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"This work bridges a number of fields in the humanities to examine how modernist representations demonstrate the limits of facial expressivity as a marker of the true qualities of a person"--
A New Physiognomy of Jewish Thinking is a search for authenticity that combines critical thinking with a yearning for heartfelt poetics. A physiognomy of thinking addresses the figure of a life lived where theory and praxis are unified. This study explores how the critical essays on music of German-Jewish thinker, Theodor Wiesengrund Adorno (1903-1969) necessarily accompany the downfall of metaphysics. By scrutinizing a critical juncture in modern intellectual history, marked in 1931 by Adorno's founding of the Frankfurt Institute for Social Research, neglected applications of Critical Theory to Jewish Thought become possible. This study proffers a constructive justification of a critical standpoint, reconstructively shown how such ideals are seen under the genealogical proviso of re/cognizing their original meaning. Re/cognition of A New Physiognomy of Jewish Thinking redresses neglected applications of Negative Dialectics, the poetics of God, the metaphysics of musical thinking, reification in Zionism, the transpoetics of Physics and Metaphysics, as well as correlating Aesthetic Theory to Jewish Law (halakhah).
As a boy traveling to school by streetcar, Norbert Glas often passed the time by studying the faces of his fellow passengers, pondering the significance of the shapes and contours of their noses, eyes, and mouths. Later in life, after becoming a medical doctor and a student of Rudolf Steiner's spiritual science, Glas gained greater insight into the mysteries of human physiognomy. In Reading the Face, the first translation into English of his seminal work, Glas begins by defining the three parts of the human face and explaining the importance of their relative proportions. A face that is more pronounced in any of these areas tends to indicate certain personality traits and specific physiological characteristics. People with a strong mouth and chin, for example, tend to have a strong will and an active, driven, and assertive nature. With the help of many photos and drawings, Glas presents the physiognomy of three basic types and analyses the specifics of the head, forehead, ears, eyes, mouth, and nose. Reading the Face will be valuable to doctors, teachers, and anyone who wants to better understand, accept, and love others.
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When nineteenth-century Londoners looked at each other, what did they see, and how did they want to be seen? Sharrona Pearl reveals the way that physiognomy, the study of facial features and their relationship to character, shaped the way that people understood one another and presented themselves. Physiognomy was initially a practice used to get information about others, but soon became a way to self-consciously give information--on stage, in print, in images, in research, and especially on the street. Moving through a wide range of media, Pearl shows how physiognomical notions rested on instinct and honed a kind of shared subjectivity. She looks at the stakes for framing physiognomy--a practice with a long history--as a science in the nineteenth century. By showing how physiognomy gave people permission to judge others, Pearl holds up a mirror both to Victorian times and our own.
In the Well-Built City, Master Drachton Below's power is absolute, and he will not hesitate to use it. His primary method of control is through his physiognomists, who are trained to read a person's face and body, perceiving that person's past and secrets-and even events yet to come. These seers are the judges and jury. Now Drachton has found something that could extend his reign for eternity: a fruit that bestows immortality. To investigate its whereabouts, Below sends cold, collected physiognomist Cley to the remote mining town of Anamasobia. One at a time Cley interrogates the townspeople, performing his usual fact finding without issue. That is, until he meets the beautiful and bright Arla, who harbors a secret that could potentially turn Cley's world upside down-and topple the Well-Built City itself. A Kafkaesque journey into the unknown, The Physiognomy is an award-winning trip through a land where the line between reality and imagination is constantly blurred.
Polemon of Laodicea (near modern Denizli, south-west Turkey) was a wealthy Greek aristocrat and a key member of the intellectual movement known as the Second Sophistic. Among his works was the Physiognomy, a manual on how to tell character from appearance, thus enabling its readers to choose friends and avoid enemies on sight. Its formula of detailed instruction and personal reminiscence proved so successful that the book was re-edited in the fourth century by Adamantius in Greek, translated and adapted by an unknown Latin author of the same era, and translated in the early Middle Ages into Syriac and Arabic. The surviving versions of Adamantius, Anonymus Latinus, and the Leiden Arabic more than make up for the loss of the original. The present volume is the work of a team of leading Classicists and Arabists. The main surviving versions in Greek and Latin are translated into English for the first time. The Leiden Arabic translation is authoritatively re-edited and translated, as is a sample of the alternative Arabic Polemon. The texts and translations are introduced by a series of masterly studies that tell the story of the origins, function, and legacy of Polemon's work, a legacy especially rich in Islam. The story of the Physiognomy is the story of how one man's obsession with identifying enemies came to be taken up in the fascinating transmission of Greek thought into Arabic.