Thesis (D. Min.)--Concordia Seminary, St. Louis, MO, 2006. / Abstract. Includes bibliographical references (leaves 449-456).

Diss.--Philosophie--Rochester, N.Y., 1990. / Contient en note, des extraits de textes en français. Glossaire p. 382. Bibliogr. p. 383-387.

Denna studie är en analys av Claude Debussys Cellosonat skriven år 1915. Sonaten är ett av de sista verk som Debussy komponerade innan sin död, och tillhör de mästerverk som går att hitta i repertoaren för cello och piano. I min analys försöker jag hitta vilken form varje sats har, och bryta loss rytmiska och melodiska motiv för att se hur Debussy utvecklar och använder sig av sitt material. Trots att det är svårt att komma fram till ett fast resultat blev min slutsats att första satsen är i sonatform, med delar ABA &amp; Coda. Andra satsen har jag valt att beteckna som ett rondo, med formen ABACA. Den tredje satsen innehåller både strukturen av sonatform och rondo och delas upp i ABACDAC (Coda). Sonaten hålls ihop med hjälp av hur de olika teman går mellan satserna istället för att luta sig på en fast struktur. Genom att framföra verket och söka efter klangfärgerna har jag slutligen fått en djupare förståelse för detta verk. / <p>J. S. Bach: Svit nr. 4 i Ess-dur, BWV 1010</p><p>C. Debussy: Cello Sonat i d-moll</p><p>S. Taneyev: Piano Trio i D-dur, Op. 22</p><p></p><p>Övriga medverkande:</p><p>Jonna Simonsson, violin</p><p>Albert Dahllöf, piano</p>

Présentation d'une méthodologie de simulation du fonctionnement logique du coprocesseur arithmétique FELIN. Étude des méthodes de Durand-Kerner et d'Ehrlich pour la recherche simultanée de toutes les racines d'un polynôme à coefficients complexes. Elles sont ensuite comparées à cinq variantes algorithmiques. Une étude comparative est proposée. L'étude expérimentale de ces différentes méthodes est menée sur une architecture vectorielle

The present dissertation concerns cognitive psychology--theories about the nature and mechanism of perception and thought--during the High Middle Ages (1250-1350). Many of the issues at the heart of philosophy of mind today--intentionality, mental representation, the active/passive nature of perception--were also the subject of intense investigation during this period. I provide an analysis of these debates with a special focus on Durand of St.-Pourçain, a contemporary of John Duns Scotus and William of Ockham. Durand was widely recognized as a leading philosopher until the advent of the early modern period, yet his views have been largely neglected in the last century. The aim of my dissertation, then, is to provide a new understanding of Durand's cognitive psychology and to establish a better picture of developments in cognitive psychology during the period. Most philosophers in the High Middle Ages held, in one form or another, the thesis that most forms of cognition (thought, perception) involve the reception of the form of the object into the mind. Such forms in the mind explain what a given episode of cognition is about, its content. According to what has been called the conformality theory of content, the content of our mental states is fixed by this form in the mind. Durand rejects this thesis, and one of the primary theses that I pursue is that Durand replaces the conformality theory of content with a causal theory of content, according to which the content of our mental states is fixed by its cause. When I think about Felix and not Graycat, this is to be explained not by the fact that I have in my mind the form of Felix and not Graycat, but rather by the fact that Felix and not Graycat caused my thought. This is both a controversial interpretation and, indeed, a controversial theory. It is a controversial interpretation because Durand seems to reject the thesis that objects are the causes of our mental states. In the first half of the present dissertation, I argue that Durand does not reject this thesis but he rejects another nearby thesis: that objects as causes give to us 'forms'. On Durand's view, an object causes a mental state even though it does not give to us a new 'form'. In the second half of the dissertation I defend Durand's causal theory of content against salient objections to it.

