Complete works of Friedrich Schiller : in eight vol. /

v. 1. Poems -- v. 2. Early drama -- v. 3. Early dramas -- v. 4. Historical dramas -- v. 5. Historical dramas -- v. 6. History of the Thirty Year's War in Germany -- v. 7. Revolt of the Netherlands -- v. 8. Aesthetical and philosophical essays.

The works of Benjamin Franklin; containing several political and historical tracts not included in any former edition, and many letters, official and private, not hitherto published; with notes and a life of the author.

"List of the author's writings, chronologically arranged": v. 10, p. [449]-463.

De Quincey's works.

[v.1] Confessions of an English opium-eater. Autobiographic sketches. -- [v.2] The note-book of an English opium-eater. Miscellaneous essays. -- [v.3] Literary reminiscences; from the autobiography of an English opium-eater. --[v.4] Narrative and miscellaneous papers. -- [v.5] Historical and critical essays. -- [v.6] Essays on philosophical writers and other men of letters. -- [v.7] Theological essays and other papers. -- [v.8] Memorials and other papers. --[v.9] Biographical essays. Essays on the poets. -- [v.10] The Caesars. The avenger. [v.11] Letters to a young man. Logic of political economy.

The dramatic works of Gerhart Hauptmann /

(Vol. 8 translated by Willa and Edwin Muir.)

The collected works of Dugald Stewart.

v. 1. Dissertation: exhibiting the progress of metaphysical, ethical, and political philosophy, since the revival of letters in Europe. 1854.--v. 2-4. Elements of the philosophy of the human mind ... To which is prefixed introduction and part first of the Outlines of moral philosophy. 1854.--v. 5. Philosophical essays. 1855.--v. 6-7. The philosophy of the active and moral powers of man ... To which is prefixed part second of the Outlines of moral philosophy. 1855.--v. 8-9. Lectures on political economy ... To which is prefixed part third of the Outlines of moral philosophy. 1855.56.--v. 10. Biographical memoirs of Adam Smith, William Robertson, Thomas Reid. To which is prefixed a Memoir of Dugald Stewart, with selections from his correspondence. By J. Veitch. 1858.--v. 11. Translations of the passages in foreign languages contained in the collected works of Dugald Stewart. With general index. 1860.

The works of George Berkeley; including many of his writings hitherto unpublished. With prefaces, annotations, his life and letters, and an account of his philosophy,

v.4 also has separate title page: Life and letters of George Berkeley; and an account of his philosophy. With many writings of Bishop Berkeley hitherto unpublished: metaphysical, descriptive, theological. By Alexander Campbell Fraser.

Modifying the Mask: the Transformation of the Dramatic Monologue Across the Works of Robert Browning, Norman Dubie, and Frank Bidart

Thesis (Master's)--University of Washington, 2016-06

Female Exiles in Language: Reading for New Poetic Subjects in Modern and Contemporary Feminist Experimental Poetry

Thesis (Ph.D.)--University of Washington, 2016-06

Poetica de la brevedad en Borges

Although he did not write copious novels, endless essays, or long poems, Jorge Luis Borges is considered one of today's best modern writers. His works have never been more than ten pages long. The purpose of this dissertation is to demonstrate that the willing use of concise expression in Borges's writings is inscribed in a poetic worldview of great implications. This view is based on the synthesis of philosophical, literary, and cultural issues that Borges interprets, discusses, refutes, and re-elaborates with a new conjectural approach. ^ This dissertation is based on a methodological review of all his current scholarly work and on a thorough examination of the four volumes of his Complete Works, edited by Emece, in 2002. His pantheistic vision, the epiphanic moments, and his love/hate relationship with language, conform an aesthetic of resounding silence that enlightens the hidden aspects of his brief masterpieces. ^ Even though Borgesian studies flood the library he once imagined, they have been presented in an isolated manner. This dissertation establishes a link among the various aforementioned aspects as studied by Borges scholars, and demonstrates the powerful influence of Borges's illuminating and precise vision. ^ Paradoxically, the poetry of brevity in Borges's works is filled with allusions to the things that Borges silences, because, from a panoramic pantheism, his words almost reach an epiphanic enlightenment that flashes between preterit and future nothingness. ^ By replacing extension with intensity, and mastering the art of omission, Borges's laborious work reaches power and concentration that only the very greatest talents can achieve. His delicate verbal conciseness provides his readers with a virtually infinite freedom of imagination because it exposes them to the chaotic world of mythical probabilities, where an instant encompasses eternity. ^

