Although moral individualism is sufficient for making fair moral decisions, it is itself supported by our implicit moral commitments; Rawls (and consequently Rowlands) uses the original position as a method for making moral decisions that are both fair and consistent without proposing a normative moral code, and DeGrazia adds content to this method by spelling out what interests are and which individuals are capable of having interests - and thus being morally considerable. Rawls does not go far enough in the process of bracketing off undeserved, unearned properties; he fails to see that properties such as rationality and species are undeserved. Using Rowlands' interpretation of Rawls, I argue that the revised intuitive equality argument provides the justification for the social contract argument - that is, for bracketing off the properties that are arbitrary. I use DeGrazia to make the case for sentience as being essential for moral consideration. Sentience is necessary and sufficient for having interests, and having interests is sufficient for being worthy of moral consideration. From this, I conclude that because there are many sentient nonhuman animals, there are many nonhuman animals that are worthy of moral consideration. Being morally considerable is not equivalent to having substantial moral status. Rachels' moral individualism allows us to make moral decisions based upon the properties or characteristics of the individual, and this is particularly useful for pinpointing our treatment of humans and our justification for doing so and then simply extending this line of thought to nonhumans. This method allows us to isolate what is indeed relevant to the situation at hand and to consider if both individuals under consideration share it. In the case of moral status, sentience will play an important role because it is a property shared by humans and at least some nonhuman animals. Using Rawls, Rowlands, DeGrazia and Rachels as support, I conclude that at least some animals have significant moral status. / Master of Arts

Indonesia signed CEDAW 1980 and ratified it in 1984 making it one of the first countries in South East Asia to do so. Despite legislation and governmental efforts women are still discriminated against in areas such as access to education, resources and credit. Income generation and women´s empowerment have been recognized on an international level as important strategies to enhance gender equality and in the process of alleviating poverty. By using the method of the focus group interview this study examines the process of empowerment for a group of women who take part in an income generation program in South Lombok, organized by a local NGO which uses the CAF methodology of self funded communities. Using Jo Rowlands (1997) empowerment model to analyze the collected data the study identifies encouraging and inhibiting factors to the empowerment process and the changes the process have generated. The study finds that the income generation program provides an important motivation for the women to join and the women experience some empowering impacts due to access to resources. However, it is the educational aspects of the program as well as the social support system that the self-help groups provide that contain the most empowering elements.

Ce mémoire aborde le travail de l'acteur dans le cinéma de John Cassavetes, particulièrement à travers sa collaboration avec l'actrice Gena Rowlands. À travers certains auteurs qui se sont penchés sur la question de l'acteur de cinéma, je tente de déceler les rapports qu'entretiennent l'actrice et le cinéaste avec la philosophie antique, les exercices spirituels et les techniques de soi. J’étudie également comment il met en scène une forme de remédiation du théâtre dans son cinéma. Pour m'aider, je parcours les œuvres de Hannah Arendt, Nicole Brenez, Ray Carney, Stanley Cavell, Michel de Certeau, Michel Foucault, Pierre Hadot et Siegfried Kracauer, dans le but de mieux cerner une approche de la théorie du cinéma qui voit le travail de l'acteur comme forme d'expression à part entière et comme source d’inspiration pour le spectateur qui peut voir en l’acteur une figure exemplaire. / This master thesis discusses the work of film actors in the cinema of John Cassavetes, especially through his collaboration with actress Gena Rowlands. Throughout the writings of authors who examined the subject, I explore the relation between the actress and the ancient philosophy, spiritual exercices and techniques of self. I also study how Cassavetes’ direction creates a theater remediation in his films. I explore the thoughts of Hannah Arendt, Nicole Bronze, Ray Carney, Stanley Cavell, Michel De Certeau, Michel Foucault, Pierre Hadot and Siegfried Kracauer as a way to understand better a film theory approach that considers the work of film actors as a form of expression of its own, and as a source of inspiration for the viewer that can see actors as exemplary figures.