RESUMO: Desde os primórdios dos espetáculos teatrais inteiramente musicados, estabelece-se a convenção tácita do final feliz. Desse modo, até mesmo episódios oriundos de escritores antigos, com conhecidos finais funestos, acabaram sendo transformados, acomodando a trama aos usos dos locais onde óperas eram apresentadas. Apesar de parecer uma solução fácil ou episódica, há algumas questões poéticas envolvidas, o que transparece sobretudo em alguns escritos sobre ópera, no século XVIII. A proposta deste artigo é discutir, em primeiro lugar, através de exemplos, como (...) o final feliz acontece em algumas óperas e qual a função que nelas desempenha; num segundo momento, a intenção é mostrar como a crítica italiana do final do século XVIII se mobiliza para dar conta da questão. ABSTRACT: Ever since the appearance of the first dramas entirely set to music, happy endings have emerged as a tacit convention. Even ancient myths with their sad endings were transformed, adapting plots to local customs where operas were performed. Although it may seem a facile or occasional solution, there are some important poetical questions involved which appear in certain writings on opera from the eighteenth century. The purpose of this article is to discuss, by means of examples, how the happy ending appears in some operas, and what function it has. The article also pretends to show how Italian critics of the late eighteenth century approached the question. (shrink)

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections (...) in the preservation process, and hope you enjoy this valuable book. (shrink)

Riassunto: L’antico teatro della Casa Ufficiale è un antico teatro esistente nell’area Montuosa del Taihang nella Provincia dell’Henan Settentrionale, il quale nacque nel periodo centrale della Dinastia Qing. L’aspetto dell’antico teatro della Casa Ufficiale è legato all’ambiente naturale locale, alla cultura popolare e alla produttività agricola. Ci sono otto antiche fasi della casa ufficiale nell’area Montuosa del Taihang nella Provincia dell’Henan Settentrionale, che forniscono prove fisiche per lo studio del dramma teatrale popolare nell’area Montuosa del Taihang durante la dinastia Qing. (...) Le iscrizioni sulle stele e sul palcoscenico dell’opera tradizionale cinese riflettono alcune caratteristiche del dramma teatrale rappresentato dai funzionari fin dalla dinastia Qing in Cina. I tipi di opere eseguite sono opere locali, le quali rappresentano dei preziosi materiali per lo studio storico. In una certa misura, è possibile ricostruire il percorso lo sviluppo regionale della società, della cultura e della vita quotidiana locale. (shrink)

Plato is one of the key ancient authors studied by both classicists and philosophers. This long-awaited new edition contains seven of the dialogues of Plato, and is the first in the five-volume complete edition of his works in the Oxford Classical Texts series. The result of many years of painstaking scholarship, the new volume will replace the now nearly 100 year old original edition, and is destined to become just as long-lasting a classic.

