Denna uppsats analyserar och prövar den ledningsteori som är framlagd av Martin vanCreveld i boken ”Ledning i krig”. Prövningen tar sin utgångspunkt i Poppers metod omteoriprövning. Van Crevelds slutsatser testas först internt och sen överses teoribilningenslogiska form. Slutligen jämförs slutsatserna med andra teorier om ledning ochorganisation. Resultatet visar att Crevelds teorier har sämre intern korrelation än extern.Orsaken bedöms främst vara hans fria hållning och låg precision i egen metod.

Syfte: Att kartlägga eventuella skillnader i konstruktionen av klimatdebatten i DN och Expressen. Metod: Diskursanalys. Teori: Socialkonstruktionism och Diskursanalys. Resultat: Det förekommer skillnader mellan de två tidningarna i form av rubriksättning, ordval och innehåll.

La tesis se centra en los sistemas de puesta en escena del gesto artístico de van Gogh desde una perspectiva diacrónica de la tradición cinematográfica. La hipótesis del trabajo ha sido que la representación cinematográfica del gesto artístico del pintor se desprende de la leyenda y de ésta, el gesto hereda y recrea unas formas y unos tópicos dados. Debido a la amplia filmografía existente, el hábeas de la investigación se ciñe a aquellas películas que han sido concebidas por directores con formación y experiencia pictórica: donde aparece una obra clásica de la cinematografía americana, Lust for Life, 1956, de Vincente Minnelli y dos de principios de la década de los años noventa, Los Cuervos, episodio n. 5 de Los sueños, 1990, de Akira Kurosawa y Van Gogh, 1991, de Maurice Pialat. Esta delimitación unifica la investigación a las propuestas de unos creadores cinematográficos que comparten afinidad por la práctica plástica y que han sido pintores como el sujeto de su mirada.En la primera parte de la tesis se establece la conformación de la trayectoria que lleva a Vincent van Gogh del anonimato a mito artístico del siglo XX. Con la ayuda de las aportaciones de la historia del arte, de la crítica de la obra y de la antropología cultural de autores como C. Zemel, E. Kris y O. Kurz, N. Heinich, M. Eliade, G. Pollock, P. Bourdieu y M. Delgado, se exponen las bases de esta construcción legendaria dominante. Se contextualiza a continuación la noción gesto del artista que tiene lugar en la práctica pictórica de la estética y autonomía post-renacentista, con autores como E. Ocampo, R. Argullol, R. Debray, Y. Eco y J. Clair entre otros. Para finalizar este estado de la cuestión sobre todos los temas relacionados con el objeto de estudio, la tesis analiza y contrasta la puesta en escena del gesto de la práctica pictórica en la mirada documental -la que cuenta con la presencia de un pintor real delante del objetivo de la cámara- y en la mirada de la ficción en sus dos vertientes: la del pintor del imaginario que solo tiene una existencia en la pantalla y la del pintor del pasado, cuyas obras forman parte de la historia del arte. En la segunda parte de la tesis se analizan y valoran en profundidad las tres películas nombradas en el corpus de la investigación, enmarcando su estudio en la tradición cinematográfica y a su autor en relación a la obra. Se contempla asimismo el tipo de elaboración biográfica, la encarnación del pintor -personaje, actor, interpretación- para finalmente focalizar el modelo de puesta en escena de la práctica pictórica: donde destacan los aspectos de la gestualidad, ritualización, alegorías del gesto artístico, o también su total ausencia, dependiendo de la propuesta. El camino recorrido por la investigación permite concluir que para finalizar el acto de pintar de van Gogh, Minnelli establece un canon en la forma melodramática del clasicismo avanzado, Jurosawa lo retoma para interpretar este canon desde la mirada de la post-modernidad cinematográfica y Pialat pone en escena una antítesis del canon de Minnnelli en la corriente que va del realismo cinematográfico a la modernidad. La vidibilidad del gesto artístico de Vincent van Gogh y su negación se exponen como resoluciones antitéticas, pero las dos debidas a la existencia de la leyenda de van Gogh.

In this paper I will argue that the controversial process of inferring to the best explanation (IBE) can be made more coherent if its formulation recognizes and includes a significant inductive component. To do so, I will examine the relationship between Harman’s, Lipton’s, and Fumerton’s positions on IBE, settling ultimately upon a conception that categorically rejects Harman’s account while appropriating potions of both Lipton’s and Fumerton’s accounts. The resulting formulation will be called inductive-IBE, and I will argue that this formulation more accurately describes the inferential practices employed in scientific inquiry. The upshot of my argument, that IBE contains a significant inductive component, will be that any conclusion born from such types of inductive inference must be, at best, likely, and not a necessity. And, although previous accounts of IBE have accepted the defeasibility of IBE, I will argue that inductive-IBE is more descriptive because it tells us why this fallibility exists. That is, although the Liptonian conception of IBE acknowledges that IBE is fallible, my account specifically addresses this characteristic and, thus, is more descriptive and informative in this regard. I will use inductive-IBE to argue, contra van Fraassen, that IBE can be a legitimate form of inference that leads science to true theories and real entities.

