Lo Spirito e il potere. Questioni di pneumatologia politica, ed.
Nicoletti, Brescia , ; English translation in: Von Platon bis Fukuyama. Biologistische und zyklische Konzepte in der Geschichtsphilosophie der Antike und des Abendlandes, ed. Engels, Bruxelles , Philosophy and the Interpretation of the Bible, in: Ghia, Trento , Aufgaben der Naturphilosophie heute, in: Die Aufgaben der Philosophie heute, ed.
Schenk, Wien , Zur Philosophie der Geschichte der Sozialwissenschaften, in: Korenke, Baden-Baden , ; abbreviated version in: Erfahrung, ; Italian translation in: Quaderni di teoria sociale 5 , Religion, Theologie, Philosophie, in: Auf neue Art Kirche sein. Rationalism, Determinism, Freedom, in: On Quanta, Mind and Matter.
Masculine given names
Hans Primas in Context, ed. Gerechtigkeit zwischen den Generationen, in: Was steht uns bevor? Geburtstages von Helmut Schmidt, ed. Sommer, Berlin , ; Russian translation in: Ebropa i mir, Moscow , Philosophieien aus dem Diskurs, ed. Communio 27 , ; Czech translation in: Teologicky Sbornik 1 , ; Russian translation in: Sbornik nauchnukh statej k iubileiu professora N. Bykova, Moscow , Nickels, Frankfurt , Neue Wege des Humanismus, ed.
Geerk, Basel , Der Darwinismus als Metaphysik together with Ch. Science, Philosophy and Culture 31 , Hegel und Spinoza, in: Tijdschrift voor Filosofie 59 , ; Korean translation in: Im Sokjin gjosu chongnyonginjomnonchong, Seoul , Graduate Faculty Philosophy Journal 19, No. Mein Weg zum objektiven Idealismus, in: Lulls Desconort zwischen Heraklit und Nietzsche, in: Constantes y fragmentos del pensamiento luliano, ed. Philosophy in an age of overinformation, or: What we ought to ignore in order to know what really matters, in: Aquinas 39 , as well as in: Ethics of the Professions: Medicine, Business, Media, Law, edited by I.
Raatzsch, Leipzig , Von der Unabdingbarkeit republikanischer Tugend im Alltag der Politik, in: Ethik und Sozialwissenschaften 6 , and Und wenn ja, welche Entwicklung? Entwicklung mit menschlichem Antlitz, ed. Tagungsberichte der Deutschen Welthungerhilfe e. IBS-Materialien 37, Bielefeld , Ontologie und Ethik in Hans Jonas, in: Im Dialog mit der Zukunft, ed.
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Graduate Faculty Philosophy Journal 23, No. Voprosy filosofii 15 , ; Individual and collective identity crises, in: European philosophy of medicine and health care Vo. Clio 23 , as well as in: Hollywood and American Historical Film, ed. Wils, Paderborn , ; Serbocroatian translation in: Theoria , Ethische Prinzipien der Friedenssicherung, in: Hva er de sentrale forskjellene mellom den antikke og den moderne filosofien?
Norsk Filosofisk Tidsskrift 28 , Die Idee der Hochschule angesichts der Herausforderungen des Hochschulen der Zukunft - Erneuert oder zweite Wahl. Norsk Filosofisk Tidsskrift 27 , ; English translation in: Belief and Metaphysics, ed. Candler, London , The Third World as a Philosophical Problem, in: Social Research 59 , as well as in: Fornet- Betancourt, Aachen , and in: Fornet- Betancourt and J. Senent, Sevilla , , and in: Natur in der Philosophie, ed.
Zaczyk, Frankfurt , Versuch einer ethischen Bewertung des Kapitalismus, in: Breuninger, Ulm , ; Hungarian translation in: Heideggers Philosophie der Technik, in: Universalismus, Nationalismus und die neue Einheit der Deutschen, ed. Prima Philosophia 4 , as well as in: Nature and Lifeworld, ed. Thomassen, Odense , ; partial Czech translation in: Filosoficky Casopis 45 , with commentary ; French translation in: Natur und Naturwissenschaft in Vicos neuer Wissenschaft vom Geist, in: Die Trennung von Natur und Geist, ed.
Graduate Faculty Philosophy Journal 13, No. Wissenschaftsethik unter philosophischen Aspekten, ed. Breuninger, Ulm , ; Korean translation in Hegel-Yongu 6 , ; Italian translation in: Rigobello, Napoli , ; Portuguese translation in: Walter, The Hague , Recht und Geschichte bei Giambattista Vico, in: Zur Rekonstruktion der praktischen Philosophie. Pozzo, Stuttgart-Bad Cannstatt , Was darf und was soll der Staat bestrafen? Die Rechtsphilosophie des deutschen Idealismus, Schriftenreihe des Bundeskanzleramtes, Bd.
