less than words can say

 

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Nr. 1
The fluxus constellation. Villa Croce. Centro per le arti visive. Museo D'Arte Contmporanea Di Genova. 15. febbraio - 16. giugno 2002. - Solimano, Sandra:
Solimano, Sandra:
Genova: neos edizioni, 2002.
ISBN 8887262209

186 Seiten, mit sehr zahlreichen, teils farb. Abbildungen, 4°, kartoniert.

Illustrierter Originalkartonband in sehr gutem, ungenutztem Zustand. Namenszug auf Vorsatz, geschwärzt. Texte in italienischer und englischer Sprache. - I have nothing to say, and I'm saying it to you", said John Cage. Perhaps the most astounding thing about this statement was that it was even uttered (out loud and in public, 1 believe), which simply means that it was important for Cage to make it known that he had nothing to say. Why should one make it known that one has nothing to say? If someone has nothing to say, he/she should, in theory, be silent. The last Proposition in Wittgenstein's Tractatus Logico-Philosophicus is very well-known and frequently quoted by those who have not read the rest of the work: "Whereof one cannot speak, thereon one must be silent". But immediately afterwards he poses the problem: "How can it happen that someone has nothing to say about something?" But Wittgenstein goes further, declaring that if one cannot "speak" of something one must be silent. Does this mean it is a matter of "speaking" and not of "writing"? This might seem a rather specious question and it Gould lead us into some insignificant or - even worse - misleading "logical" rather than "philosophical" area, so it would be wiser to set it aside and pretend it hadn't been raised. It might be more interesting to concentrate on Propositions 6.731, 6.732 and 6.41 instead. It is well known that the Code number of each Proposition is so muck longer as the Proposition is less "atomic" - i.e., less remote from original primitiveness. Having observed that man has always laboured under the dominant Illusion that so-called "natural laws" provide an "explanation" for natural phenomena, he deduces that there cannot always exist a correspondence, a "mirror Image", between "atomic" facts and the affirmations of philosophy - i.e., knowledge and representation of the world. The statement Ihe meaning of the world must lie outside it" concludes the Proposition but it also contains the necessary statement that one cannot speak of that which cannot be known. Very mang scholars have observed the assonance with Gödel's thinking, particularly the "theorem" implying that in every formalised language, in every "general machine", there must exist at least one proposition that cannot prove itself. Obviously, such considerations appear far removed from everyday life and normal conversation. We have the habit of adopting and using a language, a system of communication that confirms - perhaps weakly but with encouraging and consoling consistency - that something can 'always' be said about something else. At most, when in difficulty, we accuse ourselves of "not finding the words" or "not knowing how to put it" or, more eloquently, "all'alta fantasia qui mancö possa...". The solution of blaming things on our stock of words when we encounter difficulty in speaking is like pouring a barrel of oil on stormy waters. It allows us to stay afloat for the time being and saue our lives but, immediately afterwards, the storm will come again and this time be more terrifying than before. Returning to Cage, perhaps others had also fett this curious, slightly embarrassing, slightly tedious, slightly amusing inability to say something about. something else. The space in which Cage expressed himself was not three-dimensional but the space of music or, rather, sound. The ancient question of the "ineffability" of music and its dangerous relationship to Inner representation", complicated by the supreme crisis of the syntactic systems of expression and writing, directed Cage towards the sound of "silence", ... (Introduction)

[Schlagwörter: Moderne Kunst. Bildende Kunst. Malerei. Kunstgeschichte. Kunstwissenschaft. Installation. Fotografie. Medien. Fluxus.]

Sprache: Deutsch

Artikel-Nr.: 4076


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Nr. 2
Östen Ohlsson
Santerus Academic Press,Dez 2014
ISBN 9789173350419

NEUBUCH! 215x142x16 mm

Metaphores are all around, but what do they really mean This book will encourage you to think about them critically. A metaphor can say more than a thousand words. It is a blessing for us - but it can also be a curse. It helps us put into words remarkable phenomena, such as 'black holes'. Yet it can also obscure our view, throw up smokescreens and extinguish the light of thought ... Metaphors flourish in the workplaces of organisations. But what do all these words mean, and whom should one believe Is it really the market that sets market-rate pay (Or should the most fun jobs pay less ) And what does the hunt for cutting-edge competence mean exactly Do truly sick organisations exist and, if so, can they be treated with pills or is surgery in the form of outsourcing the only cure Östen Ohlsson and Björn Rombach encourage us to look for a metaphor and then to look beyond and around it. They want us to engage in free and conscious thought. By way of help, they present us with a toolset. The book is a provocative challenge to engage in critical analysis, rather than an attempt at persuasion.

