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The Debate about Colour Naming in 19th Century German Philology.

Selected Translations

Barbara Saunders (ed.)

The Debate about Colour Naming in 19th Century Germon Philology is comprised of eleven years essays illustrating the intensity of interest in colour naming and categorization that arose in nineteenth century Germany. The themes of each chapter behind the 'testing' of the colour-naming capacities of 'primitive people' throughout the world, and which move towards new variants of the doctrine of 'evolution'. This Selection of work directs itself towards the growing field of Psychology and the shifting ground on which move towards it was tot form the later debates 'colour naming and categorisation' These essays can be read from both a general and a specialist perspective. They are a fascinating example of the early development of the human sciences, and of the interplay between natural science, social science and ideology.

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Deleuze and Desire

Analysis of The Logic of Sense

Piotrek Świątkowski (ed.)

A close reading of Deleuze’s major text on desire. The engagement of Deleuze with psychoanalysis has led to the development of a remarkable and highly influential theory about human desire. The most systematic account of this theory, crucial for anyone interested in the work of Deleuze and Guattari, can be found in the discussion of the dynamic genesis of sense, a pivotal part of Deleuze’s The Logic of Sense. In Deleuze and Desire Piotrek Świątkowski picks up the challenge to provide an ad literam commentary of this text. Świątkowski makes use of a broad range of examples, from psychoanalytic case studies to art, literature, and film, and analyses in an accessible and clear way the impact of the work of psychoanalysts such as Melanie Klein on Deleuze.

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Deleuze and Psychoanalysis

Philosophical Essays on Deleuze's Debate with Psychoanalysis

Leen De Bolle (ed.)

Gilles Deleuze is among the twentieth century's most important philosophers of difference. The style of his extended oeuvre is so extremely dense and cryptic that reading and appreciating it require an unusual degree of openness and a willingness to enter a complicated but extremely rich system of thought. The abundant debates with and references to a variety of authors of many different domains; the sophisticated conceptual framework; the creation of new concepts and the injection of existing concepts with new meanings - all this makes his oeuvre difficult to grasp. This book can be seen as a guide to reading Deleuze, but at the same time it is a direct confrontation with issues at stake, particularly the debate with and against psychoanalysis. This debate not only offers the occasion to find an entrance to Deleuze's basic thought, but also throws the reader into the middle of the dispute. The book provides a clear and perspicuous overview of subject matter of interest to psychoanalysts, Deleuzean or otherwise.

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Denken en weten over de wereld

Lessen voor de eenentwintigste eeuw

Bart Raymaekers (ed.)

Welke invloed hebben de ideeën en ontdekkingen van onderzoekers op ons en op de wereld om ons heen? Denken en weten over de wereld, de veertiende editie van Lessen voor de eenentwintigste eeuw, gunt het algemene publiek een blik achter de schermen van het laboratorium, het atelier of de studeerkamer en laat zien op welke wijze klimaatverandering, voedselvoorziening, opvoeden en onderwijs, bierbrouwen, humor, beeldcultuur en milieu, de rol van de USA, medische statistiek, het levenseinde of navelstrengbloed een impact hebben op het dagelijkse leven.

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Die Marias von Cornelius Aurelius