Moralische Reflexion und Institutionenzerfall. Hegel-Jahrbuch , ; Spanish translation in: Etica - Discurso - Conflictividad. Homenaje a Ricardo Maliandi, edited by D. Graduate Faculty Philosophy Journal 17 , Ha la filosofia ancora un compito storico? La Provincia di Napoli 9 , Heft , special number: Deutsche Vierteljahrsschrift 61 , Anspruch und Leistung von Hegels Rechtsphilosophie, ed.
Jermann, Stuttgart-Bad Cannstatt , ; Italian translation: Lo stato in Hegel, Napoli , 81 p. Das abstrakte Recht, ibidem, Raum, Zeit, Bewegung, in: Hegel und die Naturwissenschaften, ed. Petry, Stuttgart-Bad Cannstatt , Pflanze und Tier, ibidem, Hegels Kritik an der indischen Kultur, in: Kuhlmann, Frankfurt , ; reprinted in: Zur Architektonik praktischer Vernunft — Hegel in Transformation, hg.
Vieweg, Berlin , Fichte i konec XX veka, Ufa , as well as in: Filosofskaja i sociologiceskaja mysl2 , Philosophia Naturalis 21 , Zu Platons Philosophie der Zahlen und deren mathematischer und philosophischer Bedeutung, in: Theologie und Philosophie 59 , ; English translation in: Hegel-Studien 18 , Philologus , ; English translation in: The Other Plato, ed. Nikulin, Albany , Reviews 1. Philosophische Rundschau 56 , 3.
Philosophische Rundschau 56 , 4. Searle, Mind, Oxford , in: Rinaldi, Teoria Etica, Trieste , in: Humanitas 62 , and in: Magazzino di filosofia18 , 6. Philosophisches Jahrnuch , 7. A Biography, Cambridge , in: Internationales Jahrbuch zum deutschen Idealismus 1 , 8. Wiener Jahrbuch fur Philosophie 33 , 9.
Parmenide, Poema sulla natura, presentazione Reale, Saggio introduttivo e Commentario filosofico di L. Ruggiu, Milano , in: Gnomon 72 , Comparatio 1 , Germanistik , Jaeschke, Die Religionsphilosophie Hegels, Darmstadt , in: Hegel- Studien 21 , Theologie und Philosophie 60 , Theologie und Philosophie 59 , The Cambridge Dictionary of Philosophy, ed. Audi, Cambridge , 2. The Princeton Encyclopedia of Poetry and Poetics, ed. Greene, Princeton , 3. Global Studies Encyclopedia, ed.
- TRIEST'S NARRATIVE: HAYDN'S SONGFUL IDEA?
- Origine du prénom Marcel (Oeuvres courtes) (French Edition);
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Gay, Moscow , abridged reprint in: Globalistika Enziklopedija, Moscow 4. Raimundus Lullus Ramon Llull , in: Metzlers Lexikon der christlichen Denker, Stuttgart , as well as in: Metzler Philosophen Lexikon, ed. Benedetto, Louisville , 5. Apel, Transformation der Philosophie, ibidem, ; Italian translation in: Volpi, Dizionario delle opere filosofiche, Milano , 6.
Anonym, Peri hypsus, in: Lexikon der philosophischen Werke, ed. Frankfurter Allgemeine Zeitung of 6. Die Macht guter Verwaltung, in: Der Witwer als Archivar, in: Geburtstag des Philosophen Franz von Kutschera, in: Die Politik muss soziale Gerechtigkeit der Nachhaltigkeit unterordnen, in: Rheinischer Merkur of Frankfurter Allgemeine Zeitung of Das Parlament of Was die koreanische Orthographiereform unserer voraushat, in: Frankfurter Allgemeine Zeitung of 9. Paul Wolfowitz, plaudernder Stratege, in: Philosophische Hilfestellungen Wahlbetrugsuntersucher, in: Philosophische Hilfestellungen Diesmal fur: Rudolf Scharping und seine Kritiker, in: Die Gegenwart der Vergangenheit, Heilung um jeden Preis?
Wer einem Kleinkind Grundrechte zuspricht, kann sie einem Embryo nicht nehmen, in: Wenn Berlin Berlin bleibt, muss Deutschland Deutschland bleiben. Das Prinzip der Moral. Basler Zeitung as well as in: Frankfurter Rundschau of 8. Ist er nun zu Hause oder nicht?
