Thesis (Ph. D.)--University of Wisconsin, 1965. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 1980. / Vita. Includes bibliographical references (leaves 190-220).

Thesis (Ph.D.)--Boston University / The aim of Sein und Zeit (1927) is a universal phenomenological ontology, by means of a concrete elaboration of the problem of being. The method is a combination of phenomenological analysis and hermeneutical interpretation. Ontology, or the question about being, is approached through fundamental ontology, or the analysis of personal existence. This existential analysis shows man as being-in-the-world, being-with-others, and being-unto-death. Man's being is care, and the meaning of care is finite temporality. An important project sectio of Sein und Zeit has not been published. In lesser works, Heidegger examines such themes as the nature of truth, the nature of ground (reason, cause), metaphysics, aesthetics, nothing, freedom, and interpretations of other philosophers. He attempts to go beyond conceptual though to truth, as the openness of personal what he calls Hegel's "Onto-Theo-Logical Conception of Metaphysics."

This is a socio legal study of social regulation on domestic violence in Peru with particular reference to the South Andean communities It reviews the development and implementation of the state legal remedies on domestic violence. The thesis examines law as a result of historical processes, having different meanings for and impact on the various sectors of the Peruvian population Andean communities are the product of the exploitation and resettlement of the original native people. The thesis considers the way in which these communities from a subordinated position perceive state agencies and legal institutions. It is argued that Andean people do not perceive the legal system as a granter of fundamental rights but rather as a perpetrator of abuse From this perspective, the thesis studies how Peruvian feminists have come to see law as a tool by which to improve the position of women affected by domestic violence. It argues that this approach has not taken sufficient account of the reality of Andean women, their perceptions of domestic violence and their strategies for combating this violence. The study examines this reality and pays particular attention to the role of the judges of the peace in Andean women's strategies. It argues that Andean women are building a different social account of law which is at present not recognised by mainstream legal strategies designed to tackle domestic violence in Peru.

Cuba’s post-1960 political and economic relationship with the USSR has long been debated, especially the extent to which the connection shaped the Cuban Revolution. Consequently, readings of the occasionally conflictive relationship between Cuba’s state authorities and its cultural world have often relied on stereotypes inherited from Western interpretations of the USSR or the 1948-89 Socialist Bloc; such readings assuming that cultural policy was clearly defined and enforced by Soviet-style apparatchiks or Castro. While perhaps understandable for 1971-6, when the National Cultural Council (CNC) was led by ex-members of the pre-1959 communist party, recent research suggests that we look beyond the surface to see that ‘policy’ was often empirically formed and constantly challenged. Yet, perhaps due to those common assumptions, little has been written about real Soviet influence on Cuban culture, and different sub-periods during the 30-year Cuban-Soviet alliance have largely been ignored. This thesis seeks to address this oversight in the scholarship of Cuba and the USSR by examining the Soviet influence on Cuban culture, specifically the theatre and the visual arts, between 1961 and 1986. It interrogates the ways in which culture was linked to the political priorities and nation building goals of the revolutionary leadership and how these differed from, or coincided with, the aims of the Soviet government. In doing so, it analyses the way in which culture and cultural interactions between the two countries were organised. Using evidence from materials (magazines, pamphlets, work plans, declarations) gathered from archival work in Havana and Moscow, and supported by interviews with Cuban artists and intellectuals, this study establishes that culture acted as a discursive space in which deliberations about the nature of the Cuban Revolution could take place in a way that they could not in other spheres. It also concludes that, throughout the period studied, the USSR occupied a conflicting position, acting as both a model to be learned from but also a force to be resisted. Furthermore, this thesis makes two important contributions to existing knowledge of the Cuban-Soviet relationship. First, that the 1970s, and the period known as the quiquenio gris in particular, were not ‘Soviet’ but rather nationalist and macho. Second, that the most ‘Soviet’ period in terms of structure, organisation and demands placed on artists was the 1980s when the component roles of art were separated as part of the revolutionary government’s ongoing fight for independence.

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This thesis explores the connection between Amartya Sen’s Capability Approach (CA) and Catholic Social Teaching (CST). It questions whether their economic and theological views can be methodologically and practically compatible, articularly around issues of development as freedom and wellbeing as justice. The thesis proposes dialogue between CA and CST, framed by some parables of the New Testament, and argues that he fruit of such a dialogue can enhance human development and reduce injustices, especially in poor regions in Latin America.

archives@tulane.edu / 1 / Dominique Dollenmayer

Thesis (M.Arch.A.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 56. / by Harld A. Ruck. / M.Arch.A.S.