des distinctions 35-48 sur les attributs divins de science, puissance et volonté divines (chapitres 2-4), éclaire aussi la formation et la première activité didactique de Jacques, que la première phase d’organisation du studium des Augustins à Paris, avant qu’ils eussent un studium generale autonome dans la ville. Les nombreuses citations de textes de Thomas d’Aquin et l’évidente préference pour ses doctrines confirment la valeur accordée par la ‘jeune’ schola eremitana à l’autorité de Thomas, surtout grâce à la mediation de Gilles, premier maître et docteur officiel de l’Ordre; au même temps, cela oriente à placer la formation du Viterbien à l’intérieur du studium dominicain ou, au moins, d’un milieu proche de celui-là, plutôt que chez Henri de Gand. Enfin, la manière dont les materiaux thomasiens sont ultilisés dans la Lectura révèle une attention toute particulière à l’arrière-plan néoplatonisant et dionysien de la pensée de Thomas: c’est pour ça que le successif retournement doctrinal de Jacques vers des positions plus strictement ‘augustiniennes’ ne se présente pas comme une rupture avec les positions de la jeunesse, desquelles au contraire il représente le développement naturel. / The present dissertation is placed within the historical debate on the manuscript VII C 52 of the National Library of Naples: it is an autograph and only extant codex of the Augustinian master James of Viterbo and it preserves a work known as Abbreviatio in I Sententiarum Aegidii Romani. The research, carried out directly on the manuscript, has allowed to identify the work contained in the Neapolitan manuscript with the notes of which James availed himself to ‘read’ the Sentences in Paris, during the academic year 1287-1288. Such a result (chapter 1), together with the transcription (appendix) and the doctrinal examination of the distinctions 35-48 on the divine attributes of science, power and will (chapters 2-4), sheds light both on the formation and the first teaching of James and on the first organizing stage of the studium of the Augustinians in Paris, at a time when the Order did not have an independent studium generale in the city. The quotations from Thomas Aquinas (the main source of the Lecture) and the clear preference for his doctrines confirm the value granted by the ‘young’ Hermits school the authority of Aquinas, thanks to the mediation of Giles of Rome, the Augustinians’ first regent master in theology in Paris and the official doctor of the Augustinian order; at the same time, it suggests that James has studied at the Dominican studium or at least at a studium very close to the Dominican milieu, rather than under Henry of Ghent. Finally, the way James uses Thomas’ texts within the Lectura reveals a particular attention to the neoplatonic and dionysian background of Aquinas’ reflection: consequently, later doctrinal slippage of James to more properly ‘augustinian’ positions cannot be interpreted in term of rupture with early positions: rather, it represents their natural development.

