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EDWARD L. SCHIEFFELIN: From The Sorrow of the Lonely and the Burning of the Dancers
Symposium of the Whole traces a discourse on poetry and culture that has profoundly influenced the art of our time, with precedents going back two centuries and more. Beginning with a reassertion of the complexity of poetry among peoples long labeled “primitive” and “savage,” many recent poets have sought to base a new poetics over the fullest range of human cultures. The attempt to define an ethnopoetics has been significantly connected with the most experimental and future-directed side of Romantic and modern poetry, both in the Western world and, increasingly, outside it. As a visionary poetics and as a politics, this complex redefinition of cultural and intellectual values has involved a rarely acknowledged collaboration between poets and scholars, who together have challenged the narrow view of literature that has excluded so many traditions. In this gathering, the Rothenbergs follow the idea of an ethnopoetics from predecessors such as Vico, Blake, Thoreau, and Tzara to more recent essays and manifestos by poets and social thinkers such as Olson, Eliade, Snyder, Turner, and Baraka. The themes range widely, from the divergence of oral and written cultures to the shaman as proto-poet and the reemergence of suppressed and rejected forms and images: the goddess, the trickster, and the “human universe.” The book’s three ethnographic sections demonstrate how various poetries are structured and composed, how they reflect meaning and worldview, and how they are performed in cultures where all art may be thought of as art-in-motion. Among the poetries discussed are the language of magic; West African drum language and poetry; the Huichol Indian language of reversals; chance operations in African divination poetry; picture-writings and action-writings from Australia and Africa; and American Indian sacred-clown dramas and traditional trickster narratives. The cumulative effect is a new reading of the poetic past and present—in the editors’ words, “a changed paradigm of what poetry was or now could come to be.”
While some anthropologists have called for a new 'public' or 'engaged' anthropology, profound changes have already occurred, leading to new kinds of work for many anthropologists. The papers in this volume show that anthropology is put to work in diverse ways today.
"Technicians of the Sacred presents 'primitive' and ancient poetries as the incantations they are, loaded with power and very full of the magic that invests all good poetry. The treatment is fascinating...the commentaries are a gold mine of responses to the material by a strong poet (the editor), and his selection of analogous writings from a broad range of contemporary poets."—David P. McAllester
In his Symposium, Plato crafted speeches in praise of love that has influenced writers and artists from antiquity to the present. But questions remain concerning the meaning of specific features, the significance of the dialogue as a whole, and the character of its influence. Here, an international team of scholars addresses such questions.
Frisbee Sheffield argues that the Symposium has been unduly marginalized by philosophers. Although the topic - eros - and the setting at a symposium have seemed anomalous, she demonstrates that both are intimately related to Plato's preoccupation with the nature of the good life, with virtue, and how it is acquired and transmitted. For Plato, analysing our desires is a way of reflecting on the kind of people we will turn out to be and on our chances of leading a worthwhile and happy life. In its focus on the question why he considered desires to be amenable to this type of reflection, this book explores Plato's ethics of desire.
The Columbia University Graduate School of Business and the American Petroleum Institute collaborated in the preparation and presentation of the symposium in Nov. 1959.
This new edition of Plato's Symposium provides beginning readers and scholars alike with a solid, reliable translation that is both faithful to the original text and accessible to contemporary readers. In addition, the volume offers a number of aids to help the reader make his or her way through this remarkable work: A concise introduction sets the scene, conveys the tenor of the dialogue, and introduces the reader to the main characters with a gloss on their backgrounds and a comment on their roles in the dialogue. It also provides a list of basic points for readers to keep in mind as they read the work. A thought-provoking interpretive essay offers reflections on the themes of the dialogue, focusing especially on the dialogue as drama. A select bibliography points to works, both classic and contemporary, that are especially relevant to readers of the Symposium. Two appendices consist of a line drawing that depicts the spacial layout and positioning of characters in the Symposium, and a chart that shows the relation of the first six speeches to number, age, parentage and the function of Eros.
"Games are a unique art form. The game designer doesn't just create a world; they create who you will be in that world. They tell you what abilities to use and what goals to take on. In other words, they specify a form of agency. Games work in the medium of agency. And to play them, we take on alternate agencies and submerge ourselves in them. What can we learn about our own rationality and agency, from thinking about games? We learn that we have a considerable degree of fluidity with our agency. First, we have the capacity for a peculiar sort of motivational inversion. For some of us, winning is not the point. We take on an interest in winning temporarily, so that we can play the game. Thus, we are capable of taking on temporary and disposable ends. We can submerge ourselves in alternate agencies, letting them dominate our consciousness, and then dropping them the moment the game is over. Games are, then, a way of recording forms of agency, of encoding them in artifacts. Our games are a library of agencies. And exploring that library can help us develop our own agency and autonomy. But this technology can also be used for art. Games can sculpt our practical activity, for the sake of the beauty of our own actions. Games are part of a crucial, but overlooked category of art - the process arts. These are the arts which evoke an activity, and then ask you to appreciate your own activity. And games are a special place where we can foster beautiful experiences of our own activity. Because our struggles, in games, can be designed to fit our capacities. Games can present a harmonious world, where our abilities fit the task, and where we pursue obvious goals and act under clear values. Games are a kind of existential balm against the difficult and exhausting value clarity of the world. But this presents a special danger. Games can be a fantasy of value clarity. And when that fantasy leaks out into the world, we can be tempted to oversimplify our enduring values. Then, the pleasures of games can seduce us away from our autonomy, and reduce our agency."--
This book presents the first well-preserved set of sympotic pottery which served a Late Archaic house in the Athenian Agora. The deposit contains household and fine-ware pottery, nearly all the figured pieces of which are forms associated with communal drinking. Since it comes from a single house, the pottery also reflects purchasing patterns and thematic preferences of the homeowner. The multifaceted approach adopted in this book shows that meaning and use are inherently related, and that through archaeology one can restore a context of use for a class of objects frequently studied in isolation. Winner of the 2013 James R. Wiseman Book Award given by the Archaeological Institute of America.