A voyage to Senegal ; or, historical, philosophical, and political memoirs, relative to the discoveries ... of Europeans in the Atlantic Ocean ... to which is added an account of a journey from Isle St. Louis to Galam

by J. P. L. Durand

The philosophical significance of Cox's theorem

Cox's theorem states that, under certain assumptions, any measure of belief is isomorphic to a probability measure. This theorem, although intended as a justification of the subjectivist interpretation of probability theory, is sometimes presented as an argument for more controversial theses. Of particular interest is the thesis that the only coherent means of representing uncertainty is via the probability calculus. In this paper I examine the logical assumptions of Cox's theorem and I show how these impinge on the philosophical conclusions thought to be supported by the theorem. I show that the more controversial thesis is not supported by Cox's theorem. (C) 2003 Elsevier Inc. All rights reserved.

O DEUS ROSIANO: ANÁLISE TEOLÓGICO-LITERÁRIA DAS IMAGENS AMBÍ-GUAS DE DEUS EM GRANDE SERTÃO: VEREDAS

Tudo é e não é . Analisar algumas imagens ambíguas de Deus em Grande Sertão: Veredas foi o objetivo desta dissertação. Para tanto, essa análise é uma tentativa interdisciplinar de leitura e interpretação, em que Teologia e Literatura são interlocutoras. A partir do romance rosiano, sob à luz hermenêutica da crítica literária e da reflexão teológica, tentamos indicar que a escritura de João Guimarães Rosa apresenta Deus de modo ambíguo. Essa assertiva é possível, pois se percebeu na provisoriedade humana, poetizada pelo escritor e personificada por Riobaldo, o traço sine qua non do modo de ver mundos misturados . Ao rememorar e renarrar as estórias sua vida, Riobaldo abre espaço ao Mistério. Nonada . Em cada travessia, o protagonista-narrador reflete acerca de Deus , por meio da fala poética cujas imagens diversas sugerem um Deus muito contrariado . Sem enquadramentos teológicos e/ou filosóficos definitivos, Rosa provoca-nos ao mostrar-nos que o Deus que roda tudo revela-se e evade-se no sertão-universo. Lugar físico-mítico. É no sertão que intentamos seguir os rastros de Deus segundo a íris riobaldiana. Olhar de constante movimento entre o obscuro e o revelado, entre o é e não é.(AU)

Technology for enabling : the implications for management science of a hermeneutics of distinction

One way of describing this thesis, is to state that it attempts to explicate the context within which an application of Stafford Beer's Viable System Model (VSM) makes cybernetic sense. The thesis will attempt to explain how such a context is presently not clearly ennunciated, and why such a lack hinders communications of the model together with its consequent effective take-up by the student or practitioner. The epistemological grounding of the VSM will be described as concerning the ontology of the individuals who apply it and give witness to its application. In describing a particular grounding for the Viable System Model, I am instantiating a methodology which I call a `hermeneutics of distinction'. The final two chapters explicate such a methodology, and consider the implications for the design of a computer system. This thesis is grounded in contemporary insights into the nervous system, and research into the biology of language and cognition. Its conclusions emerge from a synthesis of the twin discourses of Stafford Beer and Humberto Maturana.

The contribution of feminist biblical hermeneutics to a theology of ministries

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

The contribution of feminist biblical hermeneutics to a theology of ministries

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

British Romantic Criticism and the Fine Arts: A Study in Philosophical Theories of Literary Unity

This dissertation is an exploration of how a small but important group of Romantic critics, finding fault in the ideal of three unities developed by neoclassical Academicians and wrongly attributed to Aristotle, turned to the terminology and practices of the fine arts to emphasize their conception of organic unity in literature. The Romantic analogy to painting in particular enables a philosophical criticism of literature to present the aesthetic semblance of painting, the comprehension of a multitude of details in a harmonious whole that is a natural unity to its medium, as a paradigm of modern-romantic poetry and its aspirations to similar complexity, particularity, and imaginative colour. Further, in extension of the French Querelle des anciens et des modernes of the seventeenth century, the division of ancient and romantic art by Romantic critics like August Schlegel, Samuel Taylor Coleridge, and William Hazlitt not only establishes an ethnological and historical difference between the artistic productions of these two cultural periods but also allows, unlike the neoclassical unities, a non-anachronistic philosophical vocabulary of whole and parts or of the general and particular in the criticism of poetry, which involution provides a “rule” more consonant with the laws of the imagination rather than with the rhetorical and absolutist dicta that were thither available in the literary canon.