In lieu of an abstract, here is a brief excerpt of the content:Opera as ExperienceScott L. Pratt (bio)There is a long history of debate over what opera is. Since its more or less formal beginning in the sixteenth century as a reconstruction of ancient drama, opera as an art form has been controversial. The received understanding—emphasized by the genre's founders and in periodic efforts at reforming the standards of composition and production—is that opera is musical (...) drama. In his book Opera as Drama, Joseph Kerman reasserted this view as an antidote to what he called "flabby relativism" and in order to be able to determine a set of values that could serve as a basis for opera criticism.1 He argues that while opera is "excellently its own art form," it is one where the story serves as the central framework in terms of which the particularities of the words and music are structured.2 Given a story, the librettist and the composer work to express the narrative dramatically, using words and music to convey not only the events of the story but the emotions bound up in the story. For Kerman, in a successful opera the words express the narrative and the music enriches it by providing the emotional aspect. One can then evaluate an opera in light of the drama expressed in the relation of the narrative to the words and music. Disconnection between the words and music undermine the value of the opera, even if the words adequately express the narrative and the music adequately expresses some emotion.Philosopher Bernard Williams, in his collection On Opera, affirms Kerman's general conception of opera and adds to it two important factors. First, while the words and music are essential to the drama presented, operas are also distinct in that they are staged and not concert pieces. In this case, the details of the staging also contribute to the success of a particular opera (though the variation in staging usually falls out of discussions by [End Page 74] Kerman and Williams of particular operas). Second, Williams makes clear what is implicit in Kerman: "It is a fallacy to argue," Williams says, "that since, in a musical drama, music obviously provides the music, so the words must provide the drama."3 The drama is a product of both the words and the music in relation to the narrative whose meaning provides the frame on which these hang. Opera criticism, from this perspective, focuses on the specific ways in which the text of a given opera expresses or fails to express the drama of the story. Here, the words, since they present the story, are taken as primary. Williams quoted Calzabigi, a librettist and reformer associated with Gluck: "The music has no other function than to express what arises from the words, which are therefore neither smothered by notes nor used to lengthen the spectacle unduly, because it is ridiculous to prolong the sentence 'I love you' (for instance) with a hundred notes when nature has restricted it to three."4In contrast to Kerman's view of opera as drama, philosopher Peter Kivy, in his book Osmin's Rage, proposes a view of opera as music. Despite Kivy's claim that this notion serves as a more or less equivalent alternative to Kerman's, in fact it radically reorganizes how one thinks about opera and how one evaluates particular operas. Kivy's alternative is in part the result of a reading of the history of opera as an art form that began, in effect, as the answer to a philosophical problem: the relation of emotions to dramatic texts. The founders of opera, the Florentine Camerata, asked how, given a particular story—Antigone, Oedipus, or Orpheus, for example—does telling the story express the emotions that are central to the meaning of the story? How does telling the story go from "just the facts" to the felt meaning of tragedy? The answer for the Florentine Camerata was found in their understanding of ancient Greek tragedies, where they concluded that the problem was solved by singing the words. By singing, they argued, the Greeks were able to make the emotional content of the words accessible to the audience.5... (shrink)

With the publication of these two volumes the ground has now been prepared for a long awaited event, the critical edition of the works of Henry of Ghent. Henry was one of the outstanding philosophizing-theologians at the University of Paris in the second half of the thirteenth century and, during the period between the death of Thomas Aquinas in 1274 and the ascendancy of John Duns Scotus near the beginning of the fourteenth century, no other Master surpassed him in terms (...) of influence or importance. During his tenure there as Master in the theology faculty, Henry conducted fifteen Quodlibetal disputes. His written versions of these, along with his Summa of ordinary Disputed Questions, constitute his most important surviving works. And of these, his Quodlibets rank first. Henry's philosophical and theological views were highly original and drew considerable reaction from other leading Masters of the time, especially from Giles of Rome, Godfrey of Fontaines, and somewhat later, from Duns Scotus. While his personal thought cannot be reduced to that of any earlier thinker or tradition, his views were heavily influenced by Augustine, by Avicenna, and by various other Neoplatonic currents. At the same time, while he was quite familiar with the texts and thought of Aristotle, he reacted strongly against the more radical form of Aristotelianism developed by Siger of Brabant, Boethius of Dacia, and other Masters in the Arts Faculty at Paris in the 1260s and 1270s. Aquinas's incorporation of many Aristotelian positions into his own thought was also suspect in Henry's eyes. Given this background, Henry himself may be regarded as an outstanding representative of the Neo-Augustinian philosophical current which surfaced at Paris around 1270, which triumphed with the condemnation of 219 propositions by Stephen Tempier, Bishop of Paris, in 1277, and which would continue to be a dominant philosophical force until the end of the century. The need for a critical edition of his Quodlibets and his Summa has long been recognized, since the only printed versions date from the sixteenth and seventeenth centuries. In these first two volumes of Henry's Opera omnia Macken has prepared the way for the critical edition of Henry's works and especially of his Quodlibets. Here one finds a valuable catalog, based on first-hand inspection, of the widely scattered manuscripts of Henry's works. The catalog also contains expert codicological descriptions of the contents of these manuscripts, including works whose authenticity remains doubtful. Manuscripts are also considered which contain works that treat ex professo of Henry's doctrine. This is followed by an appendix which surveys ancient references to other manuscripts allegedly containing Henry's works, which manuscripts have not yet been found. Then there is a Répertoire, not of manuscripts but of Henry's works themselves, including certainly authentic works, works of doubtful authenticity, and finally, in another short appendix, works which have been falsely ascribed to him. A third part of this survey of Henry's works is devoted to manuscripts of other writers who discuss Henry's doctrine ex professo. The two volumes conclude with all the necessary indices. One must congratulate Macken for the care, the industry, and the meticulous scholarship with which he has prepared these two volumes. Not only are they of great value to anyone interested in the manuscript tradition of Henry's works and doctrine; they also include helpful descriptions of the writings of many other medieval authors which are contained in many of these same manuscripts. They will undoubtedly be carefully combed for decades to come by other scholars interested in these same authors and manuscripts. These volumes will be indispensable for libraries of institutions making any serious claim to expertise in the history of medieval philosophical and theological thought. One can only wish Macken and his international team of collaborators every success in their next immediate task, the actual edition of Henry's most important works, his fifteen Quodlibetal Questions.--J.F.W. (shrink)

