The subject of this thesis is Roger Bacon`s work De signis. Its goal is to consider in what sense Bacon works out the general theory of signs. In this sense the thesis` method is situated in the field of "archeology of sings". First it examines Bacon`s definition of sign as a relation, investigates its formal properties and ways of application in particular cases, i.e. Bacon`s classification of signs. Then it shows the way in which Bacon applies this general notion in particular examinations, that is in problems of what the words signify, concept of univaocation and equivocation, theory of analogy and last but not least it considers a question of the nature of signification itself. The last chapter is dedicated to the examination of the (re)imposition phenomenon together with consideration of result it has on the notion of sign relation`s nature and how it serves as an explanation of the process in which these relations work. Keywords: Roger Bacon, John Deely, Charles S. Peirce, medieval semiotics, archeology of signs.

No description available.

Linear mixed models are frequently used to analyze data with random effects and/or repeated measures. A common approach to such analyses requires choosing a covariance structure. Information criteria, such as AIC and BIC, are often used by statisticians to help with this task. However, these criteria do not always point to the true covariance structure and therefore the wrong covariance structure is sometimes chosen. Once this step is complete, Wald statistics are used to test fixed effects. Degrees of freedom for these statistics are not known. However, there are approximation methods, such as Kenward and Roger (KR) and Satterthwaite (SW) that have been shown to work well in some situations. Schaalje et al. (2002) concluded that the KR method would perform at least as well as or better than the SW method in many cases assuming that the covariance structure was known. On the other hand, Keselman et al. (1999) concluded that the performance of the SW method when the covariance structure was selected using AIC was poor for negative pairings of treatment sizes and covariance matrices and small sample sizes. Our study used simulations to investigate Type I error rates in test of fixed effects using Wald statistics with the KR adjustment method, incorporating the selection of the covariance structure using AIC and BIC. Performance of the AIC and BIC criteria in selecting the true covariance structure was also studied. The MIXED procedure (SAS v. 9) was used to analyze each simulated data set. Type I error rates from the best AIC and BIC models were always higher than target values. However, Type I error rates obtained by using the BIC criterion were better than those obtained by using the AIC criterion. Type I error rates for the correct models were often adequate depending on the sample size and complexity of covariance structure. Performance of AIC and BIC was poor. This could be a consequence of small sample sizes and the high number of covariance structures these criteria had to choose from.

A Considered Conversion: The Conscious Choice to Accept Christianity by the Populace of Iceland and Greenland in the Era of Scandinavian Conversion Robert A. Burt Department of History, BYU Master of Arts Most studies of the Christianization of Scandinavia attribute the phenomenon to the influence of powerful kings. However, many times the conversion experiences of Iceland and Greenland are either ignored, or tied to the influence of these distant kings. This thesis unites sociological ideas relating to conversion along social and familial lines, ideas introduced by Roger Stark and Rodney Finke, with historical details of Icelandic and Greenland family genealogies found in Íslendingabók, Landnámabók, Kristni saga, and Njáls saga to demonstrate a clear pattern of Christian conversion along social and familial lines on the islands of Iceland and Greenland during the era of Scandinavian Conversion.