Softcover, Sprache: Englisch

Artikel-Nr.: 9789173350419


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Nr. 3
Patricia Leavy
Sense Publishers,Jan 2015
ISBN 9789462099913

NEUBUCH! 234x156x16 mm

Low-Fat Love unfolds over three seasons as Prilly Greene and Janice Goldwyn, adversarial editors at a New York press, experience personal change relating to the men, and absence of women, in their lives. Ultimately, each woman is pushed to confront her own image of herself, exploring her insecurities, the stagnation in her life, and her reasons for having settled for low-fat love. Along with Prilly and Janice, the cast of characters' stories are interwoven throughout the book. Low-Fat Love is underscored with a commentary about female identity-building and self-acceptance and how, too often, women become trapped in limited visions of themselves. Women's media is used as a signpost throughout the book in order to make visible the context in which women come to think of themselves as well as the men and women in their lives. In this respect, Low-Fat Love offers a critical commentary about popular culture and the social construction of femininity. Grounded in a decade of interview research with young women and written in a fun, chick-lit voice, the novel can be read for pleasure or used as supplemental reading in a variety of courses in women's/gender studies, sociology, psychology, popular culture, media studies, communication, qualitative research, and arts-based research. 'Sometimes, when I read an especially wonderful book I say to myself, 'I wish I had written that!' And that is how I feel about Low-Fat Love. To write a page-turner of a book that teaches about contemporary gender relationships is a major feat. Patricia Leavy has done that with Low-Fat Love. Brilliant!' Laurel Richardson, Ph.D., The Ohio State University 'Patricia Leavy writes with passion, verve and skill. I will use this in my relational communication and women's studies classes because it is beautiful, relatable, and offers smart critique of how pop-culture's expectations for intimate relationships often lets us down. Leavy offers readers a way to think through their close relationships and demand better of themselves and others.' Sandra L. Faulkner, Ph.D., Bowling Green State University 'I couldn't put it down! Low-Fat Love is a remarkable novel that every women's studies class and interpersonal class would do well to read. The title is indicative of the search for meaningful, deep, enriching relationships beyond the artificial, low-fat love that is all too pervasive in society today. I wholeheartedly recommend this book.' Robin Patric Clair, Ph.D., Purdue University 'Low-Fat Love is absolutely brilliant. This new edition is a must-read for anyone who has lived, loved, dreamed, and at times, settled for less than what we deserve - in other words, this is a book for everyone.' Anne Harris, Ph.D., Monash University and Australian Research Fellow in Creativity and Arts in Education

[Schlagwörter: SOCIAL SCIENCE / Women's Studies]

Sprache: Englisch

Artikel-Nr.: 9789462099913


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Nr. 4
A complete course in freshman english from Harry Shaw formely director , workshops in composition new york university & lecturer in english, columbia universitiy - Harry Shaw
Harry Shaw
Harper & Row Puplishers New York, Evanston , and London. 1951
25 cm. 1178 S. pappeinband; sixth edition