Poetica de la brevedad en Borges

Although he did not write copious novels, endless essays, or long poems, Jorge Luis Borges is considered one of today's best modem writers. His works have never been more than ten pages long. The purpose of this dissertation is to demonstrate that the willing use of concise expression in Borges's writings is inscribed in a poetic worldview of great implications. This view is based on the synthesis of philosophical, literary, and cultural issues that Borges interprets, discusses, refutes, and re-elaborates with a new conjectural approach. This dissertation is based on a methodological review of all his current scholarly work and on a thorough examination of the four volumes of his Complete Works, edited by Emece, in 2002. His pantheistic vision, the epiphanic moments, and his love/hate relationship with language, conform an aesthetic of resounding silence that enlightens the hidden aspects of his brief masterpieces. Even though Borgesian studies flood the library he once imagined, they have been presented in an isolated manner. This dissertation establishes a link among the various aforementioned aspects as studied by Borges scholars, and demonstrates the powerful influence of Borges's illuminating and precise vision. Paradoxically, the poetry of brevity in Borges's works is filled with allusions to the things that Borges silences, because, from a panoramic pantheism, his words almost reach an epiphanic enlightenment that flashes between preterit and future nothingness. By replacing extension with intensity, and mastering the art of omission, Borges's laborious work reaches power and concentration that only the very greatest talents can achieve. His delicate verbal conciseness provides his readers with a virtually infinite freedom of imagination because it exposes them to the chaotic world of mythical probabilities, where an instant encompasses etemity.

The many voices of Piedmont: language, identity and alterity in the works of modern and contemporary Piedmontese writers

The aim of this project is to carry out a linguistic analysis of a group of modern and contemporary narratives written by authors from the same Italian region: Piedmont. The novels and short stories examined stand out for the intriguing ways in which they move between a variety of idioms – Italian, Piedmontese dialects, English and pastiches, with some rare excursions into French. A sociolinguistic study and an overview of political changes that Piedmont underwent from the sixteenth to the twenty-first centuries are provided, with the purpose of outlining the region’s sociogeographical and historical background which can be seen to have fostered multilingualism in a group of writers. With the support of linguistic studies and philosophical theories on the relation between identity, alterity and language (such as Edwards’s Language and Identity and Bakhtin’s reflections on language), I then elucidate the presence of diverse linguistic varieties in selected narratives by Cesare Pavese, Beppe Fenoglio, Primo Levi, Nanni Balestrini, Fruttero & Lucentini, Benito Mazzi and Younis Tawfik. In other words, my purpose is to explain the reasons for multilingualism in each writer, as well as to underscore the ideological positions which lie behind the linguistic strategies of the authors. With this study I attempt to fill a gap and cast new light on Piedmontese literature. Although some critical studies on the use of dialect or English exist on individual authors and works (e.g. Meddemmem on Fenoglio’s use of English and Beccaria on Pavese’s inclusion of Piedmontese dialect), and some important contributions to the history of Piedmontese literature have appeared in print, to date no current, systematic study that compares different Piedmontese writers under the language/identity theme has been published. The study concludes with a summary of the evolution of plurilingualism in Piedmont and highlights the common trends in the use of multiple linguistic varieties as tools for both social demarcation and an opening up to alternative, marginalised andforeign cultures.

Ausonius’ Caesares

Ausonio de Burdigala (Burdeos) escribe entre los años 379-383 su obra poética titulada Caesares. Esta colección es una biografía de la vida de los emperadores en verso (hexámetro y dístico elegíaco). Caesares no está completa; la obra acaba de repente en el cuarteto dedicado a Heliogábalo. En este trabajo abordamos el género de la colección, examinamos el estilo de Ausonio en varias partes (monósticos y tetrásticos) y destacamos las fuentes (Suetonio, Tácito, Kaisergeschichte, Mario Máximo). Asimismo valoramos las diferentes opiniones que los estudiosos de Ausonio han expresado sobre la parte perdida de esta colección.

The Genesis Of The Mycenaean Citadel: A Philosophical Quest For The Origins Of The Architectural Forms

