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On the Monitor, Darkly. from Mediation to Media by Way of Reality 73
Siegener Periodicum zur Internationalen____ Empirischen______ Literaturwissenschaft Herausgegeben von Reinhold Viehoff (Halle/Saale) Gebhard Rusch (Siegen) Jg. 25 (2006), Heft 1 Peter Lang Internationaler Verlag der Wissenschaften SPIEL Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPIEL: Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Jg. 25 (2006), Heft 1 Peter Lang Frankfurt am Main • Berlin • Bern • Bruxelles • New York • Oxford • Wien Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://www.d-nb.de> abrufbar. ISSNISSN 2199-80780722-7833 © Peter Lang GmbH Internationaler Verlag der Wissenschaften Frankfurt am Main 2009 Alle Rechte Vorbehalten. Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. www.peterlang.de Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPIEL 25 (2006), H. 1 Mediale Wende - Ansprüche, Konzepte und Diskurse / Mediatic turn - Claims, Concepts, and Discourses hrsg. von / ed. by Theo Hug (Innsbruck) Die Heftbezeichnung SPIEL 25 (2006), H. 1 ist produktionstechnischen Gründen geschuldet und bezieht sich nicht auf das tatsächliche Erscheinungsjahr dieses Bandes, 2008. Dafür bittet die Redaktion um Verständnis. Das Heft wird zitiert: Theo Hug (Hg.), 2008: Mediale Wende - Ansprüche, Konzepte und Diskurse. Frankfurt/Main: Peter Lang. (= special issue SPIEL, 25 (2006), H. 1). Owing to technical reasons of production, the title SPIEL 25 (2006), H. 1 does not refer to the actual year of publication of this issue. The editorial team asks for the readers’ indulgence. -
Postmodern Narration in Umberto Eco's the Name of The
Shanlax International Journal of English 1 Umberto Eco, Italy‟s most celebrated philosopher, semiotician, literary critic, linguist and novelist, is widely acclaimed for many of his influential scholarly works. His novels The Name of the Rose, Foucault’s Pendulum, Baudolino, An Island of the Day Before, Mysterious Flame of Queen Loana, The Prague Cemetery have gained much adulation from his readers. His recent novel Numero Zero has also earned greater Dr. B. Kathiresan popularity. An exceptional narrative style imposed in these Associate Professor of English novels identifies them predominantly with postmodern Thiruvalluvar University literature. The Name of the Rose is a postmodern novel where Eco recites a fictious tale of Adso of Melk who inturn narrates S.Pushpanjali his past to the readers. Adso‟s story deals with William along Research Scholar, Thiruvalluvar University with his novice Adso, solving the mystery of seven bizarre deaths that occurs in the Benadictine Monastery where they come o n a mission to partake in a theological disputation. The postmodern narration in the novel harnesses temporal distortion and unreliable narration. Temporal distortion refers to a technique that the postmodern authors implement in their novels to convey the story. It includes employing features like fragmentation and non- linear narration. Fragmentation is the disarray of events whereas non-linear narration is the usage of distorted timeline in the portrayal of events. A novel, in general, usually incorporates a structure that assembles the compendium of information belonging to the story in an organized fashion. When this fabrication breaks, there is an interruption in the disposal of the events of the story, affecting the totality of meaning. -
Ngafilms-Umberto-Eco-And-Film.Pdf
The universe of action depicted by the cinema is already a universe of signs. — umberto eco, “sulle articolazioni del codice cinematografico” 1 IPERSIGNIFICATO: UMBERTO ECO AND FILM A literary and cultural giant whose influence can be seen in many aspects of our rapidly evolving media, Umberto Eco (1932 – 2016) produced a critical oeuvre that remains import- ant to the study of cinema. Throughout decades of interdis- ciplinary writing, Eco seamlessly moved between academic work, semiotic analysis, acclaimed novels, and more informal cultural commentary, leaving indelible marks on each area. Eco once explained his approach as concerned “with the problems of