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In recent decades the study of literature in Europe and the Americas has been profoundly influenced by modern critical theory in its various forms, whether Structuralism or Deconstructionism, Hermeneutics, Reader-Response Theory or Rezeptionsästhetik, Semiotics or Narratology, Marxist, feminist, neo-historical, psychoanalytical or other perspectives. Whilst the value and validity of such approaches to literature is still a matter of some dispute, not least among classical scholars, they have had a substantial impact on the study both of classical literatures and of the mentalité of Greece and Rome. In an attempt to clarify issues in the debate, the eleven contributors to this volume were asked to produce a representative collection of essays to illustrate the applicability of some of the new approaches to Greek and Latin authors or literary forms and problems. The scope of the volume was deliberately limited to literary investigation, broadly construed, of Greek and Roman authors. Broader areas of the history and culture of the ancient world impinge in the essays, but are not their central focus. The volume also contains a separate bibliography, offering for the first time a complete bibliography of classical studies which incorporate modern critical theory.
This book provides a critical analysis of classical and contemporary social theory from a class perspective. It is concise, lucid, and well written.
The first new survey of the field in more than 60 years, this study concentrates on the basics of music criticism. Because it focuses on core issues and proven principles, the book is likely to become the standard work on the subject. It is written for the audience that reads music criticism in newspapers and popular journals: professional and amateur musicians, scholars, teachers, researchers, librarians, students, music lovers, journalists, and critics. The topics are covered in depth and observations are thoroughly documented, yet the material is enjoyable to read because the writing is easy to understand and special terminology is held to an absolute minimum. The commentary addresses the function of music criticism, the qualifications and training of a critic, the relationship between music criticism and other aspects of journalism, and the principles behind value judgments. Three chapters are devoted to the concert and opera review, one to reviewing recordings, another to radio and television criticism, and one to reviewing ethnic music. Thirty-eight reviews are quoted and analyzed, and 13 are presented in their entirety, along with critical commentary. Index. Appendix. Bibliography
Through a series of innovative critical readings Richard Hunter builds a picture of how the ancients discussed the meaning of literary works and their importance in society. He pays particular attention to the interplay of criticism and creativity by not treating criticism in isolation from the works which the critics discussed. Attention is given both to the development of a history of criticism, as far as our sources allow, and to the constant recurrence of similar themes across the centuries. At the head of the book stands the contest of Aeschylus and Euripides in Aristophanes' Frogs which foreshadows more of the subsequent critical tradition than is often realised. Other chapters are devoted to ancient reflection on Greek and Roman comedy, to the Augustan critic Dionysius of Halicarnassus, to 'Longinus', On the Sublime, and to Plutarch. All Greek and Latin is translated.
The works collected in this volume have profoundly shaped the history of criticism in the Western world: they created much of the terminology still in use today and formulated enduring questions about the nature and function of literature. In Ion, Plato examines the god-like power of poets to evoke feelings such as pleasure or fear, yet he went on to attack this manipulation of emotions and banished poets from his ideal Republic. Aristotle defends the value of art in his Poetics, and his analysis of tragedy has influenced generations of critics from the Renaissance onwards. In the Art of Poetry, Horace promotes a style of poetic craftsmanship rooted in wisdom, ethical insight and decorum, while Longinus' On the Sublime explores the nature of inspiration in poetry and prose.
More than a school of philosophy with a defined set of beliefs and convictions, classical Cynicism represents an unconventional sect of philosophers and a way of life. This is a complete account of classical Cynicism from its beginnings in the Socratic circle to its extinction in late Roman times. In this thoroughly documented study, Navia explores various issues related to the sources of information about the Cynics, the development of Cynicism, and the principal representatives of classical Cynicism. Exploring the relationship between classical Cynicism and cynicism as understood in its ordinary modern sense, the author argues that despite their common designation, they represent significantly different philosophical attitudes. This book explicates the main ideas associated with classical Cynicism and argues that, its shortcomings notwithstanding, classical Cynicism furnishes us with a wealthy source of philosophical enlightenment. Individual chapters are devoted to Antisthenes, Diogenes, and Crates, the three principal classical Cynics. Attention is given to the development and application of certain fundamental Cynic ideas and to the transformation of these ideas throughout the eight centuries during which Cynicism was an influential philosophical movement. The book provides abundant references to primary and secondary sources and includes a bibliography of over five hundred entries.
Alphabetically arranged entries on roughly 60 leading rhetoricians of antiquity detail their lives and writings and cite works for further reading.
These essays, written in the 1930s and 1940s, represent a first selection in English from the major work of the founder of the famous Institute for Social Research in Frankfurt. Horkheimer's writings are essential to an understanding of the intellectual background of the New Left and the to much current social-philosophical thought, including the work of Herbert Marcuse. Apart from their historical significance and even from their scholarly eminence, these essays contain an immediate relevance only now becoming fully recognized.
2003 CHOICE Outstanding Academic Title This work relocates the origins of nineteenth-century social theory in classical Greece and focuses on three figures: Karl Marx, Max Weber, and Émile Durkheim, all of whom wrote dissertations on the culture and structure of ancient society. Greek philosophy, art, and politics inspired their ideas, stirred their imaginations, and defined their intellectual horizons. McCarthy rediscovers the forgotten dreams and classical horizons of these European social theorists and uncovers the close connections between sociology and philosophy, offering new insights into the methods, theories, and approaches of modern social science.
Constitutes the first analysis of the modern performance of ancient Greek drama from a theoretical perspective.