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El presente artículo analiza el enfrentamiento entre la obra de Suárez y la de Berkeley. Suárez es un representante de la corriente jesuita de la Contrarreforma comprometida en una polémica con Jaime I de Inglaterra sobre la fundación y la legitimidad del poder de derecho divino en la Defensio fidei catholicae adversus de anglicana secta. La teoría de Berkeley, obispo anglicano ortodoxo y conservador que se ocupa de la obediencia pasiva fiel al imperativo paulino según el cual « el que resiste a la autoridad civil resiste al orden que Dios ha establecido» está desarrollada en Sobre la obediencia pasiva. Tal enfrentamiento permite reformular la cuestión de la base del consentimiento a la ley, así como la de los límites que le corresponde o no al ser razonable y libre, poder aplicarlo. La comparación se realiza a partir del análisis de 1) Los límites del poder transferido por la comunidad política al soberano; 2) las condiciones para la desobediencia y 3) la necesidad ontológica de la resistencia.

The main objective of this study is to compare Berkeley wavelet transform (BWT) and robust principal component analysis (ROBPCA) techniques in tumor analysis to improve the accuracy of image processing. Based on the sample sizes of BWT (N=16) and ROBPCA (N=16), tumor MR pictures of various brain tumor illnesses have been gathered. Image segmentation has been finished, and textural features have been retrieved using image processing methods. The accuracy and sensitivity of the parameter are taken into consideration by both organizations when evaluating tumor detection and evaluation. The sample size for each group could be determined by maintaining the enrollment ratio at 1, the threshold alpha at 0.05, the g power at 80%, and the confidence interval at 95%. The absence of a statistically significant difference (p = 0.182) between the two groups was verified using an Independent Sample T-test. The accuracy numbers in BWT are 81.5%, while 84% is the accuracy value in ROBPCA. When it comes to brain tumor detection and analysis, ROBPCA has performed well when compared to BWT.

En su Tratado sobre los principios del conocimiento humano, George Berkeley ofrece una serie de argumentos cuyo objetivo es criticar la tesis materialista. Mi propósito en este artículo es reconstruir y analizar en detalle estos argumentos. Dado que la crítica de Berkeley al materialismo es, fundamentalmente, una crítica al materialismo representacionalista de John Locke, empezaré este artículo explicando cuáles son las ideas básicas de la propuesta de Locke.

In Berkeley’s writings the topic of light is discussed in two different ways, within a theory of perception and within a metaphysics of nature of a Platonic stamp. In his first work, the original Essay for a New Theory of Vision (1709), light and colours are regarded as condition and object of vision; they are examined as contents of visual perception distinct from tangible perception. Light will be dealt with in a completely different manner in Berkeley’s last work, Siris (1744), in which a spiritualistic reading of the natural world is superimposed on modern science in general and on Newtonian physics in particular. In Siris, light (or invisible fire) is the instrument by which the causal activity of divine Intellect orders and permeates the natural world. A detailed analysis of the topic of light in the two aforementioned contexts shows inconsistencies and strained interpretations which derive from the apologetic use of the theory of vision in Berkeley’s early immaterialism and from the multi-layered and confused speculations of his late Siris. On the whole, Berkeley conceives light within the idealistic frame inherited from Platonic metaphysics of light; however, the specific themes examined in the Essay for a New Theory of Vision and in Siris derive from acquisitions of modern science, and are recast within a spiritualistic interpretation which intended both to neutralize scientific ideas through their phenomenistic reading and to exploit them for apologetic ends.