gebrauchsspuren,, im voratz etwas gekritzelt, schnitt etwas angeschmutzt. '..The first edition of A Complete Course in Freshman English appeared in 1940. It made no radical departure from traditional aims of first-year English: I believed then, as I believe now, that the fundamental objective of the course should be training in clear thinking, intelligent and creative reading, and—that optimum without which nothing else really matters— correct, clear, effective, and appropriate writing and rewriting. Although traditional in aims, A Complete Course did, however, mark an innovation in both scope and materials. Hitherto, in most freshman English classes, :he use of a handbook or rhetoric or both had been combined with that of a separate book of readings. This new volume consisted of a carefully interrelated rhetoric, handbook, and collection of readings in which writing, rewriting, and reading were linked as stages of a dynamic and ongoing process. The economy, common sense, and convenience of this articulation are rdll apparent after five major revisions. The present sixth edition offers a borough reworking of the elements of that plan—emendation, addition, : . .etion, expansion—but no really basic changes in scope or purpose.During nearly three decades, emphasis in first-year English has shifted, r. v here, now there: semantics, communication, introduction to literature, -peed and skill in reading, explication de texte, linguistics, grammar by r>:e. aesthetics, together with an influx of paperbacks and a revived interest m rhetoric. Each of these approaches has made a contribution; some con-rue to do so. In the present edition, I have tried to retain what has proved — :st helpful from each and have emphasized certain current trends in the -dv of rhetoric and language which seem most helpful at this stage of re :ng evolution of freshman English.But this edition rides no hobby horse. Instead, it offers a full year's :rk :n English of such variety and richness that the individual instructor it. evolve any of several courses in accordance with his own predilections, . - - interests, and teaching methods as they are related to departmental revives and the needs of a particular section or class. You may ride your norse..It would be an unusual group which could assimilate every approach presented and could utilize every device afforded in this purposefully complete, many-sided volume. Freshman English is not a cut-and-dried course, nor should it ever be. The thousands who teach it have varied methods and aims; students have diverse needs; the shared experiences of teachers and the findings of contemporary researchers demand that flexibility, not rigidity, be a hallmark of the strong and unwavering discipline underlying any English course worthy of its name. A full year's work in freshman English is offered here, plenty and to spare, but the individual teacher is urged to use this volume in accordance with his own judgments and professional experience.The Three Parts Book One (the rhetoric) is more succinct than most rhetorics. And yet its comparative brevity permits an intensive and vigorous survey of those principles—and only those—which seem genuinely important. I am fully aware that the study of rhetoric is considered more significant and useful now than it has been in fairly recent years, and therefore I have attempted in this edition to revise and expand discussion of rhetorical matters where it was within my ability to do so. For example, one weakness of the previous edition was lack of a chapter on style which, in students' terms, discussed what basic style is and which suggested concrete and easily attained goals in writing. Such a chapter has been supplied. I believe that rhetoric is well worth teaching but that students are indifferently served when forced to wade through thousands of words devoted to topics of obscure interest and rare application. Emphasis in Book One is placed upon contemporary methods and practices, with enough direct mention of earlier writers to prevent anyone's thinking that no one wrote well before the twentieth century. Important though it is, rhetoric is no cure-all. It should be stressed—but not overstressed—along with composition, the study of language, and the reading of literature. The eight chapters comprising Book One are designed to present in as cogent and understandable terms as possible the basic ingredients of rhetorical study and analysis. What has been omitted may well be left to the advanced student or to the specialist.The seeming brevity of Book One, however, is deceptive. Because of frequent cross references to Book Three (readings), principles and rhetorical precepts are driven home without need for the elaborate quotations which comprise the bulk of most rhetorics. Clear and precise examples, offered in full, are immediately available and yet do not occupy space that is used for direct and hopefully lucid exposition of rhetorical matters.Book Two (the Handbook) is completely new in this edition. It consists of The Shorter Handbook of College Composition by the undersigned and Professor Bichard H. Dodge, who has graciously consented to this use. Portions of The Shorter Handbook have been amended for appearance here; most notably, several items in Part II have been expanded: linguistics, the paraphrase, the precis, rhetoric, semantics, and tone, among others. Items in Part II of the Handbook that are new in this edition include conversation, group discussion, lecture notes, listening, and oral communication.The most distinctive addition to the Handbook is the copious and imaginative exercise material prepared largely by Professor Macklin Thomas of Illinois Teachers College, Chicago, South. Dr. Thomas, a widely experienced college teacher of English and an expert in test-making, has added much to the effectiveness of the Handbook in an area not previously covered at all.Book Two is intended for actual use in the classroom, although it is likely that Part I will prove more helpful in this function than will Part II, which is designed primarily for reference work and as a supplement to Part I. Like the rhetoric, the Handbook in A Complete Course is comparatively brief: I feel strongly that emphasis upon relatively few basic essentials of good writing will help most students more than will discussion of minor errors and less dominant aims of effective communication. Such concentration may also assist the instructor in selecting from a bewildering mass of material available elsewhere only those items of true significance and immediate need. Every part of the Handbook can be used for study, for reference, and for correcting themes.Another guiding principle of the Handbook should be mentioned: it adopts a 'middle-of-the-road' approach which may seem too reactionary to some and too liberal to others. Staying in the middle of the road can be fatal on a highway, but perhaps not on the highway to better composition. This approach is based on many years of teaching experience and hundreds of talks with teachers throughout the country over more than three decades. Obviously, added attention is given in this book to the findings and recommendations of modern linguists, but the present edition does not claim to be in the avant-garde of linguistic theory, nor does it try to stretch its purpose beyond those firmly established ones already mentioned in this Foreword. The writing of college-trained people is expected to be somewhat different, on occasion, from informal speech. This is a normal, justified expectation. No matter what some lexicographers and linguists heatedly maintain, a laissez-faire attitude of 'anything goes' can be, and repeatedly is, costly to students in business and social affairs. The late Will Rogers was genuinely humorous when he remarked: 'A lot of people who don't say ain't, ain't eatin'.' And yet, in certain clearly defined circumstances, using ain't, misspelling a word, employing an unidiomatic expression, or s

