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Examining a variety of texts ranging from the Ancient Near East to the nineteenth century, this book deals with the inevitable presence of both fact and fiction in historical thought and investigates when, where and to what degree they were distinguished.
Describes authors, works, and literary terms from all eras and all parts of the world.
The Concept of History reflects on the presuppositions behind the contemporary understanding of history that often remain implicit and not spelled out. It is a critique of the modern understanding of history that presents it as universal and teleological, progressively moving forward to an end. Although few contemporary philosophers and historians maintain the view that there is strict universality and teleology in history, the remnants of these positions still affect our understanding of history. But if history is not universal and singular, evolving toward an objective universal end, it should be possible to admit of multiple histories, some of which we appropriate as our own. An another important aspect of this book is that if provides an account of history that is itself both historical and rooted in attempts to narrate and explain history from its inception in antiquity. The book seeks to establish features or constituents of history that might be found in any historical account and might themselves be considered historical invariants in history.
A historical novel set when ancient Rome was under the siege of the barbarian Visigoths, who had arrived from the far north. It is based on a true story: one woman was at the center of it allintelligent and very beautiful among a thousand other qualitiesPlacidia, sister of the emperor Honorio, becomes very important for Rome. In the great looting suffered by Rome, this Roman woman is carried off by barbarians, and love develops between Galla Placidia and a barbarian, the brother of the king of the Visigoths. Adventure, love, warthis novel contains them all. This romance became an epic love story; only death could separate the two lovers. When her lover is killed by another barbarian, Galla Placidiadaughter of an emperor, sister of an emperor, and mother of an emperoris left with the task of continuing the story of Rome.
In this, the first study of its kind to appear in English, the author - a professor of Romance Languages at Harvard University - discusses the concepts which determined the nature and function of French humanist tragedy and the importance of those concepts with regard to the genre's relationship to medieval, ancient and French classical drama. The emphasis on conceptual rather than formal considerations reveals strong ties between tragedy and other sixteenth century genres, now largely neglected. The book also shows that the formal changes in tragedy introduced by the humanists are less consequential than once thought, and in his last chapter suggests that a deeper appreciation of the character of French humanist tragedy can shed new light on the coming of classicism.
Brian Chan's poetry goes beyond everyday appearance to the inner space where the consciousness "begins to question the power of space it has fictioned". In staring into the abyss over which such fictions are spun, Fabula Rasa challenges all comfortable and solid assumptions. Thus, those poems which affirm the power of love or celebrate those moments 'brimming with light', seem both more powerful and more movingly vulnerable in their act of affirmation. Chan's poetry requires close attention but has a pellucid quality: "Plumbing my darkest heart, I shape the glass/ of plain mind in which you may taste your own". Brian Chan grew up in Guyana. He is an accomplished musician and painter, and now lives in Edmonton, Canada.
While sociological modernists were outrageously presumptious in their claims for sociological knowledge, postmodernists have gone to another extreme in claiming that it has no more truth status than fiction. Critical of both positions, Sociological Reasoning develops an original typology of approaches to social scientific theory and research which is distinguished by its openness and reflexive awareness of rhetorical and methodological aspects of knowledge claims. Laced with graphic illustrative examples, this is a strikingly well-written text that will appeal to students at undergraduate level and beyond.
What You See Is What You Hear develops a unique model of analysis that helps students and advanced scholars alike to look at audiovisual texts from a fresh perspective. Adopting an engaging writing style, the author draws an accessible picture of the field, offering several analytical tools, historical background, and numerous case studies. Divided into five main sections, the monograph covers problems of definitions, history, and most of all analysis. The first part raises the main problems related to audiovisuality, including taxonomical and historical questions. The second part provides the bases for the understanding of audiovisual creative communication as a whole, introducing a novel theoretical model for its analysis. The next three part focus elaborate on the model in all its constituents and with plenty of case studies taken from the field of cinema, TV, music videos, advertising and other forms of audiovisuality. Methodologically, the book is informed by different paradigms of film and media studies, multimodality studies, structuralism, narratology, “auteur theory” in the broad sense, communication studies, semiotics, and the so-called “Numanities.” What You See Is What You Hear enables readers to better understand how to analyze the structure and content of diverse audiovisual texts, to discuss their different idioms, and to approach them with curiosity and critical spirit.