No decorrer das últimas três décadas, a história ambiental se tornou um subcampo reconhecido com seus próprios clássicos, um grande número de monografias notáveis, um fluxo contínuo de artigos publicados e mais do que mil pesquisadores ativos em vários continentes, incluindo uma comunidade crescente na América Latina. Um olhar para além dos limites disciplinares da história mostra que há também outras tradições que se enquadram perfeitamente na temática. A geografia histórico-cultural da Escola de Berkeley sob a égide de Carl Sauer talvez seja uma dessas perspectivas alternativas conhecidas. Muitos estudos de Sauer, seus alunos e colaboradores podem ser considerados pesquisas em história ambiental; muitas delas se baseiam em matérias sobre a América Latina. Neste artigo, procuramos traçar o desenvolvimento dessa corrente alternativa para a história ambiental que se iniciou com a tese de doutoramento de Carl Sauer em 1915 e se consolidou nos anos 50, tendo sua continuidade no presente através dos trabalhos de diversos geógrafos.Over the past three decades environmental history has become a recognized subfield, with a cannon of classics, many dozens of distinguished monographs, a steady flow of published articles, and more than one thousand active practitioners on several continents, including a growing cohort in Latin America. If one looks beyond history's disciplinary bounds, one finds other traditions that equally fit perfectly into the array of environmental history. Perhaps the broadest and deepest current is represented by Carl Sauer's Berkeley School of cultural-historical geography. Much of the work of Sauer, his students, and his associates, can be considered environmental history. Moreover, much of it is based on Latin American materials. In this paper, we trace the development of an alternative current within environmental history - one that began with Carl Sauer's doctoral dissertation in 1915, became well established by the 1950s and continues today through the work of various geographers.

Existe já uma grande quantidade de literatura dedicada à presença na filosofia inicial de Berkeley de alguns assuntos tipicamente platônicos (arquétipos, o problema da mente de Deus, a relação entre ideias e coisas, etc.). Baseados em alguns desses escritos, nas próprias palavras de Berkeley, assim como no exame de alguns elementos da tradição platônica num amplo sentido, sugiro que, longe de serem apenas tópicos isolados, livremente espalhados nos primeiros escritos de Berkeley, eles formam uma perfeita rede de aspectos, atitudes e modos de pensar platônicos, e que, por mais alusivos ou ambíguos que esses elementos platônicos possam parecer, eles constituem um todo coerente e complexo, desempenhando um papel importante na formação da própria essência do pensamento de Berkeley. Em outras palavras, sugiro que, dadas algumas das ideias apresentadas em suas primeiras obras, foi de certo modo inevitável para George Berkeley, em virtude da lógica interna do desenvolvimento de seu pensamento, chegar a uma obra tão abertamente platônica e especulativa como Siris (1744).

This article discusses Michael Berkeley’s opera Jane Eyre. Premiered on June 30, 2000 by Music Theatre Wales at the Cheltenham International Festival of Music, this opera is based on the novel by Charlotte Brontë and the libretto is written by the Australian poet, novelist, playwright and librettist, David Malouf. It was risky and daring to try to adapt this famous and long novel for the stage. We will particularly focus on the similarities and differences between the novel and the opera as well as on the strategies used both by David Malouf and Michael Berkeley to adapt it. Through the analysis of the similarities we will see how Michael Berkeley set to music some of the great themes and elements of the novel: passion, a sense of entrapment, the “Gothic” atmosphere. On the other hand, the analysis of the discrepancies between the novel and the opera as they appear in both the libretto and the music will lead us to a modern apprehension of the characterization of madness as well as of the metafictional dimension of the rewriting of Jane Eyre by David Malouf and Michael Berkeley.

Existe já uma grande quantidade de literatura dedicada à presença na filosofia inicial de Berkeley de alguns assuntos tipicamente platônicos (arquétipos, o problema da mente de Deus, a relaçáo entre ideias e coisas, etc.). Baseados em alguns desses escritos, nas próprias palavras de Berkeley, assim como no exame de alguns elementos da tradiçáo platônica num amplo sentido, sugiro que, longe de serem apenas tópicos isolados, livremente espalhados nos primeiros escritos de Berkeley, eles formam uma perfeita rede de aspectos, atitudes e modos de pensar platônicos, e que, por mais alusivos ou ambíguos que esses elementos platônicos possam parecer, eles constituem um todo coerente e complexo, desempenhando um papel importante na formaçáo da própria essência do pensamento de Berkeley. Em outras palavras, sugiro que, dadas algumas das ideias apresentadas em suas primeiras obras, foi de certo modo inevitável para George Berkeley, em virtude da lógica interna do desenvolvimento de seu pensamento, chegar a uma obra táo abertamente platônica e especulativa como Siris (1744).