[Schlagwörter: [A complete course in freshman english, verbs, conjunk Harry Shaw, haccmpeetemess Sentence ComrzaSpbce Fwtsed Sentences MispLced Slathers Demczmo Modifiers sf*at Constructions FezJt* Parallelism fjbftj Coordination fcJs Snbordziatxon 1-ocicai Constructions]]

Hardcover, Sprache: Deutsch

Artikel-Nr.: 14113


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Nr. 5
The Prism of the Self - Steven Crowell
Steven Crowell
Springer,20101209
ISBN 9789048145706

NEUBUCH! 236x156x27 mm; Softcover reprint of hardcover 1st ed. 1995.

This volume contains sOOeen essays written by his students and colleagues in honor of Maurice Natanson. The essays explore some of the diverse themes Professor Natanson has pursued through forty years of teaching and philosophizing in the tradition of existential phenomenology. Because it also includes a lengthy biographical and philosophical interview where one can find an absorbing account of Natanson's Lebens/au/in his own words, there is no need to detail that polypragmatic career here. Suffice to say that even passing acquaintance with the man and the work will reveal that Edmund Husserl's self-description holds equally of his distinguished interpreter: 'I seek not to instruct but only to lead, to point out and describe what I see. I claim no other right than that of speaking according to my best lights, principally before myself but in the same manner also before others, as one who has lived in all its seriousness the fate of a philosophical existence. 'l For Natanson, as the diversity of the contributions to this volume attest, such seriousness involves something other than that narrow technical vision for which a topic is the more philosophical the less it has to do with anything else. In Natanson's pages-to say nothing of his teaching and conversation-there are no men of straw but living, breathing human beings; with hirn philosophy's tentacles are ubiquitous.

Softcover, Sprache: Englisch

Artikel-Nr.: 9789048145706


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Nr. 6
The Language of Pictures in Print Media Advertising - Wilfried Pichler
Wilfried Pichler
diplom.de,Mrz 2002
ISBN 9783838651996

