I proffer a defense Reid’s Philosophy of Common Sense. I address the initial implausibility that greets most all of us when we stop to consider the prospects for common sense as guide to knowledge and inquiry. I argue that this initial implausibility is based upon a misapprehension of what Reid understands by common sense. I address the justification of common sense. I argue that common sense is justified, even if we cannot give a reason for it. I present an expansion and refinement of Reid’s notion of common sense as what we must take for granted.

I proffer a defense Reid’s Philosophy of Common Sense. I address the initial implausibility that greets most all of us when we stop to consider the prospects for common sense as guide to knowledge and inquiry. I argue that this initial implausibility is based upon a misapprehension of what Reid understands by common sense. I address the justification of common sense. I argue that common sense is justified, even if we cannot give a reason for it. I present an expansion and refinement of Reid’s notion of common sense as what we must take for granted.

Inaug.-Diss.--Leipzig. / Vita: p. [103]

Thesis (D. Mus.)--University of Alberta, 2010. / Title from PDF file main screen (viewed on July 8, 2010). "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Music, Department of Music ... Fall 2010, Edmonton, Alberta". The musical work is for band; duration: 23-25 min. The title comes from the 1950 Japanese movie directed by Akira Kurosawa. Includes score as Appendix A. Includes bibliographical references.

Thesis advisor: Ronald Tacelli / Thomas Aquinas and Thomas Reid are philosophers who, while writing from very different historical and intellectual contexts, both share a common conviction as epistemological realists. This paper will argue that, despite any initial appearances of conflict, their arguments and conclusions are both compatible and complementary, and that through such an agreement we can come to a richer understanding of the realist tradition. At the heart of this unity lie the shared principles that: * Knowledge involves a direct apprehension of things themselves. * Ideas are not themselves objects or intermediaries, but the active means by which the intellect understands. * The relationship between the mind and its object is not one of a material likeness, but of a formal likeness. * The existence of external objects of knowledge is not demonstrable, but is a self-evident first principle. / Thesis (PhD) — Boston College, 2009. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

This thesis argues that the First Nations and their material culture have been used as tropes in the construction of national symbols on Canadian money. The twenty dollar bill from the 2004 series of Canadian banknotes, Canadian Journeys, was the impetus for this inquiry. The art of Bill Reid is featured on this banknote. Reid is an artist who identifies, on his mother's side, with the Haida First Nations and his art takes its themes and style from the Haida crest imagery. The implications of utilizing a First Nations artist on a Canadian banknote becomes problematic when considering the antagonistic historical relationship Canada has had with the First Nations and the multiplicity of unresolved land claims. Therefore, I ask, how this Bill Reid banknote should be read. In answering this question I have divided this thesis into three parts. First, I analyze a historical precedent for this contemporary banknote. The 1870 two dollar bill is useful for it both gives an example of the use of First Nations as a trope in representing the nation and it helps expose the importance of money as a national symbol at the time when Canada was struggling to come together as a modern nation. In the next section I analyze the Bill Reid bill as both a part of a symbolic construction of nation and as a material practice which has regional or territorial implications. In the final section I argue that Bill Reid utilized the language commonly used for colonial justification to elevate his own practice. While carving out a market for his work Reid helped to reify nationally accepted histories concerning the First Nations—namely that they are culturally dead.

Thesis (D. Mus. Arts)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves 107-115).

This thesis argues that the First Nations and their material culture have been used as tropes in the construction of national symbols on Canadian money. The twenty dollar bill from the 2004 series of Canadian banknotes, Canadian Journeys, was the impetus for this inquiry. The art of Bill Reid is featured on this banknote. Reid is an artist who identifies, on his mother's side, with the Haida First Nations and his art takes its themes and style from the Haida crest imagery. The implications of utilizing a First Nations artist on a Canadian banknote becomes problematic when considering the antagonistic historical relationship Canada has had with the First Nations and the multiplicity of unresolved land claims. Therefore, I ask, how this Bill Reid banknote should be read. In answering this question I have divided this thesis into three parts. First, I analyze a historical precedent for this contemporary banknote. The 1870 two dollar bill is useful for it both gives an example of the use of First Nations as a trope in representing the nation and it helps expose the importance of money as a national symbol at the time when Canada was struggling to come together as a modern nation. In the next section I analyze the Bill Reid bill as both a part of a symbolic construction of nation and as a material practice which has regional or territorial implications. In the final section I argue that Bill Reid utilized the language commonly used for colonial justification to elevate his own practice. While carving out a market for his work Reid helped to reify nationally accepted histories concerning the First Nations—namely that they are culturally dead.

This paper examines the methodology of interrogation in the United States, specifically the usage of the accusatorial Reid technique. Following a description of the Reid technique and its origins, the topic turns to an examination of how the usage of the method results in unacceptably high rates of false confessions and wrongful convictions. The next section discusses the recent increase in discovery and documentation of how often such mistakes occur, as well as the dire consequences which often involve the wrongful imprisonment or even execution of innocents. With the need for reform clearly established, the following sections discuss potential alternatives to the Reid technique as well as potential adjustments that can be made to provide better safeguards against false confessions. The paper then explains how suggested changes have all been empirically shown to reduce the rates of false confessions without compromising the investigative process, and recommends that the rest of the United States follow the example of the few states which have already passed legislation mandating such modifications.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1962. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 302-303).