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En s’appuyant sur l’analyse des textes produits par J.-M. Tillard à l’occasion de sa participation aux commissions de dialogue œcuménique (ARCIC 1, Foi et Constitution), la thèse montre comment J.-M. Tillard, en militant de l’œcuménisme, avait recours à la notion de communion pour élaborer une « ecclésiologie œcuménique de communion ». Le relevé des occurrences des termes avec lesquels il désigne l’unité de communion, en particulier dans ses articles, permet d’abord de démonter l’idée d’un concept systématique qui organiserait son ecclésiologie. L’analyse de son recours à la notion de communion dans son raisonnement, montre qu’elle fonctionne comme un concept opérationnel avec lequel il cherche à corriger les insuffisances théologiques qu’il constate dans la théologie des manuels d’abord, puis dans la réception œcuménique de Lumen Gentium et, enfin, dans la recherche d’une nouvelle méthode de dialogue oecuménique. Sa présence dans les textes signale que J.-M. Tillard apporte une pierre à sa construction ecclésiologique dans les champs théologiques où il intervient. En s’appuyant sur les premiers résultats obtenus grâce à la méthode utilisée à l’ARCIC 1 et à Foi et Constitution, il exploite la polysémie de la notion de « communion » grâce à laquelle, il envisage les divisions confessionnelles à partir d’une idée théologale de l’unité ecclésiale comme toujours déjà donnée. Avec elle, il renforce les éléments sacramentels et pneumatologiques de son approche ecclésiologique et promeut une conception proprement théologique du dialogue œcuménique. Mais faute d’avoir contextualisé ses sources, son ecclésiologie se révèle finalement déconnectée des aspérités de la vie ecclésiale dont il prétend s’inspirer. La notion de « communion » ne lui permet pas de penser de façon convaincante les formes institutionnelles de son ecclésiologie de communion. L’ampleur de sa culture théologique et la générosité de son engagement ont néammoins permis d’aborder à nouveaux frais les impasses théologiques dans lesquelles le dialogue œcuménique était bloqué et contribué au renouvellement de l’ecclésiologie post conciliaire.

Before the publication of David Hockney’s book Secret Knowledge: rediscovering the lost techniques of the Old Masters in 2001, it was commonly believed that the first artist to use an optical aid in painting was the seventeenth-century Dutch painter Johannes Vermeer. Hockney, however, believes that the use of projected images started much earlier, as early as the fifteenth-century, claiming that evidence can be found in the work of the Flemish painter Jan van Eyck. Without rejecting Hockney’s pioneering work in this field, I nevertheless make the perhaps bolder claim that Italian artists were using the aid of image projections even before the time of Jan van Eyck, that is, as early as 1270. Although much of the information required to make an earlier claim for the use of optics can be found in Hockney’s publication, the key to linking all the information together has been missing. It is my unique contention that this key is a letter that has always been believed to have been European in origin. More commonly referred to as Roger Bacon’s Letter I show in detail how this letter was, in fact, not written by Roger Bacon, but addressed to him, and that this letter originated in China. Chinese knowledge about projected images, that is the concept that light-pictures could be received onto appropriate supports, came directly to Europe around 1250. This knowledge was expanded upon by Roger Bacon in his Opus Majus, a document which arrived in Italy in 1268 for the special consideration of Pope Clement IV. The medieval Italian painter Cimabue was able to benefit directly from this information about optical systems, when he himself was in Rome in 1272. He immediately began to copy optical projections, which stimulated the creation of a new, more individualistic, mode of representation in Italian painting from this time forward. The notion that projected images greatly contributed towards the development of naturalism in medieval Italian painting replaces the previously weak supposition that the stimulation was classical or humanist theory, and shows that it was, in fact, far likely something more technical as well. / Art History / D.Litt. et Phil. (Art History)

Cette thèse porte sur la pertinence du concept historiographique d’ « antithomisme » appliqué à l’histoire intellectuelle de la fin du XIIIe siècle et du début du XIV. Elle se compose d’une première partie sur le contexte historique de la période 1274-1323 et sur l’émergence de débats dans de nombreux centres intellectuels consacrés à l’héritage de la doctrine de Thomas d'Aquin. Elle s’attache pour cela à mettre en avant les différentes discussions qui apparaissent lors de la première réception des œuvres de Thomas d'Aquin : censures, polémiques entre dominicains et franciscains, apparition de législation sur la lecture des ses œuvres, etc. Le travail se poursuit, dans une seconde partie, avec l’étude plus approfondie de deux auteurs de la fin du XIIIe siècle ayant été qualifiés d’ « antithomistes » par l’historiographie contemporaine : Roger Marston, OFM, et Dietrich de Freiberg, OP. Leur rejet de la noétique thomasienne est ici étudié dans son aspect doctrinal et textuel. / The purpose of this PhD is to examine the accuracy of the concept of « antithomism » when applied to late XIIIth and early XIV th intellectual history. I firstly adress the historical context, from 1274 to 1324, and the arguments involving the theaching of Aquinas in various intellectual domains. In doing so I underline the various debates that occur about how to understand Aquinas(work looking specifically at censorship, the controversies between Franciscans and Dominicans and first rules about the various readings of Aquinas’works. The second part goes into further depth about the work of two scholars of the late XIIIthe century, who have been frequently labelled « antithomists » in today’s historiography : Roger Marston, OFM, and Dietrich of Freiberg, OP. I intend to examine how they refuse Thomas’noetic, from both a doctrinal and textual point of view.