This thesis deals with the origins of the architectural forms as expressed in the Homeric Mycenaean citadel. The Genesis of the Mycenaean Citadel is a philosophical quest which reveals the poetic dimension of the Mycenaean architecture. The Introduction deals with general theories on the subject of space, which converge into one, forming the spinal idea of the thesis. The ‘process of individuation’, the process by which a person becomes ‘in-dividual’ that is a separate, indivisible unity or ‘whole’, is a process of transformation and renewal which at collective level takes place within the citadel. This is built on the archetype which expresses both the nature of the soul as a microcosm and of the divinely ordered Cosmos. The confrontation of the rational ‘ego’ with the unconscious is the process which brings us to the ‘self’, that organising center of the human psyche which is symbolised through the centre of the citadel. . Chapter I refers to ‘the Archetype of the Mycenaean citadel’. The Mycenaean citadel, which is built on a certain pattern of placement and orientation in relation to landscape formations, reproduces images which belong to the category of the ‘archetypal mother’. On the other hand, its adjustment to a central point with ‘high’ significance, recalls the archetypal image of Shiva-Shakti. The citadel realises the concept of a Kantian ‘One-all embracing space’; it is a cosmogonic symbol but also a philosophical one. Chapter II examines the column in its dual meaning, which is expressed in one structure; column and capital unite within their symbolism the conscious and unconscious contents of the human psyche and express the archetype of wholeness and goal of the individuation process. 33 Chapter III is a philosophical research into the ‘symbolism of the triangle’, the sacred Pythagorean symbol which expresses certain cosmological beliefs about the relation between human nature and the divinely ordered Cosmos. The triangular slab over the Lion Gate is a representation of the Dionysiac ‘palingenesia’, that is the continuity of One life, which was central to the Mycenaean religion. Chapter IV deals with the tripartite ‘megaron’. The circular hearth within the four-columned hall expresses the ‘quaternity of the One’, one of the oldest religious symbols of humanity. Zeus is revealed in the ‘fiery monadic unit-cubit’ as an all-embracing god next to goddess Hestia, symbolised by the circular hearth. The ‘megaron’ expresses the alchemical quaternity and the triad but also the psychological stages of development in the process towards wholeness. In the Conclusions it is emphasised that the Mycenaean citadel was created as if in a repetition of a cosmogony. It is a ‘mandala’, the universal image which is identified with God-image in man. Moreover it is built in order to be experienced by its citizen in the process of his psychological transformation towards the ‘self’, the divine element within the psyche which unites with the divinely ordered Cosmos

Interface cena e tecnologia : composições cênicas mediadas

Based on the presupposition that the arts in the West always counted on resources, supports, and devices pertaining to its time context, an reflection is intended regarding the scenic compositions mediated by digital technologies do. Such technologies are inserted in the daily routine, also composing artistic experiments, thus playing a dialogical role with the art/technology intersection. Therefore, the proposal is to investigate what relationships are established in the contemporary theatrical scene from the contagion by digital technologies, aiming at establishing this parallel through a dialogue with the authors discussing the subject, and also based on the group practices having technological resources as a determinant factor in their plays. Furthermore, a reflection should be made on the scene that incorporates or is carried out in intermediatic events, analyzing how digital technologies (re)configure compositional processes of the plays by GAG Phila7, in the city of São Paulo/SP. For such, the dissertation is organized in three sections comprising four moments, to wit: brief overview of the field, contextualization, poetic analysis and synthesis. Qualitative methods are used as the methodological proposal: semi-structure interview, note and document taking (program, website, playing book, disclosure material for advertising text, photographs, and videos). Within the universe of qualitative research, it works with the epistemological perspective of the Gadamer philosophical hermeneutics. The possibilities allowed by the double virtual (Internet/web) generated a type of theater with another material basis and new forms of organization and structure, being possible to perceive that such technological advances and the arts are mutually contaminated, generating a dislocation in the logics of theatrical composition, movement beginning with the artistic vanguards, gradually intensified, thus offering new possibilities of constructions and hybridization of the of the most different possible types. Experiment ―Profanações_superfície de eventos de construção coletiva‖, idealized by Phila7 is inserted in this perspective. Object of the discussion of such research, the experiment works with possible poetics arising from the intersection with the digital technologies, aiming at identifying and problematizing the challenges from the technological evolution and expansion in a scenic context

Interface cena e tecnologia : composições cênicas mediadas

Based on the presupposition that the arts in the West always counted on resources, supports, and devices pertaining to its time context, an reflection is intended regarding the scenic compositions mediated by digital technologies do. Such technologies are inserted in the daily routine, also composing artistic experiments, thus playing a dialogical role with the art/technology intersection. Therefore, the proposal is to investigate what relationships are established in the contemporary theatrical scene from the contagion by digital technologies, aiming at establishing this parallel through a dialogue with the authors discussing the subject, and also based on the group practices having technological resources as a determinant factor in their plays. Furthermore, a reflection should be made on the scene that incorporates or is carried out in intermediatic events, analyzing how digital technologies (re)configure compositional processes of the plays by GAG Phila7, in the city of São Paulo/SP. For such, the dissertation is organized in three sections comprising four moments, to wit: brief overview of the field, contextualization, poetic analysis and synthesis. Qualitative methods are used as the methodological proposal: semi-structure interview, note and document taking (program, website, playing book, disclosure material for advertising text, photographs, and videos). Within the universe of qualitative research, it works with the epistemological perspective of the Gadamer philosophical hermeneutics. The possibilities allowed by the double virtual (Internet/web) generated a type of theater with another material basis and new forms of organization and structure, being possible to perceive that such technological advances and the arts are mutually contaminated, generating a dislocation in the logics of theatrical composition, movement beginning with the artistic vanguards, gradually intensified, thus offering new possibilities of constructions and hybridization of the of the most different possible types. Experiment ―Profanações_superfície de eventos de construção coletiva‖, idealized by Phila7 is inserted in this perspective. Object of the discussion of such research, the experiment works with possible poetics arising from the intersection with the digital technologies, aiming at identifying and problematizing the challenges from the technological evolution and expansion in a scenic context