Автор: Joyce, James Название: Ulysses ISBN: 0192855107 ISBN-13(EAN): 9780192855107 Издательство: Oxford Academ Рейтинг: Цена: 10550.00 T Наличие на складе: Есть в Астана (Нур-Султан) Описание: Ulysses, one of the greatest novels of the twentieth century, has had a profound influence on modern fiction. In a series of episodes covering the course of a single day, 16 June 1904, the novel traces the movements of Leopold Bloom and Stephen Dedalus through the streets of Dublin.
Автор: Scott Gregory L. Название: Aristotle DRAMATICS: also known as POETICS ISBN: 1952627001 ISBN-13(EAN): 9781952627002 Издательство: Неизвестно Рейтинг: Цена: 18850.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: This is the first translation that assumes Aristotle focusses on musical dramatic theory rather than mere literature (e.g., tragedy has music in its definition). Perennial problems-like why the treatise has not one poem and why no purely literary genre is even mentioned in a work long known as the POETICS-therefore simply dissolve.
Автор: Joyce, James Название: Exiles ISBN: 0198800061 ISBN-13(EAN): 9780198800064 Издательство: Oxford Academ Рейтинг: Цена: 9490.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: James Joyce`s only surviving play has divided Joyceans for a century. Illuminating the themes of performance that are so prominent throughout Joyce`s fiction, Exiles sees Joyce staking his claim definitively within the European theatrical tradition.
Автор: O`Rourke Fran Название: Joyce, Aristotle, and Aquinas ISBN: 0813068630 ISBN-13(EAN): 9780813068633 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 29260.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: A rich examination of the influence of Aristotle and Thomas Aquinas on James JoyceIn this book, Fran O'Rourke examines the influence of Aristotle and Thomas Aquinas on James Joyce, arguing that both thinkers fundamentally shaped the philosophical outlook which pervades the author's oeuvre. O'Rourke demonstrates that Joyce was a philosophical writer who engaged creatively with questions of diversity and unity, identity, permanence and change, and the reliability of knowledge.Beginning with an introduction to each thinker, the book traces Joyce's discovery of their works and his concrete engagement with their thought. Aristotle and Aquinas equipped Joyce with fundamental principles regarding reality, knowledge, and the soul, which allowed him to shape his literary characters. Joyce appropriated Thomistic concepts to elaborate an original and personal aesthetic theory. O'Rourke provides an annotated commentary on quotations from Aristotle which Joyce entered into his famous Early Commonplace Book and outlines their crucial significance for his writings. He also provides an authoritative evaluation of Joyce's application of Aquinas's aesthetic principles.The first book to comprehensively illuminate the profound impact of both the ancient and medieval thinker on the modernist writer, Joyce, Aristotle, and Aquinas offers readers a rich understanding of the intellectual background and philosophical underpinnings of Joyce's work.
Автор: Joyce Название: Ulysses ISBN: 0199535671 ISBN-13(EAN): 9780199535675 Издательство: Oxford Academ Рейтинг: Цена: 9490.00 T Наличие на складе: Поставка под заказ. Описание: Ulysses, one of the greatest novels of the twentieth century, has had a profound influence on modern fiction. In a series of episodes covering the course of a single day, 16 June 1904, the novel traces the movements of Leopold Bloom and Stephen Dedalus through the streets of Dublin. Each episode has its own literary style, and the epic journey of Odysseus is only one of many correspondencies that add layers of meaning to the text. Ulysses has been the subject of controversy since copies of the first English edition were burned by the New York Post Office Authorities. Today critical interest centres on the authority of the text, and this edition, complete with an invaluable Introduction, notes, and appendices, republishes for the first time, without interference, the original 1922 text.