Einleitung, Textausgabe und Anmerkungen

Jan C. Bedaux

Die Textausgabe der Marias, ein Gedicht von Cornelis Aurelius, umfaßt eine Einleitung, den Text des Gedichtes, Anmerkungen zum Text und schließlich einen Index nominum und einen Index fontium. Die Edition basiert auf der einzigen Handschrift der Marias, die heute in der Athenaeumbibliotheek in Deventer bewahrt wird. Diese Handschrift umfaßt neben einem Widmungsbrief des Autors an den Deventer Schulmeister Jacobus Faber und einer introductio die ersten zehn Bücher des Gedichtes; die zweite und dritte Decade sind nicht erhalten. Die Einleitung zur Edition behandelt zunächst kurz das Leben des niederländischen Humanisten Cornelis Aurelius (ca. 1460 bis vor Dezember 1531). Es folgen die Datierung des Werkes (zwischen 1491 / Anfang 1492 und Herbst 1497) und ein Inhaltsverzeichnis - das Leben Marias bis zum Auftreten Jesu bei den Schriftgelehrten (Luc. 2, 41-52). Bei der anschließenden Charakterisierung des Werkes wird auch ein Passus aus dem Widmungsbrief des Aurelius erörtert. Hier erklärt der Autor, daß er den Text von Baptista Mantuanus' Parthenice prima erst nach der Vollendung der ersten Decade in die Hände bekam. Obwohl er behauptet, den überschwänglichen Stil dieses Werkes zu mißbilligen, stellt sich heraus, daß er dennoch dem Werk von Mantuanus namentlich in den ersten drei Büchern der Marias vieles entlehnt hat. Daneben hat Aurelius häufig Sabellicus' Elegiae XIII divae virginis Mariae und Agricolas Anna mater benutzt. Auffällig sind außerdem die von Aurelius wörtlich übernommenen Passagen aus der Ilias latina und aus Petrus Rigas Aurora. Obwohl seine Zeitgenossen Aurelius wegen seiner dichterischen Fähigkeiten loben, läßt er wiederholt durchblicken, dies zu bezweifeln. Aber natürlich können seine diesbezüglichen Bemerkungen auch als captatio benevolentiae gedeutet werden. Auf die Einleitung folgt der Text des oben genannten Widmungsbriefes und des Gedichtes (die introductio und die Bücher I bis X). Das gesamte Gedicht umfaßt 4452 Verse. Der Anmerkungsapparat zur Ausgabe der Marias enthält Verweise auf die von Aurelius verwendete Literatur. Neben den Passagen, die deutlich Entlehnungen darstellen, sind auch die Stellen aufgenommen, die Reminiszensen an oder Echos von - vor allem antiken - Autoren anklingen lassen. Auffälligerweise trifft man hierbei Entlehnungen aus Werken anderer Autoren nicht regelmäßig verteilt über den gesamten Text an. Offenbar hat Aurelius schon im Vorhinein für jede Passage die Stellen ausgesucht, die er aus seinen Vorlagen verwenden wollte. Dieses Verfahren kann man auch aus dem Index fontium ableiten, der zusammen mit dem Index nominum diese Edition abschließt. Die Ausgabe der Marias ist ein schönes Beispiel dafür, wie die frühen niederländischen Humanisten religiöse Poesie schrieben und dabei von italienischen Autoren wie Mantuanus und Sabellicus beeinflußt wurden.

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Diogenes of Oinoanda · Diogène d’Œnoanda

Epicureanism and Philosophical Debates · Épicurisme et controverses

Jürgen Hammerstaedt, Pierre-Marie Morel, Refik Güremen (eds)

First collection of essays entirely devoted to the inscription of Diogenes of Oinoanda. The texts of Diogenes of Oinoanda (2nd century AD) who invited his readers to an Epicurean life is the largest ancient inscription ever discovered. Over 70 new finds have increased the number of known wall blocks and fragments to nearly 300, offering new insights into Diogenes’ distinctive presentation of philosophy. This collection of essays discusses the philosophical significance of these discoveries and is the first of this kind entirely devoted to Diogenes of Oinoanda. Particular attention is paid to his philosophical aims and polemical strategies. Diogenes was apparently well aware of still ongoing philosophical debates, engaging in polemics against Presocratic philosophers, Platonics, and especially Stoics. His views about important issues like happiness, fear, old age, and the afterlife are explained on the bases of Epicurean physics and theology, ethics, politics, theory of knowledge, and psychology. Les textes de Diogène d’Œnoanda (Deuxième siècle de notre ère), qui invitait ses lecteurs au mode de vie épicurien, constituent la plus grande inscription antique jamais découverte. Les recherches récentes (plus de 70 pièces) ont porté le nombre de morceaux du mur et de fragments à près de 300, offrant ainsi un nouvel aperçu de la pensée propre de Diogène. Les essais réunis dans ce volume, le premier recueil d’articles entièrement consacré à Diogène d’Œnoanda, examinent la signification de ces découvertes. Ils portent une attention particulière aux intentions philosophiques de Diogène et à ses stratégies polémiques. L’épicurien était manifestement bien averti des débats philosophiques de son temps, engageant lui-même la polémique contre les présocratiques, les platoniciens et, plus spécialement, les stoïciens. Ses idées concernant les problèmes fondamentaux du bonheur, de la peur, de la vieillesse et de la vie après la mort ont pour horizon la pensée épicurienne sous ses différents aspects : physique et théologie, éthique, politique, théorie de la connaissance et psychologie. Contributors: Martin Bachmann (The German Archaeological Institute), Michael Erler (University of Würzburg), Alain Gigandet (University Paris – Est Créteil), Jean-Baptiste Gourinat (Centre National de la Recherche Scientifique/University of Paris – Sorbonne/Ecole Normale Supérieure), Refik Güremen (Mimar Sinan University), Jürgen Hammerstaedt (University of Cologne), Giuliana Leone (University of Naples Federico II), Francesca Masi (University Ca’ Foscari of Venice), Pierre-Marie Morel (University of Paris 1 – Panthéon Sorbonne / Institut Universitaire de France), Geert Roskam (KU Leuven), Martin Ferguson Smith (Durham University), Voula Tsouna (University of California), Francesco Verde (La Sapienza University of Rome)

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(Dis)embodying Myths in Ancien Régime Opera

Multidisciplinary Perspectives

Bruno Forment (ed.)

