David Hume: Dialoge über die natürliche Religion Demea, ein orthodox Gläubiger, der Skeptiker Philo und der Deist Cleanthes diskutieren den physiko-teleologischen Gottesbeweis, also die Frage, ob aus der Existenz von Ordnung und Zweck in der Welt auf einen intelligenten Schöpfer oder Baumeister zu schließen ist. Entstanden um 1751, revidierte Fassung 1761. Erstdruck (postum) unter dem Titel ´´Dialogues Concerning Natural Religion´´: London 1779. Erste deutsche Übersetzung durch Karl Gottfried Schreiter unter dem Titel ´´Gespräche über natürliche Religion´´: Leipzig (Weygand) 1781. Der Text folgt der Übersetzung durch Friedrich Paulsen von 1877. Vollständige Neuausgabe mit einer Biographie des Autors. Herausgegeben von Karl-Maria Guth. Berlin 2013. Textgrundlage ist die Ausgabe: David Hume: Dialoge über natürliche Religion. Über Selbstmord und Unsterblichkeit der Seele. Ins Deutsche übersetzt und mit einer Einleitung versehen von Friedrich Paulsen, 3. Auflage, Leipzig: Felix Meiner, 1905 (Philosophische Bibliothek, Bd. 36). Die Paginierung obiger Ausgabe wird in dieser Neuausgabe als Marginalie zeilengenau mitgeführt. Umschlaggestaltung von Thomas Schultz-Overhage unter Verwendung des Bildes: David Hume (1766) Porträt von Allan Ramsay. Gesetzt aus Minion Pro, 11 pt.
Media : BookAuthor : by Frank KoonceLevel : IntermediateDate published : 20/11/2008Style : Early Music/RenaissanceType : SolosDescription : Scholarly editions, which serve different purposes than performance editions, are not often designed with the modern guitarist in mind. For instance, Renaissance vihuela tablatures are usually transcribed with the open first string as G, not E. Most are presented in double-staff notation, a medium that is superior for realizing counterpoint but unconventional as guitar notation. Furthermore, these editions sometimes give idealized, but not realistic, solutions for voicing, note duration, and other matters that need to be considered within the limitations of our instrument. Guitarists who try to play from these editions essentially are faced with the task of transcribing the transcription!This 188-page anthology is designed as a companion volume to The Baroque Guitar in Spain and the New World (MB21122). It includes representative selections, edited for modern guitar, from the seven books for vihuela that were published in Spain between 1536 and 1576.As well as being fun and entertaining music for all to enjoy, these collections are intended to help bridge the gap between scholarly editions and performance editions by providing a hands-on introduction to tablature transcription and to issues concerning historically informed performance of early music on the guitar.* A 188-page anthology, edited for modern guitar, from the seven books for vihuela that were published in Spain between 1536 and 1576* A companion volume to The Baroque Guitar in Spain and the New World (MB21122)*Intended to help bridge the gap between scholarly editions and performance editions* An introduction to tablature transcription and to issues concerning historically informed performance of early music on the modern guitar.
Recent years have witnessed a renaissance in the use of locoregional tumor therapy as part of a multimodal therapeutic approach to a variety of solid tumors, and attempts are underway to define its value in the overall therapeutic strategy for individual tumor entities. This flourishing of interest in locoregional tumor therapy derives from a series of important new developments concerning methodology, drug treatments, and instrumentation. The resulting approaches include not only optimized locoregional chemotherapy and chemoembolization for hepatocellular carcinoma and other tumors, but also other targeted therapies such as stereotactic radiosurgery, radiofrequency ablation, intra-arterial administration of radiopharmaceuticals, and complex new methods of chemoembolization of liver metastases involving the use of multiagent chemotherapy in combination with targeted drugs, drug-eluting beads/microspheres, or nanoparticles. In addition, intraperitoneal and intrapleural therapies, e.g., cytoreduction plus hyperthermic intraperitoneal chemotherapy, are now a standard element of the strategy for a range of tumors. It is vital that practitioners have the necessary expertise in the use of these locoregional treatment methods and understand how to combine them optimally with modern systemic therapies. With that goal in mind, this book presents, in condensed form, the clinical results achieved using various locoregional tumor therapies. In so doing, it will allow the reader to rapidly retrieve the information on indications and effectiveness that is required for optimal integration of these highly effective therapies into modern, yet more complex treatment strategies.
This is the first edition ever of the Queens correspondence in Italian. These letters cast a new light on her talents as a linguist and provide interesting details as to her political agenda, and on the cultural milieu of her court. This book provides a fresh analysis of the surviving evidence concerning Elizabeths learning and use of Italian, and of the activity of the members of her Foreign Office. All of the documents transcribed here are accompanied by a short introduction focusing on their content and context, a brief description of their transmission history, and an English translation. Carlo M. Bajetta, PhD, FEA, is Full Professor of English Literature at Università della Valle dAosta, Italy. His publications include Sir Walter Ralegh (1998); Whole Volumes in Folio (2000); Some Notes on Printing and Publishing in Renaissance Venice (2000), editions of Wordsworths, Shelleys and Reynolds 1819 Peter Bell texts (2005) and of Thomas Mores English Poems (2010).