NEUBUCH! 210x148x7 mm

Diploma Thesis from the year 2001 in the subject Business economics - Marketing, Corporate Communication, CRM, Market Research, Social Media, University of Graz (Geisteswissenschaften, Anglistik), language: English, abstract: Inhaltsangabe:Abstract: Today we observe a development in which the role of language is steadily decreasing whereas the impact of pictures is increasing. This goes hand in hand with a development in which information relies more and more on visual concepts. More and more language takes the part of explaining how to read the visual presentations, more and more language takes the part of providing the background information which is necessary to understand the meaning of the visual foreground. Kress and van Leeuwen (1998) argue that Today, we seem to move towards a decrease of control over language (e.g. the greater variety of accents allowed on the public media, the increasing poblems in enforcing normative spelling), and towards an increase in codification and control over the visual (e.g. the use of image banks from which ready-made images can be drawn for the constuction of visual texts, and, generally, the effect of computer imaging technology). Although we may be aware of this tendency, we have not been taught in school how to read visual concepts and so most of us share some degree of illiteracy concerning a critical reading of information presented by images. This is remarkable because we all agree about their influence on our lives but at the same time when we do not develop analytical tools for describing what kinds of strategies, what kinds of concepts are working in visual presentations of information. We tend to overlook the importance of visual concepts simply because we generally do not know enough about their code. This paper analyses photos and language which are parts of ads, which have definitely been designed for transferring messages because they have been made to advertise one specific product. Images and the text of advertisements never are casual products like family pictures. Although the photo in the family album is coded its coding is less elaborated than the coding of pictures in ads. We have to keep in mind that many people, experts in advertising, experts in public relations were involved in the process of designing an ad before we can look at the final result. This is why ads are definitely conceptually designed because they are meant to create a specific meaning in the viewer s mind. It is a truism that no visual concept, no photo of an ad was chosen by chance. Photographs and language of ads are more likely to have been carefully constructed and selected according to the meaning they are supposed to create. This is why the analysis of ads provides an extremely effective means for the deciphering of the constructive code behind them. A second important reason for the analysis of ads is that our present culture is a culture which is heavily influenced by ads. On television, in the cinema, in the newspaper, in videoclips, on walls, on cars; ads are surrounding us in contemporary society. To say it with the words of Guy Cook (1992): In contemporary capitalist society, advertising is everywhere. We cannot walk down the street, shop, watch television, go through our mail, read a newspaper or take a train without encountering it. Whether we are alone, with our friends or family, or in a crowd, advertising is always with us, if only on the label of something we are using. Given this ubiquity, it is strange that many people are reluctant to pay attention to ads. Inhaltsverzeichnis:Table of Contents: 1.Introduction5 1.1The importance of pictures5 1.2Reasons for the analysis of ads5 1.3Methodology6 2.Theory7 2.1Semiotics8 2.2Van Gogh and Critical Discourse Analysis9 2.3The creation of signs and their meaning10 2.4Coding and non - linear Reading ofPictures10 2.5Ve...

Softcover, Zustand: wie neu, Sprache: Englisch

Artikel-Nr.: 9783838651996


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Nr. 7
Repair work in discourse - Sabrina Triml
Sabrina Triml
GRIN Verlag GmbH,Feb 2008
ISBN 9783638905503

NEUBUCH! 210x148x2 mm

Seminar paper from the year 2000 in the subject English Language and Literature Studies - Linguistics, grade: 2,0, University of Vienna (Anglistik und Amerikanistik), course: Linguistisches Proseminar, 7 entries in the bibliography, language: English, abstract: Spoken discourse is a process depending on the interaction of at least two participants. They mutually construct this process and understanding is achieved by interaction. But communication is always in danger of breaking down. When people talk to each other they constantly try to avoid this breakdown by preventing misunderstandings. In writing one can carefully think about the 'right' words, reconstruct, correct and rewrite sentences or sections as often as necessary. In spoken discourse this reconstruction has to happen immediately. Sentences or ideas are not always brought to an end . In order to keep discourse smooth, fluent and comprehensible participants need to repair utterances of themselves or others during speaking. It is often the case that someone notices during saying one utterance that they actually want to say something else. So they possibly stop within one sentence and bring in another idea. Thus, repair means interruption and correction of oneself or another person like: that will be forty - no fifty - dollars. In written discourse such an insertion is often indicated by means of hyphens. Likewise, clarification can happen more explicitly after questions who signal that the receiver did not understand something and/or asks for further information or a repetition of what was said before. This is often needed when discourse takes place between participants with a different status of knowledge about the topic of their conversation. All these techniques aim to produce or maintain a process of mutual understanding and keep the conversation going on. When and how people use repair work depends on extra-linguistic factors like the topic of the conversation, the kind of discourse and where it takes place, the relationship of the participants, their age and knowledge of the used language. The aim of this paper is to point out that speakers tend to use a higher amount of repair work in informal than in formal discourse. This will be done by analysis of different dialogues within different settings. The hypothesis is that in less formal discourse in an entertaining television programme more clarifying utterances are used than in formal interviews on serious news channels. It is supposed that formal discourse types follow some underlying structures whereas informal ones are unstructured and therefore repairs are more likely to happen.