Este trabalho propõe uma reflexão sobre o teatro contemporâneo em embate com as transformações sociais pelas quais estamos passando. Neste momento de incertezas e inversão de valores, o teatro incorpora as discussões e temáticas ligadas à experiência sensível dos seres humanos, ao mesmo tempo em que inova sua linguagem, recorrendo a dispositivos tecnológicos que propiciam diferentes modos de interação com o público. Propostas sem atores em cena aportam o questionamento sobre que elementos, afinal, definem o teatro, enquanto que o compartilhamento de experiências busca expandir o entendimento da inserção do real em cena. A partir da aproximação a aspectos que observamos recorrentes na cena atual, abordamos dois espetáculos em cada uma das três partes que constituem a pesquisa. Recorremos ao conceito da teatralidade como ferramenta imbatível para a exposição de uma prática teórica construída no momento mesmo dos acontecimentos que se pretende analisar. Pretendemos, desse modo, responder às exigências da área de Teoria e Prática do teatro, que privilegia pesquisas que fundem o fazer e o refletir teatral. / The thesis proposes a reflection on contemporary theatre\'s confrontation with current social transformations. In this moment of uncertainty and inversion of values, theatre incorporates discussions on sensitive themes while innovating its language, using technological devices that provide different modes of interaction with the public. The absence of actors on stage raises questions about what ultimately defines the theatre, while the sharing of personal experiences by actors, expands the understanding of the insertion of the real into the scene. We seek to approach reoccurring aspects of the current scene, analyzing two shows in each of the three parts of this research. We turn to the concept of theatricality as a unique tool to explore a very contemporary practice. In this way, it seeks to respond to the demands of theatre Practice and Theory field, which favors researches that combine practice and reflection.

Before the publication of David Hockney’s book Secret Knowledge: rediscovering the lost techniques of the Old Masters in 2001, it was commonly believed that the first artist to use an optical aid in painting was the seventeenth-century Dutch painter Johannes Vermeer. Hockney, however, believes that the use of projected images started much earlier, as early as the fifteenth-century, claiming that evidence can be found in the work of the Flemish painter Jan van Eyck. Without rejecting Hockney’s pioneering work in this field, I nevertheless make the perhaps bolder claim that Italian artists were using the aid of image projections even before the time of Jan van Eyck, that is, as early as 1270. Although much of the information required to make an earlier claim for the use of optics can be found in Hockney’s publication, the key to linking all the information together has been missing. It is my unique contention that this key is a letter that has always been believed to have been European in origin. More commonly referred to as Roger Bacon’s Letter I show in detail how this letter was, in fact, not written by Roger Bacon, but addressed to him, and that this letter originated in China. Chinese knowledge about projected images, that is the concept that light-pictures could be received onto appropriate supports, came directly to Europe around 1250. This knowledge was expanded upon by Roger Bacon in his Opus Majus, a document which arrived in Italy in 1268 for the special consideration of Pope Clement IV. The medieval Italian painter Cimabue was able to benefit directly from this information about optical systems, when he himself was in Rome in 1272. He immediately began to copy optical projections, which stimulated the creation of a new, more individualistic, mode of representation in Italian painting from this time forward. The notion that projected images greatly contributed towards the development of naturalism in medieval Italian painting replaces the previously weak supposition that the stimulation was classical or humanist theory, and shows that it was, in fact, far likely something more technical as well. / Art History / D.Litt. et Phil. (Art History)