Typescript, etc. / Digitized by Kansas Correctional Industries

高基存. / 呈交日期: 2004年8月. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻 (p. 181-188). / Cheng jiao ri qi: 2004 nian 8 yue. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts also in English. / Gao Jicun. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. 181-188).

Thesis (M.A.)--Trinity Evangelical Divinity School, 2006. / Abstract. Includes bibliographical references (leaves 77-81).

This thesis investigates the relationship between Haring's artwork and its display as it influences the viewer's perception and interpretation.

Thesis (M.A.)--Trinity Evangelical Divinity School, 2006. / Abstract. Includes bibliographical references (leaves 77-81).

Nous étudions la récurrence et la postérité dans la métaphysique analytique contemporaine d’un certain nombre d’arguments élaborés par Bertrand Russell afin de répondre à une question d’ontologie fondamentale : comment les éléments de l’être sont-ils reliés ? Comment peut-on répondre à cette question sans tomber sous le coup d’une régression bradleyenne ? Interroger le statut des régressions bradleyennes (régressions vicieuses ou régressions inoffensives ?), déterminer la nature des relations (particuliers ou universels ? ; relations internes ou relations externes ?), ou bien encore adopter une perspective plus épistémologique, celle des vérifacteurs, sont ici les voies explorées. Nous étudions plus particulièrement le réalisme immanent de D. Armstrong, la théorie des tropes de K. Campbell, le nominalisme de la ressemblance de G. Rodriguez-Pereyra et le réalisme modéré de D. W. Mertz. / The broad objective of this study is to examine the recurrence and the posterity of some arguments drawn up by Bertrand Russell to answer one of the main ontological question: How the elements of the being are related ? How can we answer this question without raising a bradleyan endless regress? Several strategies are assessed here: answering these questions by questioning the status of the bradleyan regresses (vicious or harmless regresses?), defining the nature of the relations (particulars or universals?, internal or external relations?) or using the epistemological perspective of the truthmakers. This study is focused on D. Armstrong’s Immanent Realism, K. Campbell’s Theory of Tropes, G. Rodriguez-Pereyra’s Resemblance Nominalism, and D. W. Mertz’s Moderate Realism.

Service learning is the catalyst for people to enter an oppressed or disenfranchised community, create bonds of understanding through dialogue, and learn to genuinely understand the behaviors and actions of that community. This paper explores the links among empathy creation, oppression, and different forms of consciousness that service learning is responsible for creating. The theories of Paulo Freire's engaged pedagogy, bell hooks critical consciousness, Novella Keith's theory of reciprocity, and Walter Fluker's theory of ethical leadership provide the context for my exploration. These authors demonstrate the importance of creating genuine empathetic bonds through action, practice, and reflection. / Urban Education

This thesis examines similarities in photographs made by the contemporary photographer Keith Carter and photographers active with the Farm Security Administration during the 1930s. Stylistically and in function, works by Carter and these photographers comment on social and cultural values of a region. This thesis demonstrates that many of Carter's black and white photographs continue, contribute to, and expand traditions in American documentary photography established in the 1930s. These traditions include the representation of a specific geographic place that evokes the spirit of a time and place, and the ability to communicate to a viewer certain social conditions and values related to such a place.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-06-01T12:42:48Z No. of bitstreams: 1 guilhermemartinslumhani.pdf: 2454325 bytes, checksum: ac5b21618158e2916e391e0fbc6f82d0 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-06-02T15:14:26Z (GMT) No. of bitstreams: 1 guilhermemartinslumhani.pdf: 2454325 bytes, checksum: ac5b21618158e2916e391e0fbc6f82d0 (MD5) / Made available in DSpace on 2017-06-02T15:14:26Z (GMT). No. of bitstreams: 1 guilhermemartinslumhani.pdf: 2454325 bytes, checksum: ac5b21618158e2916e391e0fbc6f82d0 (MD5) Previous issue date: 2016-03-31 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / Este documento discute uma versão sintetizada de uma técnica polivalente cujo nome é live coding, suas construções históricas na Música, e uma simulação de improvisação tonal guiada por improvisação com linguagens de programação. Na Introdução (ver p. xv) apresentamos uma definição de live coding. A definição destaca o fazer musical, mas não exclúi outras potências artísticas. No Capítulo 1 (ver p. 1) destacamos um mecanismo criativo desta técnica em dois contextos não musicais. No Capítulo 2 (ver p. 13) listamos períodos de atividades musicais que prototiparam e formalizaram o mecanismo criativo do primeiro capítulo. No Capítulo 3 (ver p. 31) analisamos uma proposição musical, um vídeo intitulado A Study in Keith de Sorensen e Swift (2009), de acordo com o mecanismo mental do primeiro capítulo. A contribuição deste trabalho para a musicologia brasileira é a organização historiográfica de uma técnica ainda pouco elaborada em português. / This document presents a synthesized version of a versatile technique whose name is live coding, its historical buildings in music, and a simulation of a tonal improvisation, guided by improvisation with programming languages. In the Introduction (see p. xv), we present a definition of live coding. The definition highlights a focus on music, but does not exclude other artistic powers. In Chapter 1(see p. 1), we highlight a creative mechanism of this technique in two unmusical contexts. In Chapter 2 (see p. 13), we listed periods of musical activities that prototyped and formalized the creative engine of the first chapter. In Chapter 3 (see p. 31), we analyzed a musical proposition, a Sorensen and Swift’s video entitled A Study in Keith (2009), according to the first mental mechanism chapter. The contribution of this work to the Brazilian musicology is a historiographical organization of a technique still little developed in portuguese.

This thesis explores and makes explicit various aspects of Richard Rorty's rhetorical program for shifting our traditional conceptions of reference and truth. Rorty wants to persuade us to adopt verification (coping) semantics in place of correspondence seeking semantics. I argue against his intuition pumps by considering Keith Donnellan's remarks on description and reference and argue for a view of correspondence truth that is based on what the object, whatever the object, permits us to say. Making this point allows us to see a purposeful conflation in Rorty's work. If beliefs are true because they are justified, Rorty's fallibilistic remark that any of our beliefs may not be true (in the cautionary sense) would follow. But truths may pay because they follow (as "attributive representations") from 'unblocked' objects, or they may just pay. Thus, I suggest that Donnellan preserves William James' remark that we desire correspondence truth, an everyday explanatory notion.