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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
11

El concepto de a priori antropológico como fundamento de la filosofía latinoamericana de Arturo Roig

Hernández Alvarado, Joaquín Enrique 14 June 2019 (has links)
La tesis analiza críticamente el pensamiento filosófico de Arturo Andrés Roig (Mendoza, 1922-2012), para lo cual sigue el proceso de constitución del concepto de a priori antropológico y las implicaciones que este tiene en su propuesta teórica. Roig desarrolla una filosofía latinoamericana con las características de la filosofía moderna: criticidad, racionalidad, normatividad. Frente al debate existente en las décadas de los años 60 y 70 del siglo XX en torno de la existencia de una filosofía americana, Roig postula la construcción de una teoría del pensamiento latinoamericano. Siguiendo a Hegel (Lecciones de la filosofía de la historia), Roig considera que la filosofía tiene un comienzo, no de hecho sino de derecho, que radica en el a priori antropológico, en la posibilidad que tiene todo hombre de volverse sujeto consciente del valor que sí mismo y de la dignidad de pensarse como tal. Para formular el concepto de a priori antropológico, Roig emprende un diálogo y debate con la filosofía moderna occidental, especialmente con Kant y Hegel, que a su juicio ya lo formularon, pero de forma no aceptable para Roig, porque parten de la conciencia y no de la realidad o empiricidad, es decir el mundo independiente de la conciencia. El a priori antropológico es el fundamento de la historia de las ideas es decir del hecho histórico registrado en los términos de esa disciplina. Por ello, la filosofía latinoamericana de Roig es una crítica de la razón histórica que fundamenta el conocimiento del hecho histórico. En esta investigación, por tanto, se examinan tanto la constitución del concepto de a priori antropológico en Roig como su articulación con los de sujeto (plural, nosotros), autoconsciencia, historicidad, empiricidad, libertad. / This thesis is a critical analysis of Arturo Andres Roig’s (Mendoza, 1922-2012), philosophical thinking; the process of constituting the concept of anthropological a priori is followed for this purpose, as are also the implications that it has in its theoretical proposal. Roig develops a Latin American philosophy that shows modern philosophy’s traits, namely: criticality, rationality, normativity. When facing the twentieth century debate that existed in the sixties and the seventies concerning whether an American philosophy exists, Roig postulates the construction of a theory of Latin American thinking. Following Hegel (Lessons of the Philosophy of History), Roig considers that Philosophy does not have a beginning in fact but in law and that it is rooted on anthropological a priori, on every man’s possibility of becoming the conscious subject of his own value and of the dignity of thinking of himself as such. In order to formulate the concept of anthropological a priori, Roig starts a dialogue and a debate with modern Western philosophy, especially with Kant´s and Hegel´s; in his judgement, they already formulated the concept, but not in a way that is acceptable to Roig, because both start from consciousness and not from reality or empiricity; in other words, they start from the independent world of consciousness. Anthropological a priori is the foundation of the history of ideas; in other words, it is the foundation of the historical fact that is registered in terms of that discipline. For that reason, Roig’s Latin American philosophy is a criticism of the historical reasoning on which the historical fact is based. The present research, therefore, will examine both the constitution of the concept of Roig’s anthropological a priori and its articulation with a plural self-conscious subject (we) with historicity, empiricity and freedom.
12

Optimización Medioambiental de la Síntesis de Pigmentos Cerámicos: Aplicación de Métodos Sol-Gel

