1,086 research outputs found
How to read<i> how to do things with words</i>: on Sbisà’s proof by contradiction
No full textMidway through How to Do Things With Words, J.L. Austin’s announces a “fresh start” in his efforts to characterize the ways in which speech is action, and introduces a new conceptual framework from the one he has been using up to that point. Against a common reading that portrays this move as simply abandoning the framework so far developed, Marina Sbisà contends that the text takes the argumentative form of a proof by contradiction, such that the initial framework plays an instrumental role as part of a proof in favour of the subsequent one. Despite agreeing with Sbisà’s broad instrumentalist approach, we argue that her regimentation of Austin’s narrative into a proof by contradiction ultimately fails - both as a proof and as an interpretation of Austin. Instead, we suggest that a better way of interpreting the peculiar structure of How to Do Things With Words is as a pedagogical exercise whose point is to bring a concealed alternative into view in a manner that also explains its initial concealment, and that this approach provides richer resources for supporting Sbisà’s own conventionalist understanding of illocution than that afforded by reading the text as a proof by contradiction.</p
The Wanderer
No full textThis chapter examines the centrality of wandering to the experience of being Greek. From earliest times, the Greeks were in restless movement, propelled from their familiar habitat either by human force or by the exigencies of their environment. Wanderer refers to the tens of thousands of men, women, and children who left their homes without a settled route or fixed destination. A wanderer in this sense was not only apolis (without a city-state), but also aphrêtôr (without a phratry), and anestios (without a hearth). In other words, he or she was stripped not only of civic and political identity, but also, even more fundamentally, of social and familial identity. Without attachment to a phratry, a Greek was denied membership of one of the primary divisions of Greek society, and without attachment to a hearth, he or she was estranged from that most basic unit of Greek life, namely the oikos or oikia (home, household).</p
Wondering Wanderer: A Collection of Personal Reflections
No full textabstract: Wondering Wanderer: A Collection of Personal Reflections is a creative project that captures the lifestyle and nuances of Florence, Italy through photographs paired with nonfiction flash captions. Excerpts from the novel, The Stones of Florence by Mary McCarthy served as the inspiration for these pieces
Boethian similitude in 'Deor' and The 'Wanderer'
No full textNone of the many claims that either Deor or The Wanderer has received formative influence from Boethius's De consolatione Philosophiae is without problems. In an analysis of concepts like fate and Providence as used in The Wanderer and the Latin and Old English redactions of the Consolatio, it becomes clear that Boethian thought and medieval Western Christianity shared a number of axioms that predict their agreement in such matters. However, there are also differences between the two by which their respective adherents may be told apart. When such differences are sought out in The Wanderer and Deor, it is found that both these poems convey messages essentially incompatible with the Boethian world-view. While the possibility of fragmentary borrowing cannot be excluded, neither poet reflects in his work the message at the heart of the Boethian Consolatio.</p
Airy wanderer line ensembles
No full textIn (J. Stat. Phys. 132, 275-290, 2008) Borodin and P\'ech\'e introduced a
generalization of the extended Airy kernel based on two infinite sets of
parameters. For an arbitrary choice of parameters we construct determinantal
point processes on for these generalized kernels. In addition,
for a subset of the parameter space we show that the point processes can be
lifted to line ensembles on , which satisfy the Brownian Gibbs
property. Our ensembles generalize the wanderer line ensembles introduced by
Corwin and Hammond in (Invent. Math. 195, 441-508, 2014).Comment: 76 pages, 8 figure
Cain the wanderer : A vision of heaven : Darkness, and other poems
No full textCAIN THE WANDERER : A VISION OF HEAVEN : DARKNESS, AND OTHER POEMS
Cain the wanderer : A vision of heaven : Darkness, and other poems ([2]r)
Cover ( - )
Vortitelblatt ([1]r)
Titelseite ([2]r)
Dedication ([3]r)
List Of Contents ([4]r)
Dialogue between the Author and Friend (1)
Cain The Wanderer (21)
Dramatis Personae (23)
Prologue (25)
Scene I. (37)
Scene II. (53)
Scene III. (71)
Scene IV. (86)
Scene V. (94)
Scene VI. (97)
Scene VII. (103)
Scene VIII. (121)
Scene IX. (126)
Scene X. (136)
Scene XI. (144)
Scene XII. (147)
Notes to Cain The Wanderer (153)
Miscellaneous Poems (155)
A Vision Of Heaven (157)
Darkness (171)
On Deity (179)
Notes [On Deity] (203)
Sea-Side Reverie (227)
The Naid (232)
London At Midnight (241)
To John Martin (248)
Song. O never gorget (255)
The Exile's Farewell (257)
Song. Where when the freeman (259)
Pleasure And The Butterfly (260)
Song. Hark, the fairy music ending (261)
Stanzas (262)
Song. Wilt you yet tell me? (267)
Song. No more, no more (268)
Stanzas (270)
Stanzas.* (273)
Ode (275)
Napoleon Bonaparte (282)
Notes. Napoleon Bonaparte (299)
Walter De Tracy (307)
Stanzas (314)
To The Spirit Of My Life (317)
The Curse Of Gracchus (320)
Bath (325)
Finis Poetarum (329)
Errata ([1]r)
Advertising (1
A Study of Franz Peter Schubert&apos;s Wanderer Fantasie, Op.15
No full text본 논문은 필자의 대학원 졸업 연주회에서 연주된 작품들 중에서 슈베르트(Franz Peter Schubert, 1797-1828)의 「Wanderer Fantasie Op.15」를 연구한 것이다. 이 곡은 그의 유명한 가곡 「Der Wanderer D.493」 의 선율과 반주 부분을 주제로 하여 전곡에 사용하였다.