No Tratado, Hume procura investigar as causas da crença nos objetos exteriores, admitindo ser impossível provar se os mesmos existem ou náo. Sua análise consistirá na investigaçáo da origem da inteligibilidade das noções de continuidade e distinçáo dos objetos sensíveis, em última instância, a crença do senso comum na continuidade e distinçáo das próprias percepções. Este texto pretende mostrar como essa discussáo humeana é um diálogo direto com a filosofia berkeleyana, a defesa humeana da crença na matéria implicando inicialmente uma certa aceitaçáo da filosofia de Berkeley, para, na seqüência, representar uma dissensáo direta com o seu princípio fundamental: ser é ser percebido. Tais colocações têm, entre outras, a finalidade de argumentar que Berkeley exerce um papel central na filosofia humeana, nesse caso como seu interlocutor direto, e que a compreensáo desse papel é parte obrigatória de um melhor esclarecimento do problema da objetividade em Hume.

A literatura contemporânea vem expondo cada vez mais o “eu”, trazendo à tona a figura externa do autor, que há muito havia sido morta por pesquisadores estruturalistas. Para alguns teóricos, tais textos vão ser denominados “autoficção”. O presente trabalho busca discutir o romance de João Gilberto Noll, Berkeley em Bellagio (2002) a partir das noções acerca desse sujeito fragmentado apresentadas pelo gênero autoficcional. Pesquisadores como Diana Klinger defendem que, ao trazer relatos em primeira pessoa, a autoficção, ao mesmo tempo em que parece atender a demanda de um sujeito narcisista, demonstra o desmoronamento da concepção de um sujeito pleno. Tomando por pressuposto a relação da dicotomia “eu” e “outro”, acredita-se que, para a obra aqui analisada, a única forma de se sentir inteiro é abraçar o outro e renegar uma visão fixa de si mesmo.

Beyond the Soundtrack: Representing Music in Cinema (edited by Daniel Goldmark, Lawrence Kramer and Richard Leppert, Berkeley, University of California Press, 2007, viii-324 pp.) offers sixteen essays of various authors about film music. These papers were presented in 2004 in a study congress at the University of Minnesota. In introducing the book, the editors assert an assumption, today broadly accepted: indeed they affirm, that music has traditionally been regarded as a subordinate element in cinematographic text: film music literature still has a marginal position in the much larger field of film studies which focuses on image, narrative, film history. In this theoretical and historiographic context, the expression “Beyond the Soundtrack” is meant to be more than a title: it is the manifesto of a conceptual shift. We can summarize this change in reconsidering the importance of film music, in order to understand a movie not only as a visual, but also as a musical medium. The change of paradigm brings renewed questions and completely new issues. If we abandon the assumption, at this point obsolete, that film music has a mere functional role, it will be necessary to ask not how to conceptualize the use of music in film, but rather how the film conceptualizes music: how films imagine music, how films represent music as an artistic and social phenomenon, and how films position music as an integral parts of a fictional world. Such questions aim to consider film music not as an atmospheric expedient, but «as an agent, a force, and an object engaged in ongoing negotiations with image, narrative, and context», as the editors assert at the very beginning of their book.

In the Treatise, Hume intends to investigate the causes that induce us to believe in the existence of the body, admitting it is possible to prove if such a thing exists or not. His analysis will consist in investigating the origin of the intelligibility of the notions of continuity and distinction of sensible objects, which is, to say, the belief of the common sense in the continuity and distinction of its own perceptions. This paper aims to demonstrate that this humean discussion is a direct dialogue with Berkeley. Hume’s defense of the belief in matter initially implicating in accepting, to some degree, Berkeley’s philosophy to, further on, turn into a direct opposition to his fundamental principle: esse is percipi. Such statements have, among others, the purpose of arguing that Berkeley plays a central role in humean philosophy, in this particular case, as his direct, immediate interlocutor, and that the understanding of this role is an obligatory part in making the objectivity problem, in Hume, more clear.

