Kojin Karatani wrote the essays in "History and Repetition" during a time of radical historical change, triggered by the collapse of the Cold War and the death of the Showa emperor in 1989. Reading Ka
Kojin Karatani wrote the essays in "History and Repetition" during a time of radical historical change, triggered by the collapse of the Cold War and the death of the Showa emperor in 1989. Reading Ka
The authors explore the interconnected issues of intergenerational trauma and traumatic memory in societies with a history of collective violence across the globe. Each chapter's discussion offers a c
A building cannot be good to look at if it is unplanned, with its parts totally unrelated to one another; but on the other hand if the arrangement is too regular it becomes boring and dull. The object of architectural proportion is to strike the balance between these extremes, creating an interesting visible order by the repetition of similar shapes. In this book, first published in 1958, Mr Scholfield deals with the history of the theory of proportion, and in doing so develops his own positive theory, which reconciles the apparent contradictions of rival systems and serves as a key to historical understanding. Even when he is dealing with complex themes, Mr Scholfield's exposition can be followed by the uninitiated reader. Those already interested in architecture and the visual arts will certainly want the book; and those who are not will find, on reading it, that their interest is stimulated.
Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music.
Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music.
Throughout history, patterns have come in countless permutations of motif, colour-way and scale. Yet what all have in common is the regularity of repetition, that insistent rhythm that animates a flat
Introduce beginning readers to important figures in our country's history and help them build fluency with these engaging plays. Rhyme, repetition, and simple, predictable language help young learners