A complicação deleuze-proustiana é um horizonte de incidência e emergência de ideias sobre a questão do pensamento. A fim de fazer jus a este horizonte, a presente tese examina as duas partes do livro Proust et les signes, animada tanto pelo que nele incide, reconstituindo e discutindo as suas formulações conceituais, quanto pelo que dele emerge, combinando a fotografia da explicação com o cinema da experiência, duas noções que, disparadas e fomentadas pela complicação, orientam aqui o próprio ato de examinar: ideia foto-cinema. É que, em qualquer instância, pensar não é apenas compactar exposições lineares e estáticas: além de surgir disparado e fomentado pelos signos emitidos por um objeto, o pensamento se desenha na dupla face da fixação e do movimento. Quando a tarefa ordinária, que remete apenas a um emaranhado de escolhas habituais e quebradiças, expõe-se à imprevisibilidade de um encontro extraordinário, os disparadores e fomentadores, que não são o objeto, mas os seus signos, não produzem outra coisa senão um sentimento de obrigação, a necessidade de um trabalho do pensamento; tudo aí se desdobra num exercício que tanto tematiza o outro quanto se torna ele mesmo uma verdadeira prática, um funcionamento: tríplice fronteira, jazz, lentidão e excesso. A questão, pois, nunca é a de estritamente inventariar o que é, afinal, Deleuze com Proust, dominando-o com arcadas mãos, mas a de assumi-lo como um território íntimo de signos, propício para uma espécie de cultivo livre que se faz desigualmente sobre e com ele, dinâmica funcional invariavelmente desejada e perseguida. / The deleuzian-proustian complication is an occurrence and emergency horizon of ideas concerning thought. In order to do justice to this horizon, this thesis examines both parts of Proust et les signes, encouraged not only by what occurs on it, through reconstitution and discussion of its conceptual formulations, but also by what emerges of it, combining photography of explanation with cinema of experience, two notions that, triggered and fomented by complication, guide herein the very act of examining: photo-cinema idea. It is just that thought is, in any instance, not only about compacting linear and inert statements: apart from the fact that it arises triggered and fomented by signs emanating from an object, thought is drawn on the double side of fixation and movement. When the ordinary task, which only refers to a tangle of usual and brittle choices, exposes itself to the unpredictability of an extraordinary encounter, triggers and fomenters, which are not the object, but their signs, do not produce anything else but an obligation feeling, the need of mind work; everything there unfolds into an exercise that both broaches the other and turns itself into a real practice, an operation: triple border, jazz, slowness and excess. Therefore, the question is never about strictly inventorying what after all is Deleuze with Proust, mastering them with arched hands. It would be rather about assuming it as an intimate sign territory, fertile to a sort of free cultivation which unevenly makes itself about and with it, a functional dynamic invariably desired and pursued.

The purpose of Individuals with Disabilities Education Improvement Act (IDEIA) is to protect the rights of students with disabilities and to assure that all students receive equitable access to a free and appropriate public education; yet there are explicit exclusions written in the law for students who may have experienced environmental, cultural, and economic disadvantages. An explanatory sequential mixed methods design was used to study Section Four of the exclusionary clause of Specific Learning Disability (SLD) that states students must be excluded from identification if their learning difficulties are primarily the result of environmental, cultural, or economic disadvantage. The Contextual Interaction Theory (CIT) was borrowed from water governance policy analysis to provide a theoretical framework for better understanding the complexity of context and interaction processes in special education policy implementation in Oregon. Survey (n = 100) and interview (n = 6) results showed that 87% of Oregon school psychologist respondents demonstrated some level of non-compliant behavior on Section Four implementation. Barriers to implementation included unclear state and federal guidelines, lack of measurable terms, unclear roles and responsibilities, external pressures to find students eligible, and lack of confidence that Section Four can be applied in every case for 69% or more of the sample. Recommendations for future research include defining the Section Four terms, developing a measurement tool with cut offs, and training to improve implementation; however, there is concern that this may be an impossible task. Recommendations were made to develop a state level Task Force to begin the dialogue; however, future research is needed to gain a deeper understanding of validity of CIT, definitions of Section Four terms that are measurable, identification and definitions of the mitigating mechanisms in the determination of Section Four for appropriate and possible implementation. A supplemental spreadsheet file included with this dissertation was used to illustrate the coding and mapping of Ochoa, Rivera, & Powell (1997) factors onto CIT categories.

The aim of this dissertation is to create a business plan for an online e-shop with food. The main aim of this paper is to evaluate the success of this business idea. This work is divided into a theoretical and practical section. The theoretical part describes the characteristics of small and medium-sized entrepreneurial businesses, and their strengthens and weaknesses. Then it describes the reasons for setting up a business, a founder's budget, and the structure of a business plan. The practical part describes the business idea. It is divided into categories and chapters according to the theoretical part. There is a conclusion at the end of my dissertation work. I am summarizing results discovered during writing this work. And I am evaluating the success of the business idea.

