L'argument de la connaissance de Frank Jackson est l'un des arguments les plus célèbres en philosophie analytique. Son objectif est de démontrer que certains de nos états mentaux, nommément les états mentaux associés à l'effet que cela fait de percevoir ou de ressentir, ou qualia, ne peuvent pas être expliqués par une conception exclusivement matérialiste de l'esprit. L'argument de la connaissance s'inscrit dans une famille d'arguments en philosophie de l'esprit qui soulèvent le débat jamais résolu entre matérialisme et dualisme. Depuis sa parution en 1982, l'argument de la connaissance de Jackson a suscité de nombreuses réponses de la part des matérialistes qui ont tenté de le réfuter. Jackson lui-même s'est laissé convaincre par certaines de ces réponses et en 1998, il a finalement renoncé à son célèbre argument. Ce mémoire a pour objectif de présenter une classification des réponses adressées à l'argument de la connaissance ainsi qu'une analyse de chacune d'entre elles. Cette analyse permet de montrer que la seule réponse adéquate à l'argument de la connaissance est celle formulée par Jackson lui-même lorsqu'il a rejeté son argument. Ce mémoire montre également que la réponse de Jackson permet d'entrevoir une réfutation adéquate à tout un ensemble d'arguments dualistes en philosophie de l'esprit.

This study will discuss each of Shirley Jackson's six novels. The discussions will concentrate on plot, setting, theme, characterization, and style.

No description available.

This thesis will talk about how I created artwork when I started graduate school, how my artwork evolved as I explored what art making meant to me and how my thoughts about art making has developed. I will then conclude with talking about the artwork I produced for my thesis show and how that work was shaped by my previous observations and artworks.

Oppgaven har vedlegg som mangler i digital versjon, og kan framstå som ufullstendig uten dette. Kontakt NTNU Universitetsbiblioteket for utlån av komplett oppgave.

Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 53-54). Also available via the World Wide Web.

Thesis (D. Min.)--Northern Baptist Theological Seminary, 2000. / Abstract. Includes bibliographical references (leaves 150-159).

Thesis (M.A.)--York University, 2001. Graduate Programme in Psychology. / Typescript. Includes bibliographical references (leaves 142-161). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ71710.

Historically, obituaries were created as news items and published in print media with the intentions of informing an audience of public hangings or similar sensational deaths. Over the years, obituaries changed in form to become a way of publicly notifying audiences of one’s life upon their death, focusing more on biography and familial structure than sensation. However, with advancements in communicative mediums, including the increased popularity and easy accessibility of the Internet, traditional understandings of the term ‘obituary’ are challenged to include all forms of media publications that draw on elements of sensation and biography. The combination of this new, inclusive definition and the increasing popularity and advancement of technological mediums has republicized deceased celebrities as marketable and profitable brands that rely on subject formation through media and participatory fandom. However, the branding of celebrated, deceased figures through processes of social subjectification often remains embedded within cultural texts. As a result, audiences are often unaware of their ability to shift or influence identities of the deceased, and their fandom becomes the target of alternative messages embedded in sites of obituarization. By applying Marshall McLuhan’s theory of technology as an extension of human consciousness in addition to Roland Barthes’ theory of mythologisation when examining Michael Jackson’s 2009 death, this thesis explains how the subject formation of deceased individuals becomes so powerful and globalized that their death becomes a positive and beneficial occurrence with regards to the profitability and marketability of their brand. Therefore, the subject formation of celebrated, deceased figures is a fragile process that is altering how North Americans mediate the culture surrounding death and dying. / Thesis (Master, Sociology) -- Queen's University, 2010-09-08 22:49:48.239

Typescript. / Thesis (Ph. D.)--University of Hawaii at Manoa, 1975. / Bibliography: leaves 145-149. / xiii, 149 leaves