Softcover, Sprache: Englisch

Artikel-Nr.: 9783638905503


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Nr. 8
The Prism of the Self - Steven Crowell
Steven Crowell
Springer,19950630
ISBN 9780792335467

NEUBUCH! 235x155x26 mm; 1995.. Aufl.

This volume contains sOOeen essays written by his students and colleagues in honor of Maurice Natanson. The essays explore some of the diverse themes Professor Natanson has pursued through forty years of teaching and philosophizing in the tradition of existential phenomenology. Because it also includes a lengthy biographical and philosophical interview where one can find an absorbing account of Natanson's Lebens/au/in his own words, there is no need to detail that polypragmatic career here. Suffice to say that even passing acquaintance with the man and the work will reveal that Edmund Husserl's self-description holds equally of his distinguished interpreter: 'I seek not to instruct but only to lead, to point out and describe what I see. I claim no other right than that of speaking according to my best lights, principally before myself but in the same manner also before others, as one who has lived in all its seriousness the fate of a philosophical existence. 'l For Natanson, as the diversity of the contributions to this volume attest, such seriousness involves something other than that narrow technical vision for which a topic is the more philosophical the less it has to do with anything else. In Natanson's pages-to say nothing of his teaching and conversation-there are no men of straw but living, breathing human beings; with hirn philosophy's tentacles are ubiquitous.

Sprache: Englisch

Artikel-Nr.: 9780792335467


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Nr. 9
The Intentions of Intentionality and Other New Models for Modalities - Jaakko Hintikka
Jaakko Hintikka
Springer,19751130
ISBN 9789027706348

NEUBUCH! 229x152x15 mm; Softcover reprint of the original 1st ed. 1975.

The leisure to do the thinking whose results are gathered here has largely been provided by the Academy of Finland, whose support has also made possible the help and co-operation of a group of younger logicians and philosophers. Less tangible support and help is unfortunately harder to record and to thank for. Once again, in working on the many themes I have tried to weave together in this book I have incurred more intellectual and moral debts I can in so many words acknowledge here. Let me only say that the closer to home I get the greater they become. I have especially in mind my colleagues and students at Stanford; my colleagues in Helsinki; the past and present members of my research group in Helsinki; and incom parably more than anybody else my wife Soili. Helsinki, April 1975 JAAKKO HINTIKKA INTRODUCTION A literal-minded reader might easily object to the (sub)title of this volume. What is to be found here, he might allege, are neither models, nor modalities stricto sensu, nor yet any completely new applications of modal logic. Even though the purpose of the title is only to signal the con tinuity between the present volume and its predecessor, Models for Modalities (D. Reidel Publishing Co., Dordrecht, 1969), the objection is sufficiently well taken to serve as an excuse for an attempt to put my enterprise in a wider perspective.

Softcover, Sprache: Englisch

Artikel-Nr.: 9789027706348


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Nr. 10
Theoretical Physics and Philosophical Problems - Ludwig Boltzmann
Ludwig Boltzmann
Springer,19741130
ISBN 9789027702494

NEUBUCH! 235x155x22 mm; 1974.. Aufl.

l. The work of Ludwig Boltzmann (1844-1906) consists of two kinds of writings: in the first part of his active life he devoted himself entirely to problems of physics, while in the second part he tried to find a philosoph 1 ical background for his activities in and around the natural sciences. Most scientists are much more aware of his creative work in physics than of his digressions on the meaning and structure of science. I think in the present case the reason is not so much that most scientists are usually almost entirely occupied with their trade, because Boltzmann's philosophical work is also concerned with the (natural) sciences. I rather believe that the quality and consistency of Boltzmann's purely scientific work is of a more appealing nature than his less structured considerations on human activity in science and in life in general. 2. I think that it may be appropriate for the readers of this anthology to say a few words on the main findings of Boltzmann in physics, since in the end their 'philosophical' inlpact has been larger than the effect of his later writings. Moreover some knowledge of his scientific achievements can be helpful for the understanding and appreciation of the essays printed in this book, which almost all stem from Boltzmann's philosophical period. Boltzmann was one of the main protagonists - at least in continental Europe - of atomistics for explaining the phenomena of physics.

