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From its Presocratic beginnings, Western philosophy concerned itself with a quest for unity both in terms of the systematization of knowledge and as a metaphysical search for a unity of being—two trends that can be regarded as converging and culminating in Hegel's system of absolute idealism. Since Hegel, however, the philosophical quest for unity has become increasingly problematic. Jussi Backman returns to that question in this book, examining the place of the unity of being in the work of Heidegger. Backman sketches a consistent picture of Heidegger as a thinker of unity who throughout his career in different ways attempted to come to terms with both Parmenides's and Aristotle's fundamental questions concerning the singularity or multiplicity of being—attempting to do so, however, in a "postmetaphysical" manner rooted in rather than above and beyond particular, situated beings. Through his analysis, Backman offers a new way of understanding the basic continuity of Heidegger's philosophical project and the interconnectedness of such key Heideggerian concepts as ecstatic temporality, the ontological difference, the turn (Kehre), the event (Ereignis), the fourfold (Geviert), and the analysis of modern technology.
Why do we find it hard to explain what happens when words are set to music? This study looks at the kind of language we use to describe word/music relations, both in the academic literature and in manuals for singers or programme notes prepared by professional musicians. Helen Abbott's critique of word/music relations interrogates overlaps emerging from a range of academic disciplines including translation theory, adaptation theory, word/music theory, as well as critical musicology, métricométrie, and cognitive neuroscience. It also draws on other resources-whether adhesion science or financial modelling-to inform a new approach to analysing song in a model proposed here as the assemblage model. The assemblage model has two key stages of analysis. The first stage examines the bonds formed between the multiple layers that make up a song setting (including metre/prosody, form/structure, sound repetition, semantics, and live performance options). The second stage considers the overall outcome of each song in terms of the intensity or stability of the words and music present in a song (accretion/dilution). Taking the work of the major nineteenth-century French poet Charles Baudelaire (1821-67) as its main impetus, the volume examines how Baudelaire's poetry has inspired composers of all genres across the globe, from the 1860s to the present day. The case studies focus on Baudelaire song sets by European composers between 1880 and 1930, specifically Maurice Rollinat, Gustave Charpentier, Alexander Gretchaninov, Louis Vierne, and Alban Berg. Using this corpus, it tests out the assemblage model to uncover what happens to Baudelaire's poetry when it is set to music. It factors in the realities of song as a live performance genre, and reveals which parameters of song emerge as standard for French text-setting, and where composers diverge in their approach.
In 2015, Eduardo Berti spent several weeks in residence at the University Hospital Centre in Rouen, France, observing and conversing with the staff of its palliative care department. From that experience he created this series of lightly fictionalized testimonials from nurses, nursing aides, doctors, administrators, social workers, volunteers, and the other people who make the unit tick. The result is a distinctly intimate and often poignant portrait of sickness and care, an unflinching look at death through the eyes of the people who work with it every day - but also a profound reflection on what it means to be alive.