The present dissertation concerns cognitive psychology--theories about the nature and mechanism of perception and thought--during the High Middle Ages (1250-1350). Many of the issues at the heart of philosophy of mind today--intentionality, mental representation, the active/passive nature of perception--were also the subject of intense investigation during this period. I provide an analysis of these debates with a special focus on Durand of St.-Pourçain, a contemporary of John Duns Scotus and William of Ockham. Durand was widely recognized as a leading philosopher until the advent of the early modern period, yet his views have been largely neglected in the last century. The aim of my dissertation, then, is to provide a new understanding of Durand's cognitive psychology and to establish a better picture of developments in cognitive psychology during the period. Most philosophers in the High Middle Ages held, in one form or another, the thesis that most forms of cognition (thought, perception) involve the reception of the form of the object into the mind. Such forms in the mind explain what a given episode of cognition is about, its content. According to what has been called the conformality theory of content, the content of our mental states is fixed by this form in the mind. Durand rejects this thesis, and one of the primary theses that I pursue is that Durand replaces the conformality theory of content with a causal theory of content, according to which the content of our mental states is fixed by its cause. When I think about Felix and not Graycat, this is to be explained not by the fact that I have in my mind the form of Felix and not Graycat, but rather by the fact that Felix and not Graycat caused my thought. This is both a controversial interpretation and, indeed, a controversial theory. It is a controversial interpretation because Durand seems to reject the thesis that objects are the causes of our mental states. In the first half of the present dissertation, I argue that Durand does not reject this thesis but he rejects another nearby thesis: that objects as causes give to us 'forms'. On Durand's view, an object causes a mental state even though it does not give to us a new 'form'. In the second half of the dissertation I defend Durand's causal theory of content against salient objections to it.

Thesis (D. Min.)--Concordia Seminary, St. Louis, MO, 2006. / Abstract. Includes bibliographical references (leaves 449-456).

El objetivo del presente estudio es lograr la adaptación válida y confiable de la batería Bedside de lenguaje para su uso en la evaluación de la afasia en pacientes afásicos que se atienden en algunos hospitales de Lima y Callao. La batería Bedside de Lenguaje es un instrumento de cribaje (screening) diseñado para la detección de afasias tras una lesión cerebral, es de rápida y simple aplicación al pie de la cama, y puede ser utilizado por médicos o especialistas de lenguaje. Evalúa cinco dominios lingüísticos: Lenguaje espontáneo, Comprensión, Repetición, Escritura, Lectura. La puntuación máxima obtenible es 26, es de fácil corrección, con puntos de corte bien establecidos, y ofrece una excelente especificidad para la detección de la afasia y una buena correlación con pruebas formales como el Test de Boston para el diagnóstico de la afasia. La muestra estuvo conformada por 100 pacientes afásicos entre 18 y 89 años que se encontraban con tiempo de evolución dentro del periodo de 0 a 2 años luego de haber sufrido el daño cerebral, y que se atendieron en el Instituto Nacional de Rehabilitación del Callao, el Hospital Dos de Mayo, el Hospital Geriátrico de la Policía y el Hospital Nacional Guillermo Almenara Irigoyen. Los resultados indican que la batería Bedside adaptada es confiable y válida (alfa de Crombach 0.956, sig < .001) y ningún ítem ha sido objetado por criterio de jueces. Así mismo indican una excelente consistencia interna de la prueba adaptada. Además se calculó el coeficiente de Spearman Brown (0.876; sig <.001), siendo este último también altamente significativo. / A comprehensive evaluation of speech and language puts a lot of stress on the patient with a cerebral lesion. The battery Bedside of Language (BL) is short in duration and it is designed to presume a diagnosis of aphasia in patients with cerebral lesions. The present applied research is directed to validate the battery Bedside of Language in an urban population of adults from Peru (18-89 years old). The items were analyzed with U de Mann Whitney, for comparison, and rho de Spearman for correlations. The validity was determined by judges’ expert criteria and the Spearman-Brown Split half coefficient. A total of 100 subjects were evaluated using the battery BL and five linguistic dimensions were evaluated which were: spontaneous language, comprehension, repetition, writing and lecture. The maximum possible score is 26 with the cut-off score very well established. It was found that the battery BL has high feasibility and internal consistency. Alpha de Crombach for all the linguistic dimensions aforementioned was 0,956. Also when comparing the total of each scale with the grand total of the BL, subjects with presumed diagnosis of aphasia versus subjects with no diagnosis of aphasia; the U de Mann Whitney fluctuated between 5.287 and 6.706 which was highly significant and shows an excellent criterion-related validity as well. The results indicated that the battery BL is a potentially useful tool for predicting aphasia and sensible to the changes in the acute stages of language disorders.