No description available.

In this paper I will argue that the controversial process of inferring to the best explanation (IBE) can be made more coherent if its formulation recognizes and includes a significant inductive component. To do so, I will examine the relationship between Harman’s, Lipton’s, and Fumerton’s positions on IBE, settling ultimately upon a conception that categorically rejects Harman’s account while appropriating potions of both Lipton’s and Fumerton’s accounts. The resulting formulation will be called inductive-IBE, and I will argue that this formulation more accurately describes the inferential practices employed in scientific inquiry. The upshot of my argument, that IBE contains a significant inductive component, will be that any conclusion born from such types of inductive inference must be, at best, likely, and not a necessity. And, although previous accounts of IBE have accepted the defeasibility of IBE, I will argue that inductive-IBE is more descriptive because it tells us why this fallibility exists. That is, although the Liptonian conception of IBE acknowledges that IBE is fallible, my account specifically addresses this characteristic and, thus, is more descriptive and informative in this regard. I will use inductive-IBE to argue, contra van Fraassen, that IBE can be a legitimate form of inference that leads science to true theories and real entities.

Adults in North American society lack the natural ability of children to play and explore their environments in a non-judgemental, non-programmed manner. The underlying theories of James Carse and Johan Huizinga examine play and its effects on adult culture. St. Louis Adult Education and Learning Centre in downtown Cambridge, Ontario serves as a testing ground for an adult play-space. Presently, the school lacks any public, non-programmed spaces to accommodate the student population, largely comprised of single, teenage mothers. Aldo van Eyck’s architecture, together with his theoretical essays, heralded the importance of play in culture and to the individual. Van Eyck created a network of playgrounds to revitalize and rehabilitate the city of Amsterdam after the Second World War. His designs of the temporary Sonsbeek Pavilion and sculpture garden in Arnhem, the Netherlands, brought play into the cultural realm of 1966. Van Eyck’s design of the Sonsbeek pavilion concretizes the play-theories of Carse and Huizinga. A collage of the Sonsbeek Pavilion inserted into the empty grounds at St. Louis tests the play theories of van Eyck, Carse and Huizinga. It provides a space for play where no play currently exists. The Sonsbeek Pavilion’s heavy, concrete walls and labyrinthian plan swallow the players, who become immersed in a place of play. As the player moves through the pavilion, the view shifts to provide or block views of the adjacent spaces. The pavilion proposes a site of exploration and surprise. It provides the possibility for the adult students, the teenage mothers, their children, and the surrounding community to play.

Luminescent emission of partially conjugated homopolymers was successfully demonstrated as light emitting diodes (LEDs). A series of coil-like heterocyclic aromatic poly(2,2¡¦-phenyl-5,5¡¦-bibenzimiazole) (Pbi) was synthesized and derivatized with alkyl pendants for changing the band gap to form different electroluminescence (EL) emissions. Because of the entropy and van der Waals' interaction, multi-wall carbon nanotube (MWNT) tends to aggregate. In this investigation, chemical synthesis was applied to functionalize the MWNT. MWNT was esterificated by incorporating the functional group (-COOC10H21) to reduce its aspect ratio to facilitate its dispersion in the Pbi solution. MWNT-COOC10H21 was analyzed using Fourier transform infrared, elemental analysis, Raman spectrum and thermogravimetric analysis. In the polymer light emitting devices, Pbi mixed with MWNT-COOC10H21 would decrease threshold voltage for about 2 V, and the device emission current was increased 5~10 times of magnitude than those of devices without MWNT- COOC10H21. Pbi was in-situ polymerized with acidified multi-wall carbon nanotube (MWNT- COOH) for polymer LED fabrication. The emission current of these devices was still increased 10~15 times but no threshold voltage decrease compared to those of Pbi polymer solution-mixed with MWNT-COOC10H21. The polymer LED Commission International del'Eclairage chromatic indices were about the same for Pbi mixed with MWNT-COOC10H21 or in-situ polymerized with MWNT-COOH.

Texte remanié de: Diss.--Universiteit van Amsterdam, 2000. / Bibliogr. p. 313-324.

Proefschrift--Letteren--Katholieke universiteit Nijmegen, 2001. / Bibliogr. p. 365-394.