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Literature utters the unutterable, not through logic, not through science, not through argument, but through a pitch of eloquence so pronounced the conscientious reader cannot fail to pay attention. Louis Groarke argues that literature is an honorific term we use to describe texts that are so overpowering they lift us to an encounter with an ineffable ultimate that is beyond logical or scientific explanation. In Uttering the Unutterable he proposes a wisdom epistemology that identifies an experience of transcendence as the defining criterion of literature. Offering four mutually reinforcing definitions of literature in line with Aristotle’s theory of four causes, Groarke compares the experience of reading to Aristotle’s account of philosophical contemplation and maintains that literature has inevitable ethical content. Moving beyond the Aristotelianism of the late Chicago School, Groarke presents a new synthesis that breaks through essentialist stereotypes and contends that literature, like religion, points to an ineffable transcendental, to something beyond what we can adequately explain, prove, systematize, quantify, or enclose in a theory. Uttering the Unutterable explores how Aristotelian philosophy provides the most complete and compelling account of literature for philosophers, literary critics, and theorists.
This dictionary deals with the little words which everyone uses every day without even noticing them and which are so liable to escape the grasp of a speaker of another language - clipped words, obtained by back-clipping or apocope (the dropping of one or more final syllables), by front-clipping or aphesis (the dropping of one or more final syllables), by the combination of these two processes and sometimes further transformed, especially in slang, by the addition of a new ending. The aim is not of course merely to list all these words and say from which longer words they were obtained; an attempt is made here to retrace the history of each of them, its stylistic, semantic and often morphological evolution, to illustrate this with authentic and often pungent or humorous quotations and also to show how each can be translated into the other language. Indeed this is an English-French bilingual dictionary, whose aim is to translate clipped words according to priciples of historical and register fidelity which bilingual dictionaries do not ordinarily set for this type of headword. Thus, clipped words will be shown to have meaning precisely because they are clipped; consequently, this meaning must be preserved and conveyed in translation. This dictionary thus aims at being different from traditional bilingual dictionaries, dictionaries of slang and colloquialisms included, in the structure and content of its articles, in which much space is devoted to the lexicological data, which inform the strictly lexicographical information. Special attention and care have been devoted to the system of cross-references, the recording and presentation of derived forms, variants and compounds and to the presentation of slang or colloquial synonyms of the headwords. The body of the dictionary is preceded by a preface in which the editing principles and methods are outlined and an attempt is made at analyzing the corpus : its historical, sociological and morphological aspects are reviewed, together with the motivations of those that coin or use clippings. These motivations appear essential to the proper appraisal of this body of slang and colloquial words; this dictionary's intention is to pay homage to all the unknown paople who have made the lexicon richer by playing with and on words, with joyful humour, zest and gusto. It is hoped that all lovers of words will have the same pleasure exploring this dictionary as its author had writing it. Professor Fabrice Antoine teaches English at the Universite Charles-de-Gaulle Lille III (France). His research fields are bilingual lexicography, lexicology and translation; he has been a consulting editor for a dozen bilingual dictionaries, general as well as slang ones. He is especially interested in French and English slang and colloquialisms and co-hairs ELEXTRA (Etudes sur le Lexique et la Traduction), a research centre at the University of Lille.
Franz Rosenzweig was a prominent figure in the development of Jewish existentialism and a major influence on the work Emil Fackenheim amongst others. This work offers an array of significant texts and presents Rosenzweig's life in an informative way.
Postwar modernist verse has been rarely discussed in English-language works on Japanese literature, despite the fact that it has been the dominant mode of poetic expression in Japan since World War II. Now readers of modern Japanese poetry in translation have gained an impressive intellectual and linguistic companion in their enjoyment of modern Japanese verse. Modernism in Practice combines close readings of individual Japanese postwar poets and poetry with historical and critical analysis. Five of the seven chapters concentrate on the life and work of such outstanding poets as Soh Sakon, Ishigaki Rin, Ito Hiromi, Asabuki Ryoji, and Tanikawa Shuntaro. Several of these writers have only come into prominence in recent decades, so this work also serves to acquaint readers with contemporary Japanese verse. A significant dimension of this volume is the detailed and extensive treatment afforded two important areas of postwar Japanese verse: the poetry of women and of Okinawa. Modernism in Practice is noteworthy not only as an introduction to postwar Japanese poets and their times, but also for the numerous poems that appear in translation throughout the volume—many for the first time in book form.