Llusar Vicent, Mario 17 September 1998 (has links)
Aquesta tesi presenta un estudi d'optimització mediambiental de tres pigments ceràmics d'ús convencional en la coloració d'esmalts ceràmics, i que combinats tots tres podrien conformar una "paleta ecològica" de pigments ceràmics:i) un pigment de caire estructural, com és el verd victoria (classificació DCMA 4-07-3), basat en el granat Uvarovita, Ca3Cr2Si3O12, en el qual l'element cromòfor (el crom) forma part de la pròpia estructura cristal.lina del pigment, donant-li la seua col.loració verda característica.ii) una disolució sòlida, com és el cas del pigment blau de vanadi-circó, (Zr,V)SiO4 (classificació DCMA 14-42-2), en el qual el vanadi forma una disol.lució sòlida en la xarxa del circó (ZrSiO4), incorporant-se en les posicions tetraèdriques i/o octaèdriques, actuant de forma simultània com a cromòfor i com a agent "auto-minieralitzador".iii) un pigment de caire encapsulat o "heteromòrfic", com és el pigment rosa coral de ferro-circó, (Zr,Fe)SiO4 (classificació DCMA 14-44-5), en el qual les partícules d'hematita (Fe2O3) queden ocluïdes o encapsulades pels grans de circó neo-formats, otorgant-li la seua coloratció roja característica.En cadascun dels 3 sistemes pigmentants s'ha fet una caracterització cristal.loquímica exhaustiva mijançant diverses tècniques d'estat sòlid (difracció de raigs X, anàlisi tèrmic, espectroscòpia infraroja i UV-VIs, microscopia electrònica) i un estudi d'optimització amb l'objecte de minimitzar les emisions de gasos a l'atmòsfera (pèrdues de calcinació o merma del pigment) i dels lixiviats de caire tòxic o contaminant produïts en el llavat dels colors calcinats. Tot això amb la premisa d'obtenir un rendiment colorimètric comercialment acceptable.Les tres variables bàsiques de l'estudi han sigut:i) el tractament tèrmic; ii) l'utilització de diferents sistemes mineralitzadors (agents de fundència) usuals en la síntesi industrial dels pigments; i iii) aplicació de mètodes de síntesi no convencional (sol-gel) en les composicions optimitzades prèviament per la ruta tradicional ceràmica.Per a cada pigment s'ha fet en primer lloc una optimització de la síntesi per la ruta ceràmica, i després s'ha analitzat l'efecte de la utilització de les metodologies sol-gel sobre la síntesi i cristal.lització del pigment, el seu rendiment colorimètric, així com sobre els paràmetres mediambientals objecte de minimització (emisions a l'atmòsfera i lixiviats tòxics). Finalment es mostra com per mescla d'aquests tres colors (prèviament optimitzats) es pot obtenir una "paleta ecològica" de colors ceràmics.
13

The Kodály Method and Tonal Harmony: An Issue of Post-secondary Pedagogical Compatibility

Penny, Lori Lynn 31 July 2012 (has links)
This study explores the topic of music theory pedagogy in conjunction with the Kodály concept of music education and its North-American adaptation by Lois Choksy. It investigates the compatibility of the Kodály Method with post-secondary instruction in tonal harmony, using a theoretical framework derived from Kodály’s methodology and implemented as a teaching strategy for the dominant-seventh chord. The customary presentation of this concept is authenticated with an empirical case study involving four university professors. Subsequently, Kodály’s four-step instructional process informs a comparative analysis of five university-level textbooks that evaluates the sequential placement of V7, examines the procedure by which it is presented, and considers the inclusion of correlated musical excerpts. Although divergent from traditional approaches to tonal harmony, Kodály’s principles and practices are pedagogically effective. By progressing from concrete to abstract, preceding symbolization with extensive musical experience, conceptual understandings are not only intellectualized, but are developed and internalized.
14

The Kodály Method and Tonal Harmony: An Issue of Post-secondary Pedagogical Compatibility

Penny, Lori Lynn 31 July 2012 (has links)
This study explores the topic of music theory pedagogy in conjunction with the Kodály concept of music education and its North-American adaptation by Lois Choksy. It investigates the compatibility of the Kodály Method with post-secondary instruction in tonal harmony, using a theoretical framework derived from Kodály’s methodology and implemented as a teaching strategy for the dominant-seventh chord. The customary presentation of this concept is authenticated with an empirical case study involving four university professors. Subsequently, Kodály’s four-step instructional process informs a comparative analysis of five university-level textbooks that evaluates the sequential placement of V7, examines the procedure by which it is presented, and considers the inclusion of correlated musical excerpts. Although divergent from traditional approaches to tonal harmony, Kodály’s principles and practices are pedagogically effective. By progressing from concrete to abstract, preceding symbolization with extensive musical experience, conceptual understandings are not only intellectualized, but are developed and internalized.
15

The Kodály Method and Tonal Harmony: An Issue of Post-secondary Pedagogical Compatibility

Penny, Lori Lynn January 2012 (has links)
This study explores the topic of music theory pedagogy in conjunction with the Kodály concept of music education and its North-American adaptation by Lois Choksy. It investigates the compatibility of the Kodály Method with post-secondary instruction in tonal harmony, using a theoretical framework derived from Kodály’s methodology and implemented as a teaching strategy for the dominant-seventh chord. The customary presentation of this concept is authenticated with an empirical case study involving four university professors. Subsequently, Kodály’s four-step instructional process informs a comparative analysis of five university-level textbooks that evaluates the sequential placement of V7, examines the procedure by which it is presented, and considers the inclusion of correlated musical excerpts. Although divergent from traditional approaches to tonal harmony, Kodály’s principles and practices are pedagogically effective. By progressing from concrete to abstract, preceding symbolization with extensive musical experience, conceptual understandings are not only intellectualized, but are developed and internalized.

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