The purpose of this comparative study is to analyse La Quintrala’s myth as a symbolic discourse, thereby filling a gap in the previous studies about La Quintrala. The theoretical and methodological framework of this analysis consists of a hermeneutical approach based on the method of figurative structuralism: mythocriticism. This is a dual classification method of symbols: Diurnal and Nocturnal Orders that expose the symbolic structures formed by symbols and archetypes found in mythemes in a compilation of corpora. The first one is Gustavo Frías’ novels Tres Nombres para Catalina: Catrala (2008) and Tres nombres para Catalina: la doña de Campofrío (2008); the second is a historic essay (hypotext), Benjamín Vicuña Mackenna’s Los Lisperguer y la Quintrala (1944), and four novels: Magdalena Petit’s (2009) La Quintrala, Mercedes Valdivieso’s (1991) Maldita yo entre las Mujeres, Virginia Vidal’s (2002) Oro, veneno y puñal, and Gustavo Frías’ El Inquisidor (2008). Mythocriticism is employed in the analysis to show what the mythical structure of the hero’s journey (Separation, Initiation, Return) reveal. Such journey is combined structurally with the Mother archetype (White, Red and Black Goddess), the intrinsic archetype of La Quintrala’s myth. The heroic structure unveils its own mythemes, La Quintrala’s and the first corpus’s mytheme through the diachronic and synchronic flow of the hero’s journey. This method permits to identify and compare the progression of the symbolic structures. The analysis demonstrates a transformation of the symbolic structures between both corpora. This survey reveals that Vicuña Mackenna and Petit, and partially Vidal and El Inquisidor, exhibit an inclination to the diurnal symbols that strengthen, through a heterodiegetic narrator, the representations of the witch-femme fatale, counteractive attributes of the Red and Black Goddesses in the myth. Valdivieso, on the other hand, shows a propensity to the nocturnal symbols of inversion and intimacy that emphasize the Red Goddess’ features, though the novel also exposes La Quintrala as a witch-femme fatale. This exposure occurs through the use of both an autodiegetic narrator –La Quintrala– and a heterodiegetic one –the hypotext embodied in the popular voice– that appear to contrast each other. Finally, in Tres Nombres para Catalina, La Quintrala as the autodiegetic narrator dominates the whole story. She personifies the Great Goddess archetype who bestows her new positive attributes during the adventure. This novel assumes primordially the nocturnal symbolism incarnated by both the mystical and the synthetical structures and relegates the diurnal discourse of the hypotext to a secondary position in the narrative. Nonetheless, Tres Nombres para Catalina’s narrative still relies on the hypotext to reproduce and reconstruct all the mythemes in the myth of La Quintrala. Conclusively, the results of this analysis indicate that the identification of all the mythemes supports the hypothesis of a transformation in the symbolic structures which characterize La Quintrala in both corpora. This reveals the embodiment of Tres Nombres para Catalina’s own mytheme, consisting of a vindication and a recognition to her indigenous heritage, and the acceptance of her mestizaje. As a consequence, Tres nombres para Catalina, in comparison to the second corpus, diverges and expands the symbolic structures, but still shows a continuity of the myth.

