8 resultater (0,27258 sekunder)

Mærke

Butik

Pris (EUR)

Nulstil filter

Produkter
Fra
Butikker

Unselfing - Michaela Hulstyn - Bog - University of Toronto Press - Plusbog.dk

Culture and Authority in the Baroque - - Bog - University of Toronto Press - Plusbog.dk

Anglo-Saxon Psychologies in the Vernacular and Latin Traditions - Leslie Lockett - Bog - University of Toronto Press - Plusbog.dk

Two Women of the Great Schism – The Revelations of Constance de Rabastens by Raymond de Sabanac and Life of the Blessed Ursulina of Parma by Simone Za

Imitation & Design and Other Essays - Reid Maccallum - Bog - University of Toronto Press - Plusbog.dk

Imitation & Design and Other Essays - Reid Maccallum - Bog - University of Toronto Press - Plusbog.dk

Imitation approaches identity with the thing imitated; design attenuates to a void. The visual arts must be practised somewhere between these two poles. The rival claims of the two for primary and the decision in favour of design occupy the first essay, which gives its name to Reid MacCallum''s projected book on the theory of art. Concurrently Professor MacCallum was asking related questions in the field of literature: what differentiates prose or scientific statement from poetic, and how may the latter be said to convey truth? Again the extremes of a polarity must be rejected -- the "dry light" of logic and laboratory experiment and the "moist darkness" of irrationalism. In the essay on "Poetry and Truth" and in a third called "Myth and Intelligence" it is argued that the perception and imposition of pattern on experience, the lifting of meaningless commotion to ordered emotion, is an exercise of intelligence as rigorous and valid as the work of the physicist or logician. These three chapters -- on Painting, Poetry, and Myth -- were all of his book that Professor MacCallum lived to write. The study of T. S. Eliot''s Four Quartets, being a commentary on a poet''s myth-making, clearly belongs with them. Together they form an extensive body of material not previously printed, which displays a unity not only of point of view but of argument hardly to be hoped for in a posthumous book. Included also are four articles illustrative of the range of the author''s interests and the quality of his mind. One on the "Group of Seven" shows his continuing interest in the practice of painting by his compatriots; "Contemporary Aesthetic Theory" balances it with an appraisal of current theories of art. "The Idea of Man" and "First and Second Self" round out the book by making explicit the religious conception of man and mind on which the entire work has been based. IMITATION AND DESIGN has been edited with an introduction by William Blissett, Associate Professor of English in the University of Saskatchewan.

DKK 268.00
1

Milton and the Rise of Russian Satanism - Valentin Boss - Bog - University of Toronto Press - Plusbog.dk

Milton and the Rise of Russian Satanism - Valentin Boss - Bog - University of Toronto Press - Plusbog.dk

No European Devil can claim so long or so political a connection with Russian culture as Milton''s Satan. Russian poets came to know him before they heard of Dante, Marlowe, Tasso, or of the devils of the Baroque era. This may explain why Milton''s influence was so intensely felt by the Russians, especially during the Romantic age. In this, the first study in any language of Milton''s reception in Russia, that influence is traced to an early translation of Paradise Lost uncovered by Valentin Boss in the Moscow archives. British radicals who professed to believe that Milton himself was of the Devil''s party were, with the notable exception of Byron and Tom Moore, hardly known by Pushkin and his contemporaries. Russian literary Satanism, although derived from Milton, thus developed its own characteristics which tsarist censors considered morally subversive. A brilliant pleiade of poets from Zhukovsky to Lermontov gave Milton''s outcast from Heaven some of his many modern masks. Towards the end of the nineteenth century these inspired the alarming paintings and sculptures of Mikhail Vrubel who, like Lermentov, was obsessed by the demonic. In cultural influence Goethe''s Devil had by then eclipsed Milton''s, but Goethe''s did not survive 1917 with the same political authority. Boss concludes with a description of what happened to Milton''s Satan after October 1917, when his connection with the English Revolution gave him an edge his German rival lacked. Lunacharsky, Lenin''s Commissar for Education, who admired Milton''s Arch-rebel, steered him past Left-wing Communists who continued to regard Paradise Lost and Paradise Regained as Christian propaganda. Despite such attacks, Milton''s Satan resurfaced under Brezhnev to bask in Soviet pedagogic approval as an Anti-Imperialist and ''the embodiment of love of freedom.'' Russian notions of good and evil changed before the Revolution and will change again under glasnost'' and perestroika. But no literary character has reflected such changes more dramatically than Milton''s Satan, who managed to be both a hero to Romantic poets and Marxist critics.

DKK 312.00
1

Le Turpin Francais, De Le Turpin I - Ronald Noel Walpole - Bog - University of Toronto Press - Plusbog.dk

Le Turpin Francais, De Le Turpin I - Ronald Noel Walpole - Bog - University of Toronto Press - Plusbog.dk

Vers le milieu du douzième siècle un clerc inconnu se faisant appeler Turpin, archevêque de Reims, écrivit une ‘histoire’ de ‘Charlemagne et Roland’ en latin. L’inconnu s’identifia à Turpin, guerrier saint et aime de la Chanson de Roland; à son personnage inspire d’un Charlemagne déjà monarque légendaire et emblème vivant de cet idéal tant envié du roi bon et fort, il donna pour compagnons Roland et ses pairs et, ayant traversé avec ceux-ci et avec l’armée des croises les épreuves des guerres d’Espagne, il écrivit la vérité sur tout ce qu’ils avaient fait et enduré ensemble. Cependant, l’invention majeure du pseudo-Turpin est d’avoir fait de St Jacques le génie tutélaire de la croisade de Charlemagne en Espagne, le bon ange qui arrive miraculeusement au bon moment et enfin, l’intercesseur qui obtient le salut ultime de Charlemagne. La matière de laquelle le pseudo-Turpin puisa son récit est cette tradition épique française dont une partie nous est esquissée aujourd’hui, seulement dans son œuvre. Les épisodes de cette croisade, qui dura quatorze ans, furent empruntés à l’épopée : ici, on pense surtout à la Chanson de Roland et à sa grande tragédie de Roncevaux transformée, de poésie qu’elle était, en historie contrefaite et en fausse piété. Nous avons dans Turpin 1 cette histoire-là. Elle fut traduite vers 1210—20 en français, en prose, celle-ci devenant de plus en plus le véhicule privilégie par les raconteurs. La traduction n’existe plus dans sa forme originale, mais le manuscrit qui a servi de base au présent ouvrage reste fidèle au texte latin, en plus d’être rédigé en prose claire et incisive. Les copies du manuscrit, neuf en tout, montrent avec quelle liberté les scribes manipulaient la langue de l’original. Dans une rédaction de notre Turpin I – une rédaction représentée par six manuscrits et reproduite intégralement en appendice dans cette édition – la préméditation associée à l’intervention des scribes revêt plus d’importance. Vers la fin de la chronique, cette fois, on introduit St. Denis, que l’on pose en rival a St Jacques en lui confiant le rôle qui non seulement assure le salut de l’Empereur, mais accroit l’importance de L’Abbaye de St-Denis a la fois comme siège politique et comme véritable cœur de la France.

DKK 313.00
1