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Katya Mandoki advances in this book the thesis that it is not only possible but crucial to open up the field of aesthetics (traditionally confined to the study of art and beauty) toward the richness and complexity of everyday life. She argues that in every process of communication, whether face to face or through the media, fashion, and political propaganda, there is always an excess beyond the informative and functional value of a message. This excess is the aesthetic. Following Huizinga's view of play as an ingredient of any social environment, Mandoki explores how various cultural practices are in fact forms of playing since, for the author, aesthetics and play are Siamese twins. One of the unique contributions of this book is the elaboration and application of a semiotic model for the simultaneous analysis of social interactions in the four registers, namely visual, auditory, verbal and body language, to detect the aesthetic strategies deployed in specific situations. She argues that since the presentation of the self is targeted towards participants' sensibilities, aesthetics plays a key role in these modes of exchange. Consequently, the author updates important debates in this field to clear the way for a socio-aesthetic inquiry through contexts such as the family, school, medical, artistic or religious traditions from which social identities emerge.
En La antigua retórica el autor examina la materia tomando en cuenta los principales textos que en la Antigüedad dieron las normas para la composición oratoria. Aristóteles, Cicerón y Quintiliano, los tres principales tratadistas, dejaron establecidas las bases del diálogo entre el hombre creador y su público. Aristóteles profundiza en las argumentaciones heredadas de la filosofía anterior; Cicerón agrega a la concepción de la crítica la brillantez del estilo, y Quintiliano, crea las bases de esa ciencia con la seguridad de quien sabe que se trata de una arte educativa. Con ellos, la retórica de la Antigüedad cobró importancia decisiva en las posteriores tareas humanísticas. “Sin la palabra —explica Reyes— la naturaleza sería muda; sin ella, todo es tiniebla y silencio en esta vida y en la posteridad que aguarda.”
In this book Arnold Berleant develops a bold alternative to the eighteenth-century aesthetic of disinterestedness. Centering on the notion of participatory engagement in the appreciation of art, he explores its appearance in art and in aesthetic perception, especially during the past century. Aesthetic engagement becomes a key, both on historical and theoretical grounds, to making intelligible our experiences with both contemporary and classical arts. In place of the traditional aesthetic that enjoins the appreciator to adopt a contemplative attitude, distancing the art object in order to ensure its removal from practical uses, Art and Engagement examines the ways in which art entices us into intimate participation in its workings. Beginning with the historical and theoretical underpinnings of the idea of engagement, Berleant focuses on how engagement works as a force in different arts. Successive chapters pursue its influence in landscape painting, architecture and environmental design, literature, music, dance, and film. Art and Engagement argues forcefully for the originality and power of aesthetic perception. Demolishing the conceptual barriers erected by the Western world’s limiting tradition, the book discloses the condition of engagement that has always been present when our aesthetic encounters have been most effective and suggests a new direction for aesthetic inquiry.
Arguing that traditional answers to the question "What is art?" are partial at best, Arnold Berleant contends that we need to understand art as a complex aesthetic field encompassing all the factors that form the context and experience of art.
Annotation Country-by-country studies of Nicaragua, El Salvador, Guatemala, Honduras and Costa Rica as well as a wealth of charts, statistics and chronologies. Dunkerly teaches political studies at Queen Mary College, London. Annotation copyrighted by Book News, Inc., Portland, OR.
Describes the various phases of the relationship between the United States and Central America from World War II to the end of the cold war
From the introduction: "There is a great deal to be learned from McCleary's work, and she raises serious questions not only about Guatemalan society but also about the democratization of societies in general. . . . We must be immensely grateful to her for providing us in clear and balanced terms with the first, and perhaps only, account and analysis of what happened during those critical days in May and June of 1993."--Richard N. Adams, Rapaport Centennial Professor of Liberal Arts, Emeritus, University of Texas, Austin Documenting a rare political occurrence, Rachel McCleary examines the evolution of the two major elite groups in Guatemala--the organized private sector and the military--during the country's transition from authoritarianism to democracy. Arguing that the transition resulted from a stalemate over economic policy, she shows how the two elites altered their relations from disunity (during the period from 1982 to 1986) to unity (from 1993 to the present). Not only does she describe a nonviolent settlement, she also discusses the development of democracy in a country that was directly caught up in Cold War relations between the United States and the USSR. Thus she makes a serious contribution to the study of democratization as well as to Latin American history. Rachel M. McCleary, professor of international studies at Johns Hopkins University, is the author of Seeking Justice: Ethics and International Affairs.