O objetivo deste trabalho é apresentar uma leitura do romance Drácula, do escritor irlandês Bram Stoker, publicado em 1897. O propósito do estudo é identificar os arquétipos e imagens predominantes em Drácula, mostrando em que medida eles representam questões pertinentes à sociedade vitoriana e aos públicos receptores que obra teve desde então. A obra é publicada em um momento histórico que se configura ponto crucial na conflituada transição entre os antigos valores rurais britânicos e os da moderna sociedade urbana contemporânea, e a conseqüência desta transição é uma mudança drástica no código comportamental britânico. Diversos elementos desta transformação podem ser identificados nas representações simbólicas encontradas no romance de Stoker, e a voracidade com que a obra é consumida pelos leitores desde a época vitoriana se configura sintoma das premências decorrentes da excessiva repressão daquele período. A análise do arquétipo do vampiro e das imagens arquetípicas apresentadas em Drácula se dará predominantemente através do exame das implicações psicológicas e antropológicas ligadas ao imaginário do Sangue. O embasamento teórico se ampara nas contribuições prestadas por Carl Gustav Jung e Gilbert Durand. A dissertação vem subdividida em três capítulos. Na primeira parte do capítulo um apresento as contextualizações referentes a certos fenômenos observados na sociedade vitoriana, especialmente no que tange às implicaturas de gênero no código comportamental da época, e na segunda apresento contextualizações referentes a personagens históricos que influenciaram Bram Stoker na criação de seu personagem principal. No segundo capítulo, remeto ao embasamento teórico, apresentando os conceitos definidos por Jung nos quais a leitura do capítulo 3 se ampara, bem como analiso símbolos, imagens e arquétipos em Drácula de acordo com os regimes da imaginação propostos por Durand. No terceiro capítulo ofereço minha leitura do romance, na qual identifico e analiso imagens e símbolos do Sangue presentes no romance. Na conclusão, apresento as últimas considerações, com o intuito de ratificar as fortes ligações que se estabelecem entre os significados velados inscritos no romance e as vivências da sociedade receptora, tendo como base o mito do vampiro e sua associação com o imaginário do sangue na tentativa de explicar a bemsucedida e contínua recepção do romance. / The aim of this thesis is to present a reading of Dracula, published in 1897 by the Irish author Bram Stoker. The purpose of the investigation is to identify the predominant archetypes and images in Dracula, showing to what extent they represent relevant issues to Victorian society and the audiences the novel has had since then. The work is published in a crucial historical moment, during which the British traditional rural values are replaced by modern and urban ones. A major consequence of such a transition is a drastic change in the British behavioral code. Several elements in such a transformation can be identified in Stoker’s novel, and the eagerness with which the work was accepted by Victorian audiences is a symptom of the needs that resulted from the excessive repression from that period. The analysis of the archetype of the vampire and the archetypal images presented in Dracula unfolds predominantly through the examination of the psychological and anthropological implications connected to blood imagery. The main theoretical tools come from the studies of Carl Gustav Jung and Gilbert Durand. The thesis is subdivided in three chapters. In the first part of chapter one I present some contextualization referring to certain phenomena perceived in the Victorian society, mainly the ones regarding the gender implications in the behavioral code of the time, and in the second part I present contextualization connected to historical characters who influenced Bram Stoker in the creation of his main character. In chapter two I present the theoretical approach, introducing the concepts defined by Jung upon which the reading in chapter 3 is based. I also analyze symbols, images and archetypes in Dracula according to the orders of the image proposed by Durand. In chapter three I offer my reading, identifying and analyzing blood images and symbols in the novel. In the conclusion, I present the final considerations, with the purpose of ratifying the strong bonds connecting the underlying meanings present in the novel and the life experience of the audience, having as a basis the myth of the vampire and its association to the blood imaginary, in an attempt to explain the successful and continuous reception of the novel.