Thesis (M.A.)--Brigham Young University. Dept. of History, 2005. / Includes bibliographical references (p. 159-168).

Thesis (M.F.A.)--Georgia State University, 2009. / Title from title page (Digital Archive@GSU, viewed July 12, 2010) Cheryl Goldsleger, committee chair; Joe Peragine, Matthew Sugarman, committee members. Includes bibliographical references (p. 22).

No description available.

Titre de l'écran-titre (visionné le 24 juillet 2023) / L'objectif de ce mémoire est de tester la rigidité et la cohérence théorique du sentimentalisme constructif que le philosophe américain Jesse J. Prinz présente dans son ouvrage The Emotional Construction of Morals. Pour ce faire, nous commençons par exposer les multiples thèses métaéthiques qui structurent son sentimentalisme et surlignons ensuite celles qui méritent à notre avis une analyse et un regard critique plus amples. Parmi les thèses sélectionnées figurent le naturalisme, l'émotionisme et, finalement, le relativisme moral. Ainsi, notre analyse débute par la remise en question de la portion naturaliste, de la validité de son origine, de la justesse de son interprétation et si oui ou non Prinz l'utilise correctement afin de justifier sa théorie des émotions. Nous concluons que Prinz a une utilisation plutôt radicale du naturalisme empirique, et ce, parce qu'il interprète de manière erronée la pensée naturaliste du philosophe écossais David Hume. De plus, nous jugeons que les recherches empiriques autour des émotions morales sont encore dans leurs balbutiements et qu'il est trop tôt pour dire qu'elles supportent ou non l'émotionisme. Nous déplaçons ensuite notre regard critique sur la portion relativiste du modèle prinzien. Nous concluons que le relativisme culturel et le subjectivisme moral sont des thèses largement incompatibles qui mènent à des contradictions insoutenables. Plus encore, nous croyons que Prinz est incapable de démontrer l'admissibilité et l'existence du progrès moral d'un point de vue relativiste. Les critères extra-moraux, l'explication généalogique nietzschéenne ou le darwinisme moral qu'il élabore sont des remèdes inaptes à résoudre les problèmes de la progression morale et du « nihilisme de l'abondance sans direction ». Finalement, nous proposons que Prinz abandonne l'émotionisme en faveur de l'émotivisme, et qu'il accepte le nihilisme moral comme une conséquence inévitable (quoique valable) de son relativisme moral.

L'Arbre de Jessé est une image particulièrement complexe qui a connu plusieurs variantes iconographiques. Le type christologique complexe est une création byzantine du sujet. Ce type est constitué de plusieurs éléments iconographiques, comme des scènes prophétiques, des figures des ancêtres et des prophètes. A ce noyau iconographique s 'ajouteront à partir de la fin du XIIIe siècle et le début du XIVe siècle les figures des sages et philosophes païens. Dans la présente étude nous examinons l'iconographie de ce type et nous essayons de comprendre, à travers les images et les inscriptions écrites sur les rouleaux des sages païens, cette association afin de retracer ses étapes d'évolution principales dans la peinture murale byzantine et post-byzantine. / The Tree of Jesse is a particularly complicated pictorial theme, which can be found in many different versions. The complex christological type is a purely Byzantine creation. Towards the end of 13th and early 14th century, figures of sages and philosophers of the Greek antiquity are added to this type, which already contains many iconographic elements such as prophetic and evangelical scene and independent figures of prophets and ancestors of Christ. In this study we examine the compositions and the texts of the inscriptions written on the pagan's scrolls this iconographic combination in order to trace its key evolutional stages in Byzantine and post-Byzantine mural painting.

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 221-224). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 221-224). Also available on the Internet.