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Die Moderne atmet auf: Frankfurter Allgemeine Zeitung of 7. N5; English translation in: Religion, State and Society 21 , Verzweifelte Suche nach Sinn. Einblicke in die sowjetische Philosophie der Gegenwart, in: Frankfurter Allgemeine Sonntagszeitung vom Exagere 1 online 3. Die hohe Kunst des Verstehens. Die Furche 9 of Die Tagespost of Wenn die Moral Hobbes geht, in: Zur Lage der Philosophie, in: Der Kapitalismus ist alternativlos interview , in: According to Burney, Haydn would have become acquainted with the vocally based, sensualist strands in German musical thought by the early s: In his [Haydn's] early childhood he used to sing to his father's harp the simple tunes which he was able to play … [later] he was placed under Reuter, maestro di capella of a cathedral [St Stephen's] at Vienna; and, having a voice of great compass, was received into the choir.
At length he met with Porpora, who was at this time in Vienna , and, during five months was so happy to receive his counsel in instructions in singing and the composition of vocal Music. Everything is united in him [Haydn] to make him the greatest of all instrumental composers.
He studied the great Italian masters, and so who would be surprised that he gave us such splendid melodies, that everything in his works, even the most complex passages, sings so beautifully; that his principal movements, whether in the serious or in the comic style, have such a meaningful, powerful simplicity, by which the feelings of connoisseur and amateur alike are immediately swept along. Not surprisingly, Haydn plays a crucial part in Triest's history of the development of instrumental music in the eighteenth century; in other respects, though, his narrative contrasts markedly to more recent histories.
Schulz, and Haydn—differs completely in orientation from the modern-day understanding of the eighteenth-century canon, which favours composers of instrumental music. He considered Haydn's study of song, and his aptitude for singing, to be fundamental to his instrumental music: To separate vocal and instrumental aesthetics in Haydn's music, then, or indeed to marginalize songful or cantabile writing in instrumental music, was, from Triest's perspective, to deny not only the affective basis of his works, but also their position in history. Haydn's early biographer Griesinger further disseminated the idea that song lay at the root of Haydn's instrumental style.
He was more specific than Triest: Griesinger made it clear that the keyboard was an essential stimulus to Haydn's inventio , and that he regarded first-hand experience of vocal style as vital to accomplished composition. The two were certainly not mutually exclusive: Griesinger likened Haydn's composition at the keyboard to lyrical utterance, using the verb dichten , which, as Elisabeth Le Guin has observed, was also the term for poetic composition.
Bach's compositional process in similar terms. Bach] was a kind of aesthetic idea, i. The argument here is not that song per se can always be found in Haydn's instrumental compositions; rather, as Triest implied, what informs his instrumental works is an aesthetic idea associated with song, or more specifically with aria. The string quartets of Opp. He was enlisted not only as a composer of opera, but also as a conductor, arranger, and artistic adviser. His own efforts to stay up to date with the most recent trends in vocal aesthetics are shown in his early drammi giocosi of the s and s.
Three of these works are based on libretti by Carlo Goldoni, a leading figure in the contemporary move to reform comedy, who contributed to the emergence of a new genre of sentimental opera. Of primary importance to reformist notions of drama around this time was the concept of tableau. These tableaux would not form a continuous or logically ordered sequence of events that might be perceived as the product of a controlling author. Rather, they would unfold as a series of views or snapshots of a unified object. Tableaux were not simply static or fragmentary art forms, however: The state of our soul is one thing, the account we give of it, to ourselves and others, is another.
The total and instantaneous sensation of that state is one thing, the successive and detailed attention that we are forced to give it in order to analyze it, to manifest it, and to make ourselves understood, is another. Our soul is a moving tableau which we depict unceasingly; we spend much time trying to render it faithfully, but it exists as a whole and all at once. The mind does not proceed one step at a time as does expression.
One might argue that the aesthetic idea of the tableau reached its supreme musical manifestation in the aria. In his Dictionnaire de musique , Rousseau describes pathetic arias in terms that are unmistakably connected to the concept of tableau, thus accounting for the aria's powerful capacity to move an audience: The words of Airs do not always form a continuous meaning, are not recited like those of the Recitative; although usually quite short, they are broken up, repeated, transposed at the Composer's pleasure. They do not make up a narration that moves along; they depict either a picture that must be seen from various points of view, or a feeling in which the heart takes pleasure, from which it cannot, so to speak, detach itself, and the various phrases of an Air are only so many ways of envisioning the same image.
