@book {81989, title = {The Origin of German Tragic Drama}, year = {2009}, publisher = {Verso Books}, organization = {Verso Books}, abstract = {

Cited by Lukacs as a principal source of literary modernism, Walter Benjamin{\textquoteright}s study of the baroque stage-form called Trauerspiel (literally, "mourning play") is the most complete document of his prismatic literary and philosophical practice. Engaging with sixteenth- and seventeenth-century German playwrights as well as the plays of Shakespeare and Calderon and the engravings of Durer, Benjamin attempts to show how the historically charged forms of the Trauerspiel broke free of tragedy{\textquoteright}s mythological timelessness. From its philosophical prologue, which offers a rare account of Benjamin{\textquoteright}s early aesthetics, to its mind-wrenching meditation on allegory, The Origin of German Tragic Drama sparkles with early insights and the seeds of Benjamin{\textquoteright}s later thought.

}, isbn = {9781844673483}, author = {Walter Benjamin} } @book {81065, title = {Oneself as Another}, year = {1992}, publisher = {University of Chicago}, organization = {University of Chicago}, address = {Chicago}, abstract = {

Paul Ricoeur has been hailed as one of the most important thinkers of the century. Oneself as Another, the clearest account of his "philosophical ethics," substantiates this position and lays the groundwork for a metaphysics of morals. Focusing on the concept of personal identity, Ricoeur develops a hermeneutics of the self that charts its epistemological path and ontological status.

}, isbn = {0-226-71329-6}, author = {Paul Ricoeur} } @book {80760, title = {Ontology of the work of art : the musical work, the picture, the architectural work, the film}, year = {1989}, pages = {342}, publisher = {Ohio University Press}, organization = {Ohio University Press}, abstract = {

Translation of: Untersuchungen zur Ontologie der Kunst.

In these studies Roman Ingarden investigates the nature and mode of being of four kinds of art works: the musical work, the picture, the architectural work, and the film. He establishes that the work of art is a purely intentional object but considers also its connections to the real world. By analyzing a work of art in its "constitutive heterogeneous strata," Ingarden demonstrates that a work of art will reveal, when examined in the appropriate way, its own inherent structure. Further, he shows that in consequence of the art work{\textquoteright}s structure, we must distinguish between the work itself and the concretizations of it by the listener or viewer.

Ingarden elaborates upon the conception of concretization which he present in The Literary Work of Art and applies it to music and visual art. He also employs the concept of aspect to clarify the ontic structure of these art works and the distinction between the concretization of the work and the work itself. The distinction between the work{\textquoteright}s concretization {\textendash} effectuated in the mental experiences of the listener or viewer {\textendash} and the work itself serves to help Ingarden confirm and account for the work{\textquoteright}s intersubjective identity. The problem of aesthetic value, Ingarden maintains, can be fruitfully treated only after the ontic structure of art work has been clarified. His primary concern in Ontology of the Work of Art is to ascertain and describe that structure and the mode of existence of works of art. In addition, he offers several discussions of aesthetic value, showing in the m the connections between questions of aesthetic value and the structure of the work of art. {\textendash} {\textdaggerdbl}c From publisher{\textquoteright}s description.

}, isbn = {0821405551}, author = {Ingarden, Roman} } @book {79824, title = {Orality and Literacy: The Technologizing of the Word}, year = {1982}, publisher = {Routledge}, organization = {Routledge}, address = {New York}, abstract = {

Walter J. Ong{\textquoteright}s classic work provides a fascinating insight into the social effects of oral, written, printed and electronic technologies, and their impact on philosophical, theological, scientific and literary thought. This thirtieth anniversary edition - coinciding with Ong{\textquoteright}s centenary year - reproduces his best-known and most influential book in full and brings it up to date with two new exploratory essays by cultural writer and critic John Hartley. Hartley provides: * A scene-setting chapter that situates Ong{\textquoteright}s work within the historical and disciplinary context of post-war Americanism and the rise of communication and media studies; * A closing chapter that follows up Ong{\textquoteright}s work on orality and literacy in relation to evolving media forms, with a discussion of recent criticisms of Ong{\textquoteright}s approach, and an assessment of his concept of the {\textquoteright}evolution of consciousness{\textquoteright}; * Extensive references to recent scholarship on orality, literacy and the study of knowledge technologies, tracing changes in how we know what we know. These illuminating essays contextualize Ong within recent intellectual history, and display his work{\textquoteright}s continuing force in the ongoing study of the relationship between literature and the media, as well as that of psychology, education and sociological thought.

}, isbn = {9780415538381}, author = {Walter Ong} } @book {80995, title = {The Origins of Totalitarianism}, year = {1951}, publisher = {Mariner Books}, organization = {Mariner Books}, abstract = {

Recognized on publicaton as the definitive account of its subject and ten years later hailed as a classic by the "Times Literary Supplement," this remarkable book has been foremost wherever the characteristics and problems of the twentieth century are discussed. Dr. Arendt{\textquoteright}s study begins with an account of the rise in the nineteenth century and continues with an examination of European colonial imperialism from 1884 to the outbreak of World War I. The final section deals with the institutions, organizations, and operations of totalitarian movements and governments, focusing on the two genuine forms of totalitarian dominion in history - Nazi Germany and Stalinist Russia. Dr. Arendt discusses the transformation of classes into masses, the role of propaganda in dealing with the nontotalitarian world, and the use of terror, the very essence of this form of government. And in a brilliant concluding chapter she analyzes the nature of isolation and lonelines as preconditions for total domination.

}, isbn = {9780156701532}, author = {Hannah Arendt} }