Les motets du XIIIe siècle chantés sur le répons Stirps Jesse forment l'apogée d'une tradition exégétique, iconographique et musicale plus connue sous le nom d'« arbre de Jessé ». Le répons, attribué à Fulbert de Chartres (mort en 1028), évoque de façon métaphorique les liens entre Marie et son Fils. Il rappelle ainsi un des fondements du dogme chrétien : l'Incarnation charnelle de Dieu par l'intermédiaire de la Vierge. Son utilisation dans les motets n'est donc pas anodine. Le Stirps Jesse, ou plus fréquemment la seconde partie de son verset FLOS FILIUS EJUS, a été repris et ordonné de façon rythmique pour servir à la création d'une polyphonie textuelle et musicale. La voix empruntée ou teneur détermine ainsi la mélodie, la longueur des phrases mélodiques et des vers du double. Pourtant, malgré ces contraintes et les nombreux contrafacta, l'étude démontre l'existence de liens structurels entre texte et musique dans les motets à deux voix sur FLOS FILIUS EJUS conservés dans le manuscrit W2. Les relations entre texte et musique reposent ainsi le plus souvent sur la coïncidence entre la disposition des poèmes et l'organisation des répétitions motiviques (colores), des registres et des rythmes / Thirteenth-Century motets composed on the response Stirps Jesse belong to a great exegetical, iconographical and musical tradition well-known as the « Tree of Jesse ». The response, which is possibly composed by Fulbert of Chartres (d. 1028), express the relationships between Mary and her Son. It calls to mind one of the most important Christian believes as the flesh Embodiment of God thanks to the Virgin which is one of the most important Christian dogmas. The Stirps Jesse, or more often the second part of the verse FLOS FILIUS EJUS, is rhythmically organized in order to create a textual and musical polyphony. The melody, the lengths of musical phrases and of the line of the upper part depend intimately on this quotation or tenor. Even if the tenor is of great influence on the polyphony, this study demonstrates that the textual structure of the upper part corresponds to the musical organization in the two-part motets on FLOS FILIUS EJUS in the manuscript W2. The relationships between poem and melody are built on the close connection between the structural organization of the text and of the melody thanks to the melodic patterns (colores), register and rhythms

No description available.

Jesse Knight was born in 1845 near Nauvoo, Illinois, the son of Newel and Lydia G. Knight, early converts to the Mormon faith. In 1850, with his widowed mother, Jesse traveled by wagon across the plains to Salt Lake City where the family remained until 1858 when orders came to move south ahead of the Utah Expedition. Jesse spent the rest of his childhood and his teen years in Provo, Utah, where he lived with his mother and later with an older brother. He worked as a teamster in most of the jobs he had and grew to young manhood in the environment of the logging camp, mining camp, and cattle town, with occasional Mormon connections. In 1869 he married Amanda McEwan and to this union were born five children, two sons and three daughters, with the first and the last children - daughters, being born in Provo and the rest on the Knight ranch in Payson, Utah. For many years Jesse Knight ranched and farmed in Payson, often herding sheep or cattle in the mountainous area of the Tintic, Utah, mining region. He became enamoured of the idea to find great wealth himself and shortly before 1890 he found a mine, the June-Bug, which he almost immediately sold. This whetted his appetite and in 1896 he, through what he believed direct inspiration from God, found the Humbug Mine. Rapidly he exploited this and other mines in the area which he acquired, and ultimately took $13,000,000 worth of ore from the mines on the Godiva Mountain, site of Humbug Mine. Until shortly before his great strike of 1896, Jesse Knight had completely avoided any connection with the Church of Jesus Christ of Latter-day Saints, but through the healing of his daughter, his faith was renewed in his ancestral faith. He felt badly about the years he had neglected his church duties and with his new-found fortune, he began to repay his Church and his neighbors the best way he could. He began his task by giving money to the Brigham Young Academy/University. Over the years almost a half million dollars was given to this institution. He assisted the Church at a critical juncture by loaning it $10,000 to pay interest on a debt. He saved several Church leaders from embarrassment and possible legal penalties by paying their debts. He founded three towns, Raymond, Alberta, Knightville and Storrs, Utah. He financed sugar companies in Utah and Alberta. He delved into irrigation companies, grain elevators, and railroads. He kept up the Provo Woolen Mills for many years. When Jesse Knight died in 1921, he left a rich heritage of service to his descendents, but little money. He had expanded and extended far beyond his financial resources to help others. Today, little if any of the fortune remains, but Jesse Knight is well remembered as a great miner, an industrialist and philanthropist—Utah's Great Commoner, he was called.