The volume discusses important chapters of Platonic philosophy, including its pre-Socratic origins and later developments. It particularly focusses on the relationship between Plato's logico-semantics and his metaphysics. Plato's linguistic views are deeply rooted in the Platonic metaphysical system, and vice versa. The strong connection between the two and its development into the Middle Ages form a major subject of this volume. Other themes featuring in this book are Plato's philosophy of nature, his epistemology, his theology, his cosmology, as well as his conception of the soul and his philosophy of art. Contributors include: E.P. Bos, Frans A.J. de Haas, Maria Kardaun, C.H. Kneepkens, Jaap Mansfeld, Denis O’Brien, Johannes M. van Ophuijsen, Willemien Otten, David T. Runia, and Joke Spruyt. Publications by L.M. de Rijk: • La philosophie au moyen âge, ISBN: 978 90 04 06936 7 • Aristotle: Semantics and Ontology. Volume I: General Introduction. The Works on Logic, ISBN: 978 90 04 12324 3 • Aristotle: Semantics and Ontology. Volume II: The Metaphysics. Semantics in Aristotle's Strategy of Argument, ISBN: 978 90 04 12467 7 • Peter of Spain (Petrus Hispanus Portugalensis). Edited by L.M. de Rijk, Syncategoreumata. First Critical Edition with an Introduction and Indexes, ISBN: 978 90 04 09434 5 • Edited and Translated by L.M. de Rijk, Nicholas of Autrecourt: His Correspondence with Master Giles and Bernard of Arezzo, ISBN: 978 90 04 09988 3 • Giraldus Odonis O.F.M. Edited by L.M. de Rijk, Opera Philosophica. Vol. I: Logica. Critical Edition from the Manuscripts, ISBN: 978 90 04 10950 6 • Giraldus Odonis O.F.M. Edited by L.M. de Rijk, Opera Philosophica. Vol. II: De intentionibus, ISBN: 978 90 04 11117 2
Niklas Luhmann: Law, Justice, Society presents the work of sociologist Niklas Luhmann in a radical new light. Luhmann’s theory is here introduced both in terms of society at large and the legal system specifically, and for the first time, Luhmann’s texts are systematically read together with theoretical insights from post-structuralism, deconstruction, phenomenology, radical ethics, feminism and post-ecologism. In his far-reaching book, Andreas Philippopoulos-Mihalopoulos distances Luhmann’s theory from its misrepresentations as conservative, rigorously positivist and disconnected from empirical reality, and firmly locates it in a sphere of post-ideological jurisprudence. The book operates both as a detailed explanation of the theory’s concepts and as the locus of a critique which brings forth Luhmann’s radical credentials. The focal points are Luhmann’s concept of society and the law’s paradoxical connection to justice. However, these concepts are also transgressed in order to show how the law deals with the illusion of its identity, and more broadly how the theory itself deals with its limitations. This is illustrated by examples drawn from human rights, constitutional theory and ecological thinking. On the whole, Niklas Luhmann: Law, Justice, Society serves both as an introductory text and as a critical response to Luhmann’s theory, and is recommended reading for students and researchers in sociology, law, social sciences, politics and whoever is interested in seeing the influential work of Niklas Luhmann from a critical new perspective.
Authorship's Wake examines the aftermath of the 1960s critique of the author, epitomized by Roland Barthes's essay, “The Death of the Author.” This critique has given rise to a body of writing that confounds generic distinctions separating the literary and the theoretical. Its archive consists of texts by writers who either directly participated in this critique, as Barthes did, or whose intellectual formation took place in its immediate aftermath. These writers include some who are known primarily as theorists (Judith Butler), others known primarily as novelists (Zadie Smith, David Foster Wallace), and yet others whose texts are difficult to categorize (the autofiction of Chris Kraus, Sheila Heti, and Ben Lerner; the autotheory of Maggie Nelson). These writers share not only a central motivating question – how to move beyond the critique of the author-subject – but also a way of answering it: by writing texts that merge theoretical concerns with literary discourse. Authorship's Wake traces the responses their work offers in relation to four themes: communication, intention, agency, and labor.