[Schlagwörter: Geschichte; Historie; Physik / Philosophie, Geschichte, Wissenschaftstheorie; Wissenschaftsphilosophie]

Sprache: Englisch

Artikel-Nr.: 9789027702494


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Nr. 11
Theoretical Physics and Philosophical Problems - Ludwig Boltzmann
Ludwig Boltzmann
Springer,19741130
ISBN 9789027702500

NEUBUCH! 235x155x16 mm; Softcover reprint of the original 1st ed. 1974.

l. The work of Ludwig Boltzmann (1844-1906) consists of two kinds of writings: in the first part of his active life he devoted himself entirely to problems of physics, while in the second part he tried to find a philosoph 1 ical background for his activities in and around the natural sciences. Most scientists are much more aware of his creative work in physics than of his digressions on the meaning and structure of science. I think in the present case the reason is not so much that most scientists are usually almost entirely occupied with their trade, because Boltzmann's philosophical work is also concerned with the (natural) sciences. I rather believe that the quality and consistency of Boltzmann's purely scientific work is of a more appealing nature than his less structured considerations on human activity in science and in life in general. 2. I think that it may be appropriate for the readers of this anthology to say a few words on the main findings of Boltzmann in physics, since in the end their 'philosophical' inlpact has been larger than the effect of his later writings. Moreover some knowledge of his scientific achievements can be helpful for the understanding and appreciation of the essays printed in this book, which almost all stem from Boltzmann's philosophical period. Boltzmann was one of the main protagonists - at least in continental Europe - of atomistics for explaining the phenomena of physics.

Softcover, Sprache: Englisch

Artikel-Nr.: 9789027702500


3957 weitere Einträge gefunden im
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Nr. 12
William Shakespeare
Forgotten Books,20150602
ISBN 9781330017883

NEUBUCH! 229x152x30 mm

Excerpt from The Sonnets of Shakespeare: From the Quarto of 1609 With Variorum Readings and Commentary The Sonnets of Shakespeare have a place beside the play of Hamlet in contention for the doubtful honor of being the cause of more perplexity and controversy than any other literary work in the English tongue. More persons, otherwise seemingly normal members of society, have thought that they were the first to understand one or the other of these works, or have professed to make illuminating discoveries regarding them, than could be computed as critics of any writing since the Iliad. If the present editor can come to the end of his task with any feeling of complacency, it is because he has spent some years with the Sonnets and still finds himself without a revelation. In other words, his complacency must be due only to the existence of some evidence that he is still sane - a poor substitute, no doubt, for the enthusiasm of the seer. It is the purpose of this volume, then, not to present a new theory of the Sonnets, but to bring together a body of critical material illustrative of them, sufficient for all the purposes of the less ambitious reader, and adequate to set the most tireless student on the track of what he wishes to know. The Bibliography is intended to serve as a convenient outline of the history of the text and its interpretation; but it may be well to say something here of the general course of this history. Though seemingly among the fairly popular lyrical collections of the seventeenth century, the Sonnets largely dropped out of sight toward the end of that century and through the greater part of the eighteenth century. The age, therefore, of the building of the modern text of Shakespeare's plays saw no similar work accomplished for the Sonnets, which were not even included in any edition of the Works of Shakespeare (save in occasional supplementary volumes) until Ewing's Dublin edition of 1771, and not again till Malone's of 1790. It is to Malone that we owe, in effect, the acceptance of the narrative and lyrical poems as a part of the standard Shakespeare text; and it is also to him, in large measure, that we owe the modern text of the Sonnets. Practically all the well-known editors of Shakespeare of the nineteenth century, beginning with Boswell (but with the exception of Singer), paid due attention to the Sonnets, and, together with numerous lesser commentators, from time to time proposed improvements in the text; but it cannot be said that it was given to any later critic to add in a distinguished way to the textual work of Malone, -though it was given to a number of his successors to reject certain of his errors. Dyce's conservative work on the text, in the Aldine edition of the Poems (1832) and in his Works of Shakespeare, should perhaps be mentioned. In 1866 the Cambridge editors (Clark and Wright) issued the ninth volume of their Shakespeare, containing the Sonnets, and gave for the first time something like a history of the text up to that period, which was brought down to 1893 in the revised edition. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

[Schlagwörter: POETRY / European / English, Irish, Scottish, Welsh]

Softcover, Sprache: Englisch

Artikel-Nr.: 9781330017883


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