This book revolutionizes the 1000-year old tradition that stems from the first commentaries on the Poetics by the Arabic scholars. Aristotle's treatise has always been thought to be about poetic-literary theory, with tragedy being its paradigm. Scott demonstrates, however, that Aristotle (384-322 BCE) employs poiesis not in the way universally assumed until now, as "language in verse" or "poetry," which the sophist Gorgias only coined in 415 BCE. Rather, Aristotle follows Diotima, who in the Symposium of Plato (424-347) explains poiesis as mousike kai metra (typically "'music' and verses"). One reason Aristotle employs the Diotiman and not the Gorgian sense of poiesis is that not one poem exists in the so-called "Poetics"; another reason is that the definition of tragedy includes "music." Scott subsequently demonstrates that Aristotle considers tragedy not to be a species of literature but one of dramatic "musical" theater that also requires dance and spectacle. Chapter 2 includes a revised version of Scott's "The Poetics of Performance: The Necessity of Performance, Spectacle, Music, and Dance in Aristotelian Tragedy" (Cambridge University Press, 1999). The book also supplements his arguments of "Purging the Poetics" (Oxford Studies in Ancient Philosophy, 2003), reprinted as Chapter 5, and provides the additional and seemingly insuperable reasons why Aristotle could not have written the clause with the words catharsis, pity, and fear in the definition of tragedy, as a number of internationally known ancient Greek specialists have already been accepting. One reason is that he defines by "biological division" and catharsis is not only missing from the preliminary divisions but is the only term in the definition not discussed in the entire treatise. A second reason is that catharsis contradicts the goal of tragedy as pleasure, itself indicated many times in the work. A third reason is that Aristotle writes in Chapter 13 that pity and fear do not belong to plots showing a virtuous person going from fortune to misfortune. Including pity and fear in the definition would thus exclude even plays like Antigone or Trojan Women from being tragedies. A fourth reason is that Aristotle says three times that tragoidos (originally "goat-song" but usually translated as "tragedy") can show agents going from misfortune to fortune, and the finest examples in Chapter 14 are the plays not like Oedipus but those ending happily, like Cresphontes, which would have no pity because of Aristotle's requirement of very significant suffering for pity. All of this allows a fresh and better reading of the treatise that even with its fundamental misinterpretations has been the foundation of Western literary, dramatic and artistic theory. VOL 1 includes Plato's and Aristotle's meaning of poiesis as "music-dance and verse" and of rhuthmos often as "dance," not "rhythm"; the importance of dance in the state for both thinkers, along with the proof that Aristotle considers tragedy to be a species of dramatic "musical" art. VOL 2 includes the issues of catharsis, pity, and fear, and a complete rebuttal of the only attempted rigorous reply (by Stephen Halliwell in Between Ecstasy and Truth, 2011) to "Purging the Poetics." Also included is a history of the Poetics; Bibliography; & the Index for both volumes.
This book revolutionizes the 1000-year old tradition that stems from the first commentaries on the Poetics by the Arabic scholars. Aristotle's treatise has always been thought to be about poetic-literary theory, with tragedy being its paradigm. Scott demonstrates, however, that Aristotle (384-322 BCE) employs poiesis not in the way universally assumed until now, as "poetry," which the sophist Gorgias only coined in 415 BCE. Rather, Aristotle follows Diotima, who in the Symposium of Plato (424-347) explains poiesis as mousike kai metra (typically "'music' and verses"). One reason Aristotle employs the Diotiman and not the Gorgian sense of poiesis is that not one poem exists in the so-called "Poetics"; another reason is that the definition of tragedy includes "music." Scott subsequently demonstrates that Aristotle considers tragedy not to be a species of literature but one of dramatic "musical" theater that also requires dance and spectacle. Chapter 2 includes a revised version of Scott's "The Poetics of Performance: The Necessity of Performance, Spectacle, Music, and Dance in Aristotelian Tragedy" (Cambridge University Press, 1999). The book also supplements his arguments of "Purging the Poetics" (Oxford Studies in Ancient Philosophy, 2003), reprinted as Chapter 5, and provides the additional and seemingly insuperable reasons why Aristotle could not have written the clause with the words catharsis, pity, and fear in the definition of tragedy, as a number of internationally known ancient