It brings me great pleasure to write this Introduction to Exploring Law, Disability, and the Challenge of Equality in Canada and the United States. This special collection of articles in the Windsor Yearbook of Access to Justice [WYAJ] stems from a symposium of the same name held at the Berkeley Law School at the University of California on 5 December 2014. Writing this introduction allows me to bring together my identities as a law and disability scholar, the principal organizer and convener of the Berkeley Symposium, and editor-in-chief of the WYAJ. In these roles, I have had the opportunity to engage with this set of articles and their authors in a distinct way – from the early versions of these articles through to the final peer-reviewed publications. The Berkeley Symposium is the first conference, of which we are aware, to bring together scholars and experts from both Canada and the United States to present research and exchange ideas on equality issues affecting persons with disabilities in both countries.1 Each academic was invited to write about an equality issue of their choice that is of contemporary concern to persons with disabilities, and to focus on Canada, the United States,or both, at their option. The result is a set of articles that is simultaneously introspective and comparative.

This article studies the impact of multimodality and synchronicity on an online teaching/learning exchange between dyads of Masters degree students in teaching French as a foreign language at the University of Lyon 2 and dyads of intermediate-level French students at the University of California, Berkeley during the 2006-07 academic year. The desktop videoconferencing platform allowed face-to-face audiovisual communication as well as synchronous written chat. Based on observational and interview data, the study explores how participants use speech, writing, and visual contact online, the affective effects of these uses, and the types of competences developed as a consequence. Analysis of the two corpora (French and American) shows a progressive adaptation to the particularities of desktop videoconferencing and the development of specific competencies: among the American learners of French, greater confidence and ease in taking the floor; among the French teachers-in-training, development of a professional online persona and flexibility in their pedagogical stance and strategies.

Book review of Michael Herzfeld, Roman restaurant rhythms, filmed and produced by Michael Herzfeld, Berkeley Media, 2011, 25’; Anna Casella, Sapori & saperi. Cibi, ricette e culture del mondo, prefazione di Carlo Petrini, Firenze, Ed.it, 2012, pp. 233.

The Magna Carta Manifesto. Liberties and Commons for All (Berkeley: University of California Press, 2008)

Ornamenty tworzone z ludzkich mas na stadionach i kabaretowej scenie, o których pisał w 1927 roku Siegfried Kracauer, są w jego tekście wieloznaczną metaforą spotkania nowoczesnego życia i technologicznego Ratio – miejscem ich wzajemnej próbnej transformacji, która ma zadecydować o tym, czy modernitas jako projekt ma przed sobą przyszłość. Choreografia Busby Berkeleya z okresu New Dealu jest intensyfikacją tego fenomenu. Obecna w Gold Diggers of 1933 i Footlight Parade estetyka fordowskiego funkcjonalizmu wyrastająca z praktyki „taśmy produkcyjnej” przemawia do odbiorcy językiem odnowionej pitagorejsko-neoplatońskiej „mistyki kosmosu”, w którym Eros kosmologiczny staje się imieniem społecznej kooperacji. Ta demokratyczna „ekonomia libidinalna”, jako podtekst choreografii Berkeleya, nie uszła uwagi Sherrie Levine, która stosując wobec jego oeuvre postmodernistyczną strategię zawłaszczenia, wykorzystała stworzoną przezeń estetykę do rozwinięcia własnego projektu – zakwestionowania wyobrażonej granicy między twórczą jednostką i zdyscyplinowaną społecznością, modernistyczną sztuką i zestandaryzowaną przemysłową produkcją.

Higher education in the United States went through a real revolution in the 1960s. In 1964, UC Berkeley, run by President Clark Kerr, and defined as a “multiversity” by its fierce opponents, was a case in point. Indeed, at that time, the American higher educational system was really called into question by a growing number of students. What is Kerr’s own definition of the “multiversity”? To what extent was the “multiversity” or “knowledge industry” different from a traditional university? Was student protest therefore well-grounded? Can we not say that the “multiversity” actually gives a drastically new image of what American higher education is all about?