language, communication, organization of the systems of signs that we use to describe the world and to tell it to one another,” acknowledging the relationship between his own work and the field of semiotics.2 A tracing of Eco’s theories inevitably recounts the history of cinema and reveals a mutual development. The film series at the National Gallery to cinematic language; if language is traditionally a pragmatic of Art illustrates the inextricable link between his work and its solution through which meaning is inevitably impoverished, subject matter, as the cinema itself was informed and chal- the moving image allows us to reclaim some of that meaning, lenged by his theoretical approach while also enriched by his a result the writer would refer to as ipersignificato.3 contributions. The films presented in the Gallery’s series distill Eco’s work Although his direct encounters with filmmaking were fleet- and map his critical footsteps, following a loose chronology ing — among them a near screenwriting collaboration with that illustrates the development of the theory and practice of Michelangelo Antonioni — Eco was, among many other filmmaking over the past century, while noting the progres- innovative roles, a founding father of film semiotics, a disci- sive awareness of what a language of film has the potential to pline propelled forward in a series of memorable debates at be. -
Eco, Umberto Y Martini, Carlo Maria – En Qué Creen Los Que No Creen
http://biblioteca.d2g.com ¿En qué creen los que no creen? Umberto Eco Carlo Maria Martini (Arzobispo de Milán) http://biblioteca.d2g.com En que creen los que no creen? Un diálogo sobre la ética en el fin del milenio Umberto Eco Carlo Maria Martini (Arzobispo de Milán) Con la intervención de Emanuele Severino Manlio Sgalambro Eugenio Scalfari Indro Montanelli Vittorio Foa Claudio Martelli Traducción de Carlos Gumpert Melgosa temas de hoy. http://biblioteca.d2g.com Este libro no podrá ser reproducido, ni total ni parcialmente, sin el previo permiso escrito del editor. Todos los derechos reservados. © 1996, Atlantide Editoriale S. p. A. © 1997, EDICIONES TEMAS DE HOY, S.A. (T.H.) Edición en español realizada con la mediación de la Agencia Letteraria Eulama Título original: In cosa crede chi non crede? Paseo de la Castellana, 28. 20046 Madrid Diseño de cubierta: Rudesindo de la Fuente Fotografías de cubierta: Cover (Umberto Eco) y Contífoto (Cario Maria Martini) Primera edición: octubre de 1997 ISBN (edición italiana): 88-86838-03-4 ISBN (edición española): 84-7880-876-0 Compuesto en J. A. Diseño Editorial, S. L. Reimpresión para Editorial Planeta Argentina S.A.I.C. Independencia 1668, 1100, Bs. As. Primera edición argentina: mayo de 1998 Hecho el depósito que prevé la ley 11.723 ISBN: 950-730-039-2 Impreso en la Argentina http://biblioteca.d2g.com Este libro El diálogo epistolar entre el cardenal Cario Maria Martini y Umberto Eco, que ocupa la primera parte del presente libro, dio comienzo en el primer número de la revista Liberal —aparecido el 22 de marzo de 1995— y prosiguió con ritmo trimestral. -
Der Harz, Landschaft Und Kulturraum (Id*
DER HARZ, LANDSCHAFT UND KULTURRAUM (ID* Von FRIEDRICH GREIL* Aus Teil (1) sind noch folgende Pers6nlichkeiten aus Literatur und Kunst nachzutragen: Agricola (1494-1566)-Schnitter, Iatinisiert (eigtl. Schneider), Schuler Luthers, in dessen Heimatstadt Eisleben geboren. Agricola gab eine Sprichw6rter-Sammlung heraus, die noch heute von Sprachwissenschaftlern beachtet wird. Hans Witten, Bildhauer, Holzschnitzer, welcher wahrscheinlich aus Goslar stammt oder aus der Nahe (Daten unbekannt), war Ende des 15. und Anfang des 16. Jahrhunderts in Niedersachsen und Obersachsen tatig. Bertihmt wurden seine um 1505 entstandene Marien- klage (Goslar, Jakobi-Kirche) und die etwas spater geschaffene Tulpenkanzel im Dom zu Freiberg. Leider ist der Name Hans Witten (Initialen HW) in den meisten heutigen Lexika nicht mehr zu finden. Es ist bemerkenswert, daB die beiden Bildhauer, deren Kunst einen letzten H6hepunkt der Spatgotik bedeutet, Riemenschneider und Witten, aus dem Harz stammen, einander aber nicht gekannt haben. Fern der Heimat