Greek specialists have already been accepting. One reason is that he defines by "biological division" and catharsis is not only missing from the preliminary divisions but is the only term in the definition not discussed in the entire treatise. A second reason is that catharsis contradicts the goal of tragedy as pleasure, itself indicated many times in the work. A third reason is that Aristotle writes in Chapter 13 that pity and fear do not belong to plots showing a virtuous person going from fortune to misfortune. Including pity and fear in the definition would thus exclude even plays like Antigone or Trojan Women from being tragedies. A fourth reason is that Aristotle says three times that tragoidos (originally "goat-song" but usually translated as "tragedy") can show agents going from misfortune to fortune, and the finest examples in Chapter 14 are the plays not like Oedipus but those ending happily, like Cresphontes, which would have no pity because of Aristotle's requirement of very significant suffering for pity. All of this allows a fresh and better reading of the treatise that even with its fundamental misinterpretations has been the foundation of Western literary, dramatic and artistic theory. VOLUME 1 includes Plato's and Aristotle's meaning of poiesis as "music-dance and verse" and of rhuthmos often as "dance," not "rhythm"; the importance of dance in the state for both thinkers, along with the proof that Aristotle considers tragedy to be a species of dramatic "musical" art. VOLUME 2 includes the issues of catharsis, pity, and fear, and a complete rebuttal of the only attempted rigorous reply (by Stephen Halliwell in Between Ecstasy and Truth, 2011) to "Purging the Poetics." Also included is a history of the Poetics; Bibliography; & the Index for both volumes.
Автор: Malcolm Schofield Название: Aristotle, Plato and Pythagoreanism in the First Century BC : New Directions for Philosophy ISBN: 1108439063 ISBN-13(EAN): 9781108439060 Издательство: Cambridge Academ Рейтинг: Цена: 36960.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: This book presents an up-to-date overview of the main new directions taken by ancient philosophy in the first century BC. It demonstrates the intensity of renewed study of Aristotle`s Categories and Plato`s Timaeus, and will be indispensable for scholars and students interested in the history of Platonism and Aristotelianism.
Автор: Eugenio Refini Название: The Vernacular Aristotle: Translation as Reception in Medieval and Renaissance Italy ISBN: 1108481817 ISBN-13(EAN): 9781108481816 Издательство: Cambridge Academ Рейтинг: Цена: 99270.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: Explores the ways in which Aristotle`s legacy was appropriated and reshaped by vernacular readers in Medieval and Renaissance Italy. Focusing on the ethical implications of the theory and practice of translation, it illuminates the cultural and social dynamics that legitimated the vernacular as a language of knowledge.
Human life is susceptible of changing suddenly, of shifting inadvertently, of appearing differently, of varying unpredictably, of being altered deliberately, of advancing fortuitously, of commencing or ending accidentally, of a certain malleability. In theory, any human being is potentially capacitated to conceive of—and convey—the chance, view, or fact that matters may be otherwise, or not at all; with respect to other lifeforms, this might be said animal’s distinctive characteristic. This state of play is both an everyday phenomenon, and an indispensable prerequisite for exceptional innovations in culture and science: contingency is the condition of possibility for any of the arts—be they dominantly concerned with thinking, crafting, or enacting.
While their scope and method may differ, the (f)act of reckoning with—and taking advantage of—contingency renders rhetoricians and philosophers associates after all. In this regard, Aristotle and Blumenberg will be exemplary, hence provide the framework. Between these diachronic bridgeheads, close readings applying the nexus of rhetoric and contingency to a selection of (Early) Modern texts and authors are intercalated—among them La Celestina, Machiavelli, Shakespeare, Wilde, Fontane.
Автор: Eaglestone Robert Название: Truth and Wonder: A Literary Introduction to Plato and Aristotle ISBN: 0367564726 ISBN-13(EAN): 9780367564728 Издательство: Taylor&Francis Рейтинг: Цена: 148010.00 T Наличие на складе: Есть у поставщика Поставка под заказ. Описание: Truth and Wonder is an accessible introduction to Plato and Aristotle, showing their crucial influence for literary and cultural studies, modern languages and related disciplines. It demonstrates the ways their philosophies still shape our reading, thinking and living.
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