En questionnant l’Architecture à travers différents exemples et périodes jusqu’à notre monde contemporain, nous obtenons beaucoup de réponses à des interrogations existentielles qui nous semblent énigmatiques. Le phénomène de communication ou d’expression par l’architecture, n’est pas indépendant de l’antagonisme qui a abouti au clash des civilisations. Par sa « Présence » l’architecture configure le monde de l’homme, répondant à ses besoins matériels mais aussi à ses aspirations, rêves et idéaux. Elle porte en elle ses « Idées » reflète sa « vision » et communique ses « Messages ». Elle seule peut l’enchanter par l’édification d’un monde nouveau. Mais elle peut aussi le détruire en agressant ses sens et en polluant ses esprits par les idées qu’elle reflète. L’œuvre architecturale marque aussi le lieu par sa présence, elle le poinçonne et devient « symbole » ou « image », repère, jalon dans un parcours international qui revêt l’aspect d’un défi, voire une nouvelle guerre de puissance au travers de bâtiments emblématiques. Cette architecture que nous appelons « Landmark » devient un paradigme essentiel de « présence » et de mutation. Sa mission essentielle est d’être au-delà de l’instrument, un précepte de communication toujours plus innovateur. L’architecture, par cette nouvelle dimension, devient un facteur inéluctable de stabilité et de continuation du monde. Un convoyeur de l’avenir non seulement un miroir du passé. C’est la problématique liée à une nouvelle dimension de l’Architecture, qui se conjugue avec la Quatrième dimension mais qui va au-delà, chercher la vraie raison de survivance du monde par l’architecture à travers les temps. Cette dimension liée à la communication, qui est présente chez les historiens et les sociologues mérite d’être fouillée plus en profondeur par nous architectes qui occultons parfois, certains aspects majeurs relatifs à la communication par la seule « présence » des bâtiments crées à bon escient par notre subconscient alerte et assidu. / When questioning Architecture using several examples throughout history up to our contemporary world, we found many answers to existential interrogations that seem enigmatic. The phenomenon of communication or expression through architecture is somehow related to antagonism that led to the clash of civilizations. By its “presence”, the architecture configures the world of man, satisfying his material needs, as well as their dreams but also his dreams and ideals. Architecture carries his “Ideas” reflects his “vision” and communicates his “Messages”. More than anything else, it can enchant him by building e new world. However, it can also destroy him by violating his senses, polluting his spirit by the ideas it conveys. The architectural world also marks the place by its presence, it becomes a “symbol” or “image”, a landmark in the international journey which presents itself as a challenge, or even a new conflict of power through emblematic buildings. This architectural that we call “Landmark” becomes an essential paradigm of “presence” and mutation. Its essential mission is to go beyond the instrumental, an inevitable factor of stability and continuity of the world. A path towards the future, not only a reflexion of the past. This debate, in relation with a new dimension of architecture, combines itself with the fourth dimension and goes even further, looking for the true reason of the world’s survival through architecture and time. This aspect, in relation with communication, and which is present in the sociological and historical discourse, deserves to be studies more thoroughly by us architects. We sometimes hide some major aspects relative to communication by the mere “presence” of buildings purposely created by our alert and diligent subconscious.

The purpose of this study was to determine if there was a difference in Tennessee Comprehensive Assessment Program Modified Academic Achievement Standards (TCAP MAAS) achievement test scores for special education students who receive their instruction in the resource classroom or in an inclusion classroom. The study involved third, fourth, and fifth grade special education students in an east Tennessee school district. The TCAP MAAS scale scores used were from the 2011-2012 school year. An independent samples t-test was implemented in this study. The dependent variable in the study was the TCAP MAAS scaled scores. The independent variable was student placement. Placement was regular education inclusion or special education resource class. The study included 11 elementary schools and 210 special education students’ scores. The results indicated significantly higher TCAP MAAS scaled scores of those students receiving their instruction in a regular education inclusion classroom in every analysis except for fifth grade Reading/Language Arts scores.

