less than words can say


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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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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

'..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. gebrauchsspuren,, im voratz etwas gekritzelt, schnitt etwas angeschmutzt

[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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