schufen sie ihre unvergang- lichen Meisterwerke. Friedrich Wilhe!m Zacharid (1726-77), in Frankenhausen am Sudharz geboren, schrieb komische Epen uber rauf- und sauflustige Studenten. Bekannt wurde sein heiteres Helden- gedicht ,,Der Renommist." Eberhard Schmidt (1746-1824), geb. und gest. in Halberstadt,bildete mit seinem Freund Gleim den Mrttelpunkt des eme tandelnde ~~iokoko Lyrik pflegenden Halberstadter Dichterkreises. Caroline v. Sche!ling (1763-1809), geb. Michaelis, geb. in G6ttingen, verlebte dort ihre Kindheit und Jugend. Mit dem Shakespeare-Ubersetzer A.W. Schlegel verheiratet und mit dessen Bruder Friedrich Schlegel, dem geisti_~en Haupt der Fruhromantik, befreundet. wurde sie eine der bedeutendsten Frauen ihrer Zeit. (1803 Ehe mit dem Philosophen Fried- rich Wilhelm von Schelling). Wichtig ist ihre Korrespondenz: ,.Caroline. -
How to Write a Thesis
How to Write a Thesis How to Write a Thesis U E translated by Caterina Mongiat Farina and Geoff Farina foreword by Francesco Erspamer The MIT Press Cambridge, Massachusetts London, England © 2015 Massachusetts Institute of Technology Translated from the original Italian, Come si fa una tesi di laurea: le materie umanistiche, © 1977/2012 Bompiani/RCS Libri S.p.A., Via Angelo Rizzoli 8 – 20132 Milano All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected]. his book was set in Chapparal Pro by the MIT Press. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data is available. isbn: 978-0-262-52713-2 10 9 8 7 6 5 4 3 2 1 CONTENTS Foreword by Francesco Erspamer ix Translators’ Foreword xv Introduction to the Original 1977 Edition xix Introduction to the 1985 Edition xxiii 1 THE DEFINITION AND PURPOSE OF THE THESIS 1.1 What Is a Thesis, and Why Is It Required? 1 1.2 For Whom Is This Book Written? 4 1.3 The Usefulness of a Thesis after Graduation 5 1.4 Four Obvious Rules for Choosing a Thesis Topic 7 2 CHOOSING THE TOPIC 2.1 Monograph or Survey? 9 2.2 Historical or Theoretical? 13 2.3 Ancient or Contemporary? 16 2.4 How Long Does It Take to Write a Thesis? 17 2.5 -
WBHR 2015 2.Pdf
i i i i Department of Historical Sciences Department of History Faculty of Philosophy and Arts Faculty of Humanities University of West Bohemia in Pilsen University of Hamburg Tylova 18 Von-Melle-Park 6 301 25 Pilsen D-20146 Hamburg Czech Republic Federal Republic of Germany i i i i i i i i i i i i i i i i West Bohemian Historical Review V j 2015 j 2 Department of Historical Sciences Department of History Faculty of Philosophy and Arts Faculty of Humanities University of West Bohemia in Pilsen University of Hamburg Tylova 18 Von-Melle-Park 6 301 25 Pilsen D-20146 Hamburg Czech Republic Federal Republic of Germany i i i i i i i i Editors-in-Chief: Lukáš NOVOTNÝ / Plzeˇn/ Pilsen Gabriele CLEMENS / Hamburg Redaction: Roman KODET The journal is abstracted in The Central European Journal of Social Sciences and Humanities (CEJSH). Since October 2015 the journal has been included in the prestigious European database of scientific jour- nals ERIH PLUS (European Reference Index for the Humanities and the Social Sciences). Journal’s title abbreviation: WBHR Online at http://www.ff.zcu.cz/khv/en/about/research/vbhr.html ISSN 1804-5480 MK CREˇ 19550 i i i i i i i i Editorial board Stanislav Balík / Faculty of Law, University of West Bohemia, Pilsen, Czech Republic Gabriele Clemens / Faculty of Social Sciences, University Hamburg, Hamburg, Germany Anselm Doering-Manteuffel / Faculty of Humanities, University of Tübingen, Tübingen, Germany Ewald Frie / Faculty of Humanities, University of Tübingen, Tübin- gen, Germany Radek Fukala / Faculty of Philosophy, J. -
Carlo Maria Martini, Umberto