This Bachelor’s thesis was conducted with the purpose of forming a broader foundation of ideas for questions about caring for veterans in Sweden. The problem at hand was identified through reading of readily available and widely cited Swedish research on the subject. This research mainly establishes a narrative in which Swedish veterans are healthy at group level - both compared to the Swedish civilian population and international veteran populations. This thesis does not challenge this conclusion, but considers the causation utilized in the research as problematic. Establishing that Sweden should conduct debate and policy concerning its veterans on contemporary knowledge in the field – this study analyses the most recent policy investigation conducted by the government, SOU2014:27. The main questions concern descriptive ambitions and simply ask what causations these policy documents recognize in describing and curing mental illness among veterans and whether contemporary identity perspectives are represented in these ideas or not. The study is based on Vedung’s ideas of the political idea and utilizes an idea analysis method with ideal types as analytical instruments – a research design strongly guided by Bergström and Boréus. The findings show that Swedish policy is mostly established on traditional ideas concerning mental illness among veterans – although a big part of the policy concerning the involvement of society at large, can be interpreted as identity driven ideas. The main conclusion is that empirics indicate a presence of stigmatizing military identities among Swedish veterans. To truly understand the Swedish veteran population and their well-being, there is an urgent need for further research on this topic in particular.

Denna uppsats diskuterar den komplexa och undermedvetna process som ger upphov till spontana musikaliska idéer. Förhoppningen med detta arbete är att fungera som underlag för vidare och mer utarbetade teorier kring uppkomsten av spontana musikaliska idéer och hur vi kan kombinera vår intuitiva och diskursiva kunskap i syfte att få mer originella idéer. För att uppnå syfte har fyra musikaliska verk inspirerade av färger skrivits med fokus på det melodiska innehållet. De fyra verken är komponerade utan instrument (Idémedium) och har sedan på gehör programmerats och arrangerats (digitalt) med utgångspunkt i de respektive färgunderlagen. Övningen har sedan utvärderats och diskuterats med utgångspunkt i de idéer om den intuitiva härledningsprocessen som formulerats i samband med arbetet. Produkterna av de fyra musikaliska verken för detta arbete uppvisar tydliga olikheter sinsemellan. Vissa tydligt medvetna associationer går direkt att härleda ur respektive färgunderlag samtidigt som vissa mer svårmotiverade val har gjorts under komponerings- och arrangeringsprocessen. / This study has been formed through a series of thoughts regarding the complex and subconscious process that form spontaneous musical ideas - the process of intuition. The expectations with this essay is to underlay future, and more thorough, theories about the origin of spontaneous ideas and how we can combine our intuitive knowledge and our discursive knowledge in order to get more original ideas. In an attempt to test how spontaneous musical ideas might get affected by the use of a medium for translating ideas (in this case a musical instrument) four songs have been composed without the use of musical instruments. In the process of composing the songs, colours have figured as a source of inspiration in an attempt to “force” the intuitive process to take less direct ways to a source of information based on past experience of music. The argument for this is that a colour is a non-musical stimulus which in contrast to a musical stimulus (something with musical qualities to it) makes it harder for our intuition to take shortcuts to relevant data based on our past experiences of music. The four songs later got lightly arranged with an intuitive approach, which in this case means to ”as little as possible” reflect (discursively) over the choices of instruments and other aspects of the arrangement. This exercise has then been discussed and evaluated with reference to my assumptions about the intuitive process. The result of i this exercise shows four songs that are remarkably different from one another and also some potentially ”unwanted” side effects of the chosen method for testing these ideas.

Thematic unity in music occurs when elements from a musical idea appear frequently, in significant places and their presence is recognized or experienced on or beneath the surface. In fugal compositions, thematic unity is evident in the opening statement of the subject and it permeates each layer of its texture. Three analytical perspectives are used to investigate the degree to which local thematic material anticipates later structural features in Johan Sebastian Bach's Fugue in G minor WTC II, and Georg Frederic Handel's Fuga II in G Major. The analytical perspectives identify: (1) cohesive relationships between motivic fragments, (2) underlying motives and their relationships to keys and harmonic progressions, and (3) voice leading reductions relative to linear and tonal prolongation. Arnold Schoenberg, Hans Keller, and Rudolph Reti provide valuable insights concerning the organic nature of thematic material. The voice leading reductions of Heinrich Schenker and William Renwick offer procedures that reveal underlying thematic relationships. The cohesive elements of the selected fugues will be explained with reference to immediate and long-range relationships.