Throughout the Ancien Régime, mythology played a vital role in opera, defining such epoch-making works as Claudio Monteverdi's La favola d'Orfeo (1607) and Christoph Gluck's Iphigénie en Tauride (1779). The operatic presence of the Greco-Roman gods and heroes was anything but unambiguous or unproblematic, however. (Dis)embodying Myths in Ancien Régime Opera highlights myth's chameleonic life in the Italian dramma per musica and French tragédie en musique of the seventeenth and eighteenth centuries. Written by eminent scholars in the fields of music, literature, theatre, and cultural studies, the six essays in this book address important questions. Through what ideological lenses did the Ancien Régime perceive an ancient legacy that was fundamentally pagan and fictitious, as opposed to Christian and rationalistic? What dramaturgies did librettists and composers devise to adapt mythical topics to altering philosophical and esthetic doctrines? Were the ancients' precepts obeyed or precisely overridden by the age of ‘classicism'? And how could myths be made to fit changing modes of spectatorship? Enlightening and wide-ranging on an essentially multidisciplinary development in European culture, (Dis)embodying Myths in Ancien Régime Opera will appeal to all music, literature, and art lovers seeking to deepen their knowledge of an increasingly popular repertoire.

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Doodgewone woorden

NS-taal en de Shoah

Fabian Van Samang

De uitroeiing van de Europese joden is het symbool geworden van de moderne, gebureaucratiseerde massamoord. Als geen ander historisch thema heeft de judeocide ons gedwongen om na te denken over de vraag welke factoren aan de grondslag liggen van dit soort georganiseerde brutaliteit - een vraag die nog steeds op een bevredigend antwoord wacht. Doodgewone woorden benadert de Shoah vanuit een verrassende, nieuwe invalshoek. In een vlot leesbare stijl beschrijft Fabian Van Samang de typische kenmerken van de nazitaal en beargumenteert hij hoe dit specifieke NS-discours mee aan de basis lag van de ontwikkeling van de Shoah. Hij brengt inzichten uit de psychologie, geschiedenis, filosofie en taalkunde op subtiele wijze samen. Sleuteldocumenten worden in een nieuw licht geplaatst, bestaande interpretaties worden getoetst en het besluitvormingsproces wordt opnieuw bekeken. Doodgewone woorden is een gewaagd en uitdagend boek dat de lezer er ongetwijfeld zal toe aanzetten zichzelf, zijn omgeving en zijn taal kritisch te bevragen.

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Dramma Giocoso

Four Contemporary Perspectives on the Mozart/Da Ponte Operas

Sergio Durante, Stefan Rohringer, Julian Rushton, James Webster. Edited by Darla Crispin

The three Mozart/Da Ponte operas offer an inexhaustible wellspring for critical reflection, possessing a complexity and equivocation common to all great humane works. They have the potential to reflect and refract whatever locus of contemporaneity may be the starting point for enquiry. Thus, even postmodern and postmillennial concerns, far from seeming irrelevant to these operas, are instead given new perspectives by them, whilst the music and the dramatic situations have the multivalency to accept each refreshed pallet of interpretation without loss of their essential character. These operas seem perennially ‘new'. In exploring the evergreen qualities of Don Giovanni and Le Nozze di Figaro, this collection of studies does not shun approaches that have foundations in established theory, but refracts them through such problems as the tension between operatic tradition and psychological realism, the co-existence of multiple yet equal plots, and the antagonism between the tenets of tradition and the need for self-actualization. In exploring such themes, the authors not only illuminate new aspects of Mozart's operatic compositions, but also probe the nature of musical analysis itself.

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The Early Modern Cultures of Neo-Latin Drama

Philip Ford; Andrew Taylor (eds)

The essays in this collection all illustrate the vitality of Neo-Latin drama in early modern Europe, arising from its productive combination of classical models with deep-rooted vernacular traditions. While the plays were often composed in the context of a school or university setting, the dramatists seldom neglected the need to appeal to a broad audience, including non-Latinists. Yet the use of Latin, and the ambiguity of a plurivocal literary form, allowed the authors of these plays to introduce messages and ideas which could be subversive of the prevailing political and religious authorities. At the same time, humanist colleges, and their Jesuit successors, were quick to see the educational advantages to be derived from staging plays performed by pupils, which had the advantage of acting as powerful advertisements for the schools. Neo-Latin drama in all its forms offered a freedom of expression and form which is rare in other Renaissance literary genres.

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