This is why the subject should be a unity. It is by those quite extensive repetitions, it is by those redoubled blows that an expression which cannot move you initially finally sways you, agitates you, transports you outside of yourself, and it is also by the same principle that Roulades, which seem so misplaced in pathetic Airs , are nevertheless not always so: The passions have their gestures, but they also have their accents, and these accents, which make us tremble, these accents, from which we cannot shield our organ [ear], penetrate by it to the bottom of the heart, and in spite of us carry to it the movements that wrest them, and make us feel what we hear.
Like Triest's songful archetype, Rousseau's aria can evoke affect independently of words. Because this repeated stimulus implies the presence of an active agent, a subject with whom to sympathize: Rousseau observed, though, that it is the performers who must ultimately effect this seeming conflation of production and execution.
Jean-Georges Noverre described a similar mode of experience with respect to physical gesture. In this way, Gluck, Haydn, and other composers of such works sought to involve the listeners in the sentiments of the virtuous yet believable heroes and heroines whose actions they witnessed and whose voices they heard and felt.
As Diderot and Rousseau observed, such sympathetic identification with the external source begets self-reflection: The aria archetype translates readily into the realm of instrumental music, as Rousseau implied. Around , this translation had begun in German theory as well as in practice.
Sulzer, like Rousseau, considered the passionate tones of vocal melody as capable of effecting the most powerful sympathetic reactions: He likened the sonata in which term he included instrumental duets, trios, and quartets to the aria with respect to its fluid form and potential invocation of voice, citing C. Bach's Trio Sonata H. More generally, though, theory was lagging behind practice. Elsewhere in the Allgemeine Theorie , for example, we find a definition of the instrumental quartet that looks back to mid-century and before.
As late as the early s, German theorists were still citing continuo quartets of the s by Georg Philipp Telemann as touchstones for chamber music. It is in the light of this conservative strand in music theory that we can understand the oft-cited negative early reception of Haydn's early chamber music by North German critics. Yet far from considering these works as old-fashioned, Haydn's early critics considered his chamber music to be all too modern.
In the case of Haydn's quartets Opp. All draw on typical features of the pathetic pastoral air: There are further apparent and apparently obvious connections, too: Ultimately, however, these definitions point to the impossibility of maintaining such a binary opposition: This definition helps considerably with an understanding of Haydn's instrumental cantabile. This is akin to the procedure described by Rousseau, and, moreover, to that found in Haydn's contemporaneous arias. V—I ; and an accumulation of repetitions and roulades in each B section. Repetition and formal simplicity notwithstanding, the song achieves its own kind of dynamism through tonal exploration and motivic variation.
The slow movement of Op. The ensuing Cantabile could be understood as a two-part tableau, the latter part containing elaborate written-out embellishments, including an arpeggiated spiccato roulade cadenza in the high register see Ex. If this movement seems static and treble dominated, there is also a sense of overarching dynamism, as in the tableau.
It is the cello that deflects the cadence in bar 46, initiating a new modulating sequence before descending forte to the low register dominant b. The sonority of this note physically perceptible in forte , which has not been sounded in the work so far, helps us to hear a large-scale registral resolution of the dominant that is sounded at the end of the prelude. This movement opens with a clear first violin melody and a homophonic, mid-register accompaniment. Here again, however, lower voices play a vital, if largely non-thematic, role in creating momentum. As Drabkin has argued, the first violin's fantastic high register roulades that conclude the first half of this movement seem motivated both by the second violin's motivic working and the cello's upwards move to the dominant in bar 25 see Ex.
This analysis can be extended: This movement pairs well with the A flat Adagio from Op. Haydn, String Quartet in B, Op. In the course of composing these two sets, Haydn seems to have been working towards more dramatically engaging instrumental personae within his sonic tableaux. A comparison of the two Adagio Cantabile movements, Op. Both open with mid-register accompaniment of the four-bar phrase, cadencing in the tonic. Both movements also show a similar expansion of this opening phrase: In both movements, too, this process of redoubling continues, with further variation, followed by a turn to the dominant minor.
As in Eurilda's Cavatina, serene song gives way to percolating passions, which are not fully resolved either registrally or thematically within the movement. The clearest example is the substitute aria, No. This movement, like Op. Haydn, String Quartet in G, Op. As the Graves themselves point out, subtle rhythmic disjunction in these ostensibly static passages provides a sense of onward momentum, if not goal orientation.
This passage functions tonally and formally as a development, however, generating tension through wide modulation before resting on the dominant of the relative minor. A pause follows, after which a shift in register, texture, mode, and harmony accompanies the return to the vocal idea. Help Using this publication server Hints for searching Help for authors I have some more questions - whom shall I contact?
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