Carlo Maria Martini Umberto Eco IN COSA CREDE CHI NON CREDE ? CON INTERVENTI DI EMANUELE SEVERINO MANLIO SGALAMBRO EUGENIO SCALFARI INDRO MONTANELLI VITTORIO FOA CLAUDIO MARTELLI Indice IX Questo libro I. Dialoghi 5 UMBERTO ECO , L'ossessione laica della nuova Apocalisse 13 CARLO MARIA MARTINI , La speranza fa della Fine "un fine" 21 UMBERTO ECO , Quando inizia la vita umana? 29 CARLO MARIA MARTINI , La vita umana partecipa della vita di Dio 37 UMBERTO ECO , I maschi e le femmine secondo la Chiesa 51 CARLO MARIA MARTINI , La Chiesa non soddisfa attese, celebra misteri 61 CARLO MARIA MARTINI , Dove trova il laico la luce del bene? 69 UMBERTO ECO , Quando entra in scena l'altro, nasce l'etica II. Coro 83 EMANUELE SEVERINO , La tecnica è il tramonto di ogni buona fede 95 MANLIO SGALAMBRO , Il bene non può fondarsi su un Dio omicida 99 EUGENIO SCALFARI , Per agire moralmente affidiamoci all'istinto 109 INDRO MONTANELLI , Della mancanza di fede come ingiustizia 113 VITTORIO FOA , Come vivo nel mondo, ecco il mio fondamento 117 CLAUDIO MARTELLI , Il credo laico dell'umanesimo cristiano III. Ripresa 135 CARLO MARIA MARTINI , Ma l'etica ha bisogno della verità 146 Indice dei nomi Questo libro Questo libro inaugura la collana dei "Sentieri" di liberal, che nasce per rendere autonome e ancora più visibili le grandi direttrici di ricerca in cui la nostra rivista impegna le proprie energie, unite ai contributi di molti importanti collaboratori. Il dialogo epistolare tra il cardinale Carlo Maria Martini e Umberto Eco, che compone la prima parte, prese avvio sul primo numero di liberal - uscito il 22 marzo 1995 - ed è proseguito con cadenza trimestrale. -
Ten Thomas Bernhard, Italo Calvino, Elena Ferrante, and Claudio Magris: from Postmodernism to Anti-Semitism
Ten Thomas Bernhard, Italo Calvino, Elena Ferrante, and Claudio Magris: From Postmodernism to Anti-Semitism Saskia Elizabeth Ziolkowski La penna è una vanga, scopre fosse, scava e stana scheletri e segreti oppure li copre con palate di parole più pesanti della terra. Affonda nel letame e, a seconda, sistema le spoglie a buio o in piena luce, fra gli applausi generali. The pen is a spade, it exposes graves, digs and reveals skeletons and secrets, or it covers them up with shovelfuls of words heavier than earth. It bores into the dirt and, depending, lays out the remains in darkness or in broad daylight, to general applause. —Claudio Magris, Non luogo a procedere (Blameless) In 1967, Italo Calvino wrote a letter about the “molto interessante e strano” (very interesting and strange) writings of Thomas Bernhard, recommending that the important publishing house Einaudi translate his works (Frost, Verstörung, Amras, and Prosa).1 In 1977, Claudio Magris held one of the !rst international conferences for the Austrian writer in Trieste.2 In 2014, the conference “Il più grande scrittore europeo? Omag- gio a Thomas Bernhard” (The Greatest European Author? Homage to 1 Italo Calvino, Lettere: 1940–1985 (Milan: Mondadori, 2001), 1051. 2 See Luigi Quattrocchi, “Thomas Bernhard in Italia,” Cultura e scuola 26, no. 103 (1987): 48; and Eugenio Bernardi, “Bernhard in Italien,” in Literarisches Kollo- quium Linz 1984: Thomas Bernhard, ed. Alfred Pittertschatscher and Johann Lachinger (Linz: Adalbert Stifter-Institut, 1985), 175–80. Both Quattrocchi and Bernardi -
Il Castellet 'Italiano' La Porta Per La Nuova Letteratura Latinoamericana
Rassegna iberistica ISSN 2037-6588 Vol. 38 – Num. 104 – Dicembre 2015 Il Castellet ‘italiano’ La porta per la nuova letteratura latinoamericana Francesco Luti (Universitat Autònoma de Barcelona, España) Abstract This paper seeks to recall the ‘Italian route’ of the critic Josep Maria Castellet in the last century, a key figure in Spanish and Catalan literature. The Italian publishing and literary worlds served as a point of reference for Castellet, and also for his closest literary companions (José Agustín Goytisolo and Carlos Barral). All of these individuals formed part of the so-called Barcelona School. Over the course of at least two decades, these men managed to build and maintain a bridge to the main Italian publishing houses, thereby opening up new opportunities for Spanish literature during the Franco era. Thanks to these links, new Spanish names gained visibility even in the catalogues of Italian publishing houses. Looking at the period from the mid- 1950s to the end of the 1960s, the article focuses on the Italian contacts of Castellet as well as his publications in Italy. The study concludes with a comment on his Latin American connections, showing how this literary ‘bridge’ between Barcelona and Italy also contributed to exposing an Italian audience to the Latin American literary boom. Sommario 1. I primi contatti. – 2. Dario Puccini e i nuovi amici scrittori. – 3. La storia italiana dei libri di Castellet. – 4. La nuova letteratura proveniente dall’America latina. Keywords Literary relationships Italy-Spain. 1950’s 1960’s. Literary criticism. Spanish poetry. Alla memoria del Professor Gaetano Chiappini e del ‘Mestre’ Castellet. -