I.-III. 1. Introductio in universam Aristotelis logicam. 2. Commentaria in universam Aristotelis logicam. 3. Commentaria in tres libros Aristotelis De anima -- IV, V. 4. Commentaria in octo libros Aristotelis De physica auscultatione. 5. Commentaria in libros Aristotelis de generatione et corruptione.

The analysis concerns the interpretation of the story about Helen of Troy in the Goethe tragedy “Faust” and in the Hofmannsthal mythological opera “The Egyptian Helen” in terms of succession and development of philosophical and aesthetic conception of image. For the first time the work on the opera “The Egyptian Helen” is considered as a fruitful period of the combined creation of Hugo von Hofmannsthal and Richard Strauss on the basis of Nietzsche’s antiquity reception. It is proved, that (...) in the Hofmannsthal’s philosophical and aesthetic views the conception of the opera “Helen” is the symbol of synthesis of opposite view points on antique perception of the world and the basic sources of the ancient Greek art. The light Olympic Greece of Winckelmann and Goethe and the spontaneous titanism, Dionysus’s ecstasy and Nietzsche’s, Burckhardt’s, Bachofen’s archaic mysticism merged in Helen’s “Mystic wedding”. The basis for such unification serves an invincible life instinct of an ancient Greek, who becomes apparent in ability to moral transformation and revival by force of overcoming inevitable things in human existence of suffering. (shrink)

In this article I try to understand the importance of the theatrum mundi metaphor for the configuration of the Modern Age. After a brief introduction on the idea of Modern Age, I study the distinction between ancient and modern from the perspective of the discovery of America, arguing that the idea of globe, embodied in cartography, determined the metaphor of the world as theater, affecting a wide range of disciplines, from astronomy to theology. Next, I show the geopolitical component (...) of the metaphor, linked to the idea of global empire, modern states and big cities. I dedicate a special section to show several melodramatic examples, mainly operatic, where the theatrum mundi metaphor reached a culminating point, linked to the European cities and their place in the world. Finally, I analyze the implications this metaphor had on the constitution of the philosophy of history, a discipline essentially linked to the Modern Age. (shrink)

Evangelista Torricelli exemplifies the use the moderns made of the ancients' mathematical methods. Celebrating Evangelista Torricelli's monumental Opera geometrica, this book marks 380 years since its publication (1644-2024). This homage to Torricelli introduces the magnificent major work in Mechanics and Mathematics of a brilliant Archimedean–and–Galilean scientist to modern readers. Opera geometrica deals with Motion & Mechanics and Geometry & Infinitesimals. In quibus Archimedis doctrina Torricelli also presents his mechanical principle of equilibrium – the foundation of the modern Principle (...) of Virtual Work/Static. This outstanding source and research book spotlights the relevance and originality of Torricelli’s Mechanics, and is the first and most profound analysis of the Opera geometrica to date. The historical study is achieved in extensive Introduction, 5 Essays and an accurate Transcription of Opera geometrica with parallel side–by–side text, including substantive explicative notes. The book is an accessible avenue to understanding this work by leading authorities who offer much-needed insights into the relationship Physics–Mathematics, Mechanics and Fundamentals. It appeals to historians, epistemologist and scientists. (shrink)

The Pythagorean Life is the most extensive surviving source on Pythagoreanism, and has wider interest as an account of the religious aspirations of late antiquity. "...admirably clear translation and sensible introduction"--The Classical...