This first volume of EtYIL focuses on issues concerning the developing world in general and (the Horn of) Africa - and Ethiopia - specifically. It argues that rebalancing the international law narrative to reflect Africas legitimate interests is an urgent priority, and can only succeed through the fair representation of African countries in the creation and interpretation of international law. The book begins by reflecting on the ICJs West African Cases and provides a unique perspective on decolonisation as a source of jus cogens and obligations erga omnes. This is followed by a comprehensive analysis of the reception of international law in the Ethiopian legal system, and of the potential implications of Ethiopia joining the WTO. The book then delves into such topical issues as the relationship between competition for natural resources and international investment law, the UN Global Goals and the fledgling international climate change regime, with particular emphasis on the Paris Climate Agreement and their implications for developing countries. Further issues include the Declaration of Principles on the Grand Ethiopian Renaissance Dam signed by Ethiopia, Sudan and Egypt in light of Nile colonial treaties and contemporary international watercourses law, as well as selected legal implications of the armed conflict in South Sudan. Gathering high-quality scholarship from diverse researchers, and examining a constellation of critical international law issues affecting developing countries, especially African countries, the book offers a unique resource.
The Prince is a 16th-century political treatise, by the Italian diplomat and political theorist Niccolò Machiavelli. From correspondence a version appears to have been distributed in 1513, using a Latin title, De Principatibus (About Principalities). However, the printed version was not published until 1532, five years after Machiavellis death. This was done with the permission of the Medici pope Clement VII, but long before then, in fact since the first appearance of The Prince in manuscript, controversy had swirled about his writings. Although it was written as if it were a traditional work in the mirrors for princes style, it is generally agreed that it was especially innovative. This is only partly because it was written in the vernacular Italian rather than Latin, a practice which had become increasingly popular since the publication of Dantes Divine Comedy and other works of Renaissance literature. The Prince is sometimes claimed to be one of the first works of modern philosophy, especially modern political philosophy, in which the effective truth is taken to be more important than any abstract ideal. It was also in direct conflict with the dominant Catholic and scholastic doctrines of the time concerning politics and ethics. Although it is relatively short, the treatise is the most remembered of Machiavellis works and the one most responsible for bringing the word Machiavellian into usage as a pejorative. It even contributed to the modern negative connotations of the words politics and politician in western countries. In terms of subject matter it overlaps with the much longer Discourses on Livy, which was written a few years later. In its use of near-contemporary Italians as examples of people who perpetrated criminal deeds for politics, another lesser-known work by Machiavelli which The Prince has been compared to is the Life of Castruccio Castracani.
Following the success of Baroque String Playing ´for ingenious learners´ (see below BSP 1), Judy Tarling´s second book strikes at the heart of musical performance with a study of the relationship between music and rhetoric, which was much remarked upon during the Renaissance and Baroque periods. Second edition now with enlarged index and references.Comparisons between oratory and the performance of music are to be found from the beginning of the 16th century and continue until the late 18th century. Thomas Mace (1676) asks the musician to show as much wit and variety as an orator. Geminiani (1751) compares all good music to a discourse, and recommends that the musician should use the same effects as an orator. Quantz (1752) requires the musician to use the skills of an orator to become the master of the hearts of his listeners.The absence of further detail implies that the musicians of the day knew what this meant in practice.Using the works of the classical rhetoricians Cicero and Quintilian as a framework for the book, their ideas are traced through the Tudor classroom and popular Renaissance eloquence books through to the late 18th century. Concentrating on performance techniques that aid communication of musical ideas to an audience, historical source material is used to demonstrate how to hold the attention of the listener and at the same time move and delight him, as in the classical oration. Quotations from the rhetoric manuals, Shakespeare and the Bible are complemented by over one hundred musical examples, drawn mainly from the 17th and 18th centuries, which illustrate the connection between speaking and playing in the rhetorical style.Subjects covered in the book include: A survey of the sources from ancient times, Renaissance educational method, the iconography of eloquence and persuasion, the audience, decorum, stage manner, style, imitation, affect, ´the passions´, word painting, allegory, speech-based delivery, tone quality, dynamics, length of notes or syllables, exclamations, emphasis, humour, nerves, sprezzatura, articulation, rests, sighs, surprise, silence, tempo, structure, rhythm, ornamentation, figures, repetition, and rhetorical schemes.Review from The British Clavichord Society Newsletter, October 2005.Judy Tarling is a distinguished string player familiar to English audiences through her work with the Parley of Instruments ensemble. Following on from her recent tutor book Baroque String Playing ´for ingenious learners´, this guide is aimed at both performers and listeners and attempts to chart the relationship between music and rhetoric during the Renaissance and Baroque periods. An impressive and daunting quantity of material has been condensed into a modest-sized volume (271 