This Article Explores Umberto Eco's Contribution to the Current Debate
9-di martino_0Syrimis 12/19/12 2:36 PM Page 189 Between “n ew Realism ” and “w eak thought ”: umBeRto eco ’s “n egative Realism ” and the discouRse of late PostmodeRn Impegno loRedana di maRtino Summary: the recent theory of a return of realism has sparked a lively and somewhat heated debate among contemporary italian thinkers, gen - erating a split between the supporters of the philosophy of weak thought, and those who argue for an overcoming of postmodernism and the devel - opment of a new philosophy of realism. this article explores umberto eco’s contribution to this debate, focusing both on eco’s theory of “neg - ative realism” and on his latest historiographic metafiction. i argue that while eco’s recent theory further distances the author from the philoso - phy of weak thought, it does not call, as does maurizio ferraris’s philos - ophy of new realism, for an overcoming of postmodernism. instead, fol - lowing the outward shift that is typical of late postmodern impegno , eco’s later work creates a critical idiom that more clearly uses postmodernist self-awareness as a strategy to promote self-empowerment and social emancipation . this article explores umberto eco’s contribution to the current debate on the return of realism in order to shed light on the author’s position in the dis - pute between realisti— the supporters of the so-called philosophy of new realism —such as maurizio ferraris, and debolisti —the supporters of the postmodern philosophy of weak thought—such as gianni vattimo. my goal is to show that, while eco’s recent theory of “negative realism” further dis - tances the author from the philosophy of weak thought, it does not argue, as does ferraris’s philosophy of new realism, for an overcoming of postmod - ernism. -
In Den Abgrund Werf Ich Meine Seele Die Liebesgeschichte Von Ricarda Und Richard Huch
Anne Gabrisch In den Abgrund werf ich meine Seele Die Liebesgeschichte von Ricarda und Richard Huch ISBN-10: 3-312-00264-8 ISBN-13: 978-3-312-00264-1 Weitere Informationen oder Bestellungen unter http://www.nagel-kimche.ch/978-3-312-00264-1 sowie im Buchhandel In den Abgrund werf ich meine Seele | Anne Gabrisch Braunschweig und der Skandal Als die zweiundzwanzigjährige Ricarda Huch am Silvestertag 1886 Braunschweig verließ, um in Zürich zu studieren, war sie bereits seit einigen Jahren die Geliebte von Richard Huch, dem Ehemann ihrer Schwester Lilly. Und es mögen weniger die Verführungskünste des um vierzehn Jahre älteren gutaussehenden Rechtsanwaltes gewesen sein, welche sie in dieses Verhältnis gebracht hatten, als vielmehr ihr Temperament und die Langeweile ihres Daseins als höhere Tochter. Der Braunschweiger Klatsch wertete die überraschende Abreise als Flucht aus dem einen in den anderen Skandal: die Bezeichnung "Studentin in Zürich" deutete ebenfalls auf Anstößiges. Die Familie Huch galt dem Braunschweiger Bürgertum von jeher als zumindest exzentrisch. Daß sie "außerhalb der sogenannten besseren Gesellschaft" standen, erzählt Ricarda Huch in den ‹Jugendbildern› und macht für die Mißbilligung, gar Ablehnung, die man ihnen entgegenbrachte, den "Gegensatz von Freiheit und Spießbürgerlichkeit" verantwortlich. Den "Abenteurer" nennt sie ihren Großvater Heinrich Huch mit deutlicher Sympathie. Heinrich Huch war, nach unsteten Wanderjahren, aber immerhin mit einer Hamburger Patriziertochter als Ehefrau, um 1818 in der Stadt aufgetaucht, hatte die Hagenschänke gekauft und eine Zeitlang unter regem Zuspruch betrieben. Er erfand das "Huchsche Pulver", mit dem er die Bauern der Umgebung kurierte (auch umsonst, wenn es not tat), und begründete in Braunschweig das "Feuerlöschwesen".