슈베르트의 「Wanderer Fantasie Op.15」는 외형적으로 볼 때 조성, 박자, 빠르기 등이 서로 뚜렷하게 구분되는 네 개의 악장으로 이루어져 있지만, 작품 전체가 완전한 종지 없이 하나로 연결된다. 또 이 작품은 하나의 주된 동기가 각 악장에 변형되어 제시됨으로써 작품 전체가 하나의 통일성을 갖게 된다.
제 1악장은 고전 시대의 소나타와는 차이가 있지만 소나타 형식의 3부분으로 이루어져 있다. 같은 동기에서 파생된 세 개의 주제가 서로 유기적인 전개를 보이면서 ♩ ♬ ♩ ♬의 리듬형을 끊임없이 사용하여 박진감과 추진력을 보여준다. 제 2악장은 가곡 「Der Wanderer D.493」의 선율을 여러 가지 형태로 연주한 자유로운 변주곡 형태의 악장이고, 제 3악장은 ♩. ♪ ♩의 리듬형을 계속 사용하여 왈츠를 삽입한 쾌활한 스케르조 악장이다. 제 4악장은 처음 시작이 Fugue의 제시부에서 나타나는 주제의 도입과 유사하게 나타나 방대한 코다(coda)로 끝맺음된다. 이처럼 각 악장은 형식과 내용 면에서 각각 독립적이고 대조되는 음악적 특색을 갖고 있다.
슈베르트의 음악은 고전주의 형식에 바탕을 둔 음악 위에 낭만적 서정성을 특유의 선율적 재능을 통한 아름다운 가창적 멜로디와 미묘한 화성 변화를 통한 음색 효과 등을 작품에 표현한 작곡가로 고전주의와 낭만주의 시대의 과도기적 시점에서 자신의 이상을 음악으로 표현하고자 끊임없이 시도한 작곡가였다고 할 수 있다.;This study inquires into Franz Peter Schubert&apos;s &quot;Wanderer Fantasie&quot; Op.15, one of the pieces the author played for a graduation recital. Every movement of this piece contains melody and accompaniment of Schubert&apos;s famous song “Der Wanderer,” D. 493 as its theme.
Although Schubert&apos;s &quot;Wanderer Fantasie&quot; Op.15 consists of four movements whose tonalities, beats and tempos are clearly distinguished, it is connected perfectly without cadence. A modified motif in each movement gives uniformity to the whole piece.
The first movement consists of three parts like sonata, though it is different from sonata in the classic era. Three themes derived from the same motif consistently use the rhythm of ♩ ♬ ♩ ♬, creating an exciting and vigorous atmosphere. The second movement is a free set of variations that play the melody of “Der Wanderer,” D. 493 in various ways. The third is the vivacious scherzo movement with a waltz that consistently uses the rhythm of ♩．♪ ♩. The fourth movement starts like an introduction to theme presented in the exposition of the fugue and ends with a magnificent coda. Each movement of &quot;Wanderer Fantasie&quot; Op.15 has independent and contrasting musical features in terms of form and content.
Schubert&apos; music expresses the lyricism of the romantic period based on classical form. Schubert is a composer who expressed the effects of tone in musical works through beautiful vocal melody and delicate changes in harmony using his peculiar talent in melody. He continuously tried to express his desire through music in the transitory period of classicism and romanticism.Ⅰ. 서론 = 1
1. 연구의 목적 및 의의 = 1
2. 연구의 방법 및 범위 = 2
Ⅱ. 슈베르트 피아노 음악의 특성 = 4
Ⅲ. Fantasie와 가곡「Der Wanderer D.493」에 관한 고찰 = 7
1. Fantasie의 개념 = 7
2. Fantasie의 시대적 변천 과정 = 8
3. Fantasie의 악곡 형태 = 18
4. 가곡「Der Wanderer D.493」에 관하여 = 19
Ⅳ. F. Schubert 「Wanderer Fantasie, Op.15」분석 연구 = 24
1. 작품 배경 = 24
2. 작품 분석 = 27
가. 제 1악장 - 4/4박자, Allegro con fuoco ma non troppo = 27
나. 제 2악장 - 4/4박자, Adagio = 41
다. 제 3악장 - 3/4박자, Presto = 50
라. 제 4악장 - 4/4박자, Allegro = 60
Ⅴ. 결론 = 70
참고문헌 = 73
Abstract = 7
On 'Translating' the Old English THE WANDERER and other texts
No full textPDF introduction and link to the website of poet Michael Gibson, where he discusses his recent translations of 'The Wanderer' and 'Cædmon’s Song'. Includes a discussion of metrics, scansion and the theory of translation, and audio clips of the poet reading in both Old English and in translation. </p
Russian Wanderer in the Post-Soviet Space
No full textIn "Russian Wanderer in the Post-Soviet Space: Homelessness in Ilichevsky's
Matisse," Jordan examines Aleksandr Ilichevsky's conceptualization of homelessness
as a state of existential not belonging that beset the author and his peers when the
Soviet system collapsed in the early 1990s. The novel's protagonist mitigates his
metaphorical homelessness by embracing actual homelessness, using it as a "part of a
flight to a deeper awareness" (Widmer); yet Jordan also shows that homelessness in
Matisse draws on the Russian spiritual tradition of strannichestvo, or departure from
the secular world in pursuit of a sacred destination. By bringing into the discussion the
writings of Dostoevsky, Berdyaev, and Ioann Lestvichnik, Jordan shows that although
strannichestvo in Matisse has lost its religious underpinnings, it remains primarily a
spiritual concept that allows an individual to break free from a mass society and gain
the kind of fulfillment that the Soviet state promised but failed to deliver
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