pages), and while the range of subjects is vast, the content is logically organized and the written style approachable.The argument for the rhetorical interpretation of music goes something like this: The skills of an experienced and fluent orator (such as an actor or a legal advocate) have striking similarities to a successful musical communicator. Through Humanist education, the rhetorical traditions of the ancient classical world shaped the thinking of those who influenced musical taste. Composers and performers must have been influenced by this, as writings frequently compare spoken oratory and musical performance. Unfortunately, those writings fail to show how this was done in practice, so the extent to which rhetoric manifested itself in sound can never be proved. Although attempts to interpret music according to rhetorical principles remain a speculative exercise, Tarling´s book must be applauded for inviting us to share her considerable knowledge of the historical background and apply her findings creatively.Reading the book at one sitting will be found rather hard going, and it is better dipped into as a reference tool. It is divided into five parts: an introduction to classical rhetoric, and four sections concerning rhetorical performance — audience and affect, delivery, structure and ornamentation. The clear structure and extensive index make for easy use, while frequent quotations from primary sources and over 700 references lend the book a scholarly air. The ideas of the classical rhetoricians Cicero and Quintilian form the core of the book, and the common threads that unite this material are drawn upon throughout. The sections on the Tudor schoolroom and popular Renaissance eloquence books are...
Inhaltsangabe:Abstract: Was Shakespeare a misogynist ? Or was he, on the contrary, an early advocate of female equality ? Were his plays manifests of patriarchy, of the dominance of men over women and of typical stereotypes ? Or were they, like other critics have argued, just the opposite? Was he a feminist in sympathy, as Juliet Dusinberre has argued, or was he the patriarchal bard many others see in him ? In how far were his views about the sexes influenced by the conceptions of gender in the Elizabethan time - and did he support, question or even reject them ? These were the questions I had in mind when I started working on this thesis paper. After dealing with both Shakespeare and feminism in the course of my studies, an evaluation of Shakespeares attitude towards women seemed very interesting. The attraction that Shakespeare combined with feminism has, and the necessity of such criticism, has often been discussed. The following quote is rather long, but perfectly expresses my own interest in the topic. Feminist critics of Shakespeare must use the strategies and insights of this new criticism selectively, for they examine a male dramatist of extraordinary range writing in a remote period when womens position was in obvious ways more restricted and less disputed than our own. Acknowledging this, feminist critics also recognize that the greatest artists do not necessarily duplicate in their art the orthodoxies of their culture; they may exploit them to create character or intensify conflict; they may struggle with, criticise or transcend them. Shakespeare, it would seem, encompasses more and preaches less than most authors; hence the centuries-old controversy over his religious affiliation, political views, and sexual preferences. His attitudes towards women are equally complex and demand attention. The fact that all major female characters have to die in Hamlet as well as in Othello is what first brought me to assess these two plays. I believe that even without an in-depth analysis of the plays the excessive murdering of women shows that Shakespeares attitude towards them is in some way troubled. I was worried that this would be too trivial a starting point, but other critics have had the same idea: And, as has been noted, the women in the tragedies almost invariably are destroyed, or are absent from the new order consolidated at the conclusions. The more I dealt with this vast topic, however, the more complicated it became. The reason for this is that the questions stated above cannot be answered in a simple manner. There are many critics who see Shakespeare as the patriarchal bard - and many who oppose this and think that his stand was well ahead of his time. All find arguments in his works to support their view and the debate is ongoing. If one looks only at the discussion that followed the publication of Dusinberres Shakespeare and the Nature of Women, one gets an idea of the controversy about Shakespeare and feminism. She claimed that the beginning of humanism, Puritanism and the powerful female figure Queen Elizabeth I all changed the status of women and that the new attitude is visible in Shakespeares plays. But her views have been disputed. There are critics who doubt whether Puritanism and the existence of isolated women worthies really changed the status of women and if so, whether Shakespeare was also influenced by this change. Others argue that especially at the end of Queen Elizabeths rule the general attitude towards women was negative, that the death of the female ruler was indeed celebrated and that she was idealised again after her death. All of this shows one of the biggest problems when analysing Shakespeares portrayal of and his attitude towards women: there is no clear definition concerning the general perspective on women in 16th century England. The times in which a unified Elizabethan world picture, as proclaimed by Tillyard and others, was taken for granted, have past, as Lenz, Greene and Neely stress. Historical critics, seeking to relate the status of women in the plays to that of women in the period, must struggle with the problems of how to measure the position of women in life and how to conceive the relationship between life and art. The proliferation of contradictory material on women in the Renaissance increases their difficulties.[...] The plays are aesthetic creations as well as social documents; historical data cannot simply be imported into them or derived from them. If