Описание: From the time you took your first breath, there has been someone telling you what to do...under the guise of making you better and keeping you safe. But it's rare to be told what NOT to do and WHY? I'm not talking about the "don't put your feet on the table" knowledge, but rather the real-life experience that proves what a dumbass we can be. Life can be one mean SOB, but F-BOMB YOUR LIFE peels back the curtain to show you how easy it is to F*CK your life without you even knowing it. Full of bona fide methods (once thought to be pearls of wisdom) that have served to nearly (and secretly) destroy every aspect of the human condition. The establishment does not want you to learn this stuff. I am not the establishment. So put your feet on the table, read this book, and crack the code to living a better life. You won't be disappointed, unless of course you have already been victimized by these methods. In that case, rise above and don't continue to be the victim; it's not a good look on anybody. People who stand out most in life are those who are either credibly awesome or incredibly awful. This book can lead to awesome or awful--the choice is yours. You are the author of your life, so take hold of this book and create your masterpiece!
Автор: Scott Gregory M., Garrison Stephen M. Название: The Political Science Student Writer`s Manual and Reader`s Guide ISBN: 1442267100 ISBN-13(EAN): 9781442267107 Издательство: Rowman & Littlefield Publishers Рейтинг: Цена: 8023.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This is a supplemental text for all political science courses that facilitates, invigorates, and enhances student learning by teaching students to read and write effectively.
Автор: Johnson William A. Jr., Scott Gregory M., Garrison Stephen M. Название: The Sociology Student Writer`s Manual and Reader`s Guide ISBN: 1442266961 ISBN-13(EAN): 9781442266964 Издательство: Rowman & Littlefield Publishers Рейтинг: Цена: 8023.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This is a supplemental text for all sociology courses that facilitates, invigorates, and enhances student learning by teaching students to read and write effectively.
Автор: Miller Scott, Hicks Gregory N. Название: Investor-State Dispute Settlement: A Reality Check ISBN: 1442240725 ISBN-13(EAN): 9781442240728 Издательство: Неизвестно Рейтинг: Цена: 10794.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Investor-State Dispute Settlement (ISDS) is a provision in Bilateral Investment Treaties (BITs) and other international investment agreements that allows investors to enter arbitration with states over treaty breaches. This report is an empirical review of ISDS, based on the record of disputes under existing investment treaties.
Автор: Scott Gregory L. Название: Aristotle`s Favorite Tragedy: Oedipus or Cresphontes? ISBN: 0999704907 ISBN-13(EAN): 9780999704905 Издательство: Неизвестно Цена: 3920.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
The Poetics is considered the foundation of Western dramatic and literary theory, and readers interpret Aristotle on the basis of Chapter 13 to claim that Oedipus, with its pity, fear and horrible ending, is the finest type of tragedy. Some specialists, however, discuss Aristotle also stating in Chapter 14 that the happily-ending plays like Cresphontes are the finest, with the type of plays like Oedipus, which involve an agent killing or committing great suffering to a family member and only recognizing the family connection afterwards, being second-best. This passage obviously creates a dilemma. No commentator has ever been able to resolve it to the satisfaction of the profession, and as a result Oedipus maintains its stature. Indeed, the specialist Elizabeth Belfiore recently published ("The Elements of Tragedy," in A Companion to Aristotle, ed. Georgios Anagnostopoulos, 2009) a defense of Oedipus as the best play for Aristotle in spite of the explicit ranking of Chapter 14.
Gregory Scott here demonstrates instead that Aristotle actually means what he says in Chapter 14: Tragoidos, originally "goat-song" or the like, and typically translated misleadingly as "tragedy," really involves for him serious drama primarily about good people, and Aristotle says three times in the book that it can end in misfortune or in fortune. Scott, building on his ground-breaking work from 2003, "Purging the Poetics" (Oxford Studies in Ancient Philosophy) that is reprinted in his Aristotle on Dramatic Musical Composition: The Real Role of Literature, Catharsis, Music and Dance in the POETICS (2nd ed., 2018), resolves the dilemma between Chapters 13 and 14 once and for all, showing that the latter half of Chapter 14 is about tragoidos in general while the earlier text is only about one or two (or a mixture) of the subclasses of tragoidos as given in Chapter 18 and rarely discussed by commentators: "tragedy" of suffering, complex "tragedy," "tragedy" of character, and simple/spectacular "tragedy." The chapters are arbitrary divisions from the Renaissance and the texts must have both come from different original treatises of Aristotle and been assembled badly after his death, or the texts were part of a much larger work, now lost, in which the rest of the theory and the transitions from one topic to another were delineated.
In addition to resolving the perennial dilemma and shining a better light on Aristotle's notion of "tragedy," Scott also explains why the best type of play like Cresphontes is better than the second-best one, when they both have recognition and reversal, the conditions for the best kind of plot for Aristotle. With all of this in place, we can easily detect another dilemma that rarely gets discussed in the ranking of the four types of "tragedy" in Chapter 14: The third best type, which is not problematic in this context, involves an agent who knows someone is a family member and who kills the member anyway; we can easily deduce Medea is an example. However, all known commentators accept that Aristotle speaks of Sophocles' horribly-ending Antigone when he exemplifies the worst of the four types. Yet the reason Aristotle gives for the last-place finish is that Antigone is both apathes, "without suffering," and miaron, "shocking" or "revolting." Scott explains in detail not only that Aristotle must be speaking of Euripides' version of Antigone, which ends happily, but why its last-place ranking results.
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This book revolutionizes the 1000-year old tradition that stems from the first commentaries on the Poetics by the Arabic scholars. Aristotle's treatise has always been thought to be about poetic-literary theory, with tragedy being its paradigm. Scott demonstrates, however, that Aristotle (384-322 BCE) employs poiesis not in the way universally assumed until now, as "language in verse" or "poetry," which the sophist Gorgias only coined in 415 BCE. Rather, Aristotle follows Diotima, who in the Symposium of Plato (424-347) explains poiesis as mousike kai metra (typically "'music' and verses"). One reason Aristotle employs the Diotiman and not the Gorgian sense of poiesis is that not one poem exists in the so-called "Poetics"; another reason is that the definition of tragedy includes "music." Scott subsequently demonstrates that Aristotle considers tragedy not to be a species of literature but one of dramatic "musical" theater that also requires dance and spectacle. Chapter 2 includes a revised version of Scott's "The Poetics of Performance: The Necessity of Performance, Spectacle, Music, and Dance in Aristotelian Tragedy" (Cambridge University Press, 1999). The book also supplements his arguments of "Purging the Poetics" (Oxford Studies in Ancient Philosophy, 2003), reprinted as Chapter 5, and provides the additional and seemingly insuperable reasons why Aristotle could not have written the clause with the words catharsis, pity, and fear in the definition of tragedy, as a number of internationally known ancient Greek specialists have already been accepting. One reason is that he defines by "biological division" and catharsis is not only missing from the preliminary divisions but is the only term in the definition not discussed in the entire treatise. A second reason is that catharsis contradicts the goal of tragedy as pleasure, itself indicated many times in the work. A third reason is that Aristotle writes in Chapter 13 that pity and fear do not belong to plots showing a virtuous person going from fortune to misfortune. Including pity and fear in the definition would thus exclude even plays like Antigone or Trojan Women from being tragedies. A fourth reason is that Aristotle says three times that tragoidos (originally "goat-song" but usually translated as "tragedy") can show agents going from misfortune to fortune, and the finest examples in Chapter 14 are the plays not like Oedipus but those ending happily, like Cresphontes, which would have no pity because of Aristotle's requirement of very significant suffering for pity. All of this allows a fresh and better reading of the treatise that even with its fundamental misinterpretations has been the foundation of Western literary, dramatic and artistic theory. VOL 1 includes Plato's and Aristotle's meaning of poiesis as "music-dance and verse" and of rhuthmos often as "dance," not "rhythm"; the importance of dance in the state for both thinkers, along with the proof that Aristotle considers tragedy to be a species of dramatic "musical" art. VOL 2 includes the issues of catharsis, pity, and fear, and a complete rebuttal of the only attempted rigorous reply (by Stephen Halliwell in Between Ecstasy and Truth, 2011) to "Purging the Poetics." Also included is a history of the Poetics; Bibliography; & the Index for both volumes.
This book revolutionizes the 1000-year old tradition that stems from the first commentaries on the Poetics by the Arabic scholars. Aristotle's treatise has always been thought to be about poetic-literary theory, with tragedy being its paradigm. Scott demonstrates, however, that Aristotle (384-322 BCE) employs poiesis not in the way universally assumed until now, as "poetry," which the sophist Gorgias only coined in 415 BCE. Rather, Aristotle follows Diotima, who in the Symposium of Plato (424-347) explains poiesis as mousike kai metra (typically "'music' and verses"). One reason Aristotle employs the Diotiman and not the Gorgian sense of poiesis is that not one poem exists in the so-called "Poetics"; another reason is that the definition of tragedy includes "music." Scott subsequently demonstrates that Aristotle considers tragedy not to be a species of literature but one of dramatic "musical" theater that also requires dance and spectacle. Chapter 2 includes a revised version of Scott's "The Poetics of Performance: The Necessity of Performance, Spectacle, Music, and Dance in Aristotelian Tragedy" (Cambridge University Press, 1999). The book also supplements his arguments of "Purging the Poetics" (Oxford Studies in Ancient Philosophy, 2003), reprinted as Chapter 5, and provides the additional and seemingly insuperable reasons why Aristotle could not have written the clause with the words catharsis, pity, and fear in the definition of tragedy, as a number of internationally known ancient Greek specialists have already been accepting. One reason is that he defines by "biological division" and catharsis is not only missing from the preliminary divisions but is the only term in the definition not discussed in the entire treatise. A second reason is that catharsis contradicts the goal of tragedy as pleasure, itself indicated many times in the work. A third reason is that Aristotle writes in Chapter 13 that pity and fear do not belong to plots showing a virtuous person going from fortune to misfortune. Including pity and fear in the definition would thus exclude even plays like Antigone or Trojan Women from being tragedies. A fourth reason is that Aristotle says three times that tragoidos (originally "goat-song" but usually translated as "tragedy") can show agents going from misfortune to fortune, and the finest examples in Chapter 14 are the plays not like Oedipus but those ending happily, like Cresphontes, which would have no pity because of Aristotle's requirement of very significant suffering for pity. All of this allows a fresh and better reading of the treatise that even with its fundamental misinterpretations has been the foundation of Western literary, dramatic and artistic theory. VOLUME 1 includes Plato's and Aristotle's meaning of poiesis as "music-dance and verse" and of rhuthmos often as "dance," not "rhythm"; the importance of dance in the state for both thinkers, along with the proof that Aristotle considers tragedy to be a species of dramatic "musical" art. VOLUME 2 includes the issues of catharsis, pity, and fear, and a complete rebuttal of the only attempted rigorous reply (by Stephen Halliwell in Between Ecstasy and Truth, 2011) to "Purging the Poetics." Also included is a history of the Poetics; Bibliography; & the Index for both volumes.
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