Healing the Fisher King: A Fly Fisher`s Grail Quest, Sparrow Gregory Scott
Автор: Scott Gregory Jonathan Название: Encouraged by Sparks ISBN: 0991467469 ISBN-13(EAN): 9780991467464 Издательство: Неизвестно Цена: 1350.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: After his home falls under fire, Skye's way of life turns completely around. He instantly forms a bond with Tanner, the firefighter who brings emotions out of him that have been suppressed too long. Against his better judgment, Tanner invites Skye in, finds his beauty and charm irresistible, leaving himself hopelessly committed to more than giving Skye a temporary place to stay. As Skye finds himself increasingly drawn to Tanner, the connection he has with him turns into a journey of self-discovery. Through trifling phobias that have overshadowed him, Skye begins to wonder if his reservations of starting a relationship will tear them apart.Tanner stirs desires in Skye and the heat between them can't be ignored. Will Skye's sheltered past weigh heavily on him and put a meaningful future with Tanner at risk? Will the sparks they have live on or go out because of it?
Автор: Scott Gregory M., Garrison Stephen M. Название: The Political Science Student Writer`s Manual and Reader`s Guide ISBN: 1442267100 ISBN-13(EAN): 9781442267107 Издательство: Rowman & Littlefield Publishers Рейтинг: Цена: 7814.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This is a supplemental text for all political science courses that facilitates, invigorates, and enhances student learning by teaching students to read and write effectively.
Автор: Johnson William A. Jr., Scott Gregory M., Garrison Stephen M. Название: The Sociology Student Writer`s Manual and Reader`s Guide ISBN: 1442266961 ISBN-13(EAN): 9781442266964 Издательство: Rowman & Littlefield Publishers Рейтинг: Цена: 7814.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This is a supplemental text for all sociology courses that facilitates, invigorates, and enhances student learning by teaching students to read and write effectively.
Автор: Scott Gregory Jonathan Название: Crashing Into Love ISBN: 0991467450 ISBN-13(EAN): 9780991467457 Издательство: Неизвестно Цена: 1005.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Sean, a single California Interior designer sets his sights on going home after a short business trip on the island of Kauai. On his way back to the States, Sean's world literally spirals out of control when the flight he's on takes a course he hadn't expected and into the masculine arms of Kale, a drop dead handsome pilot with attitude, spontaneous charm, and a hint of recklessness.While stuck on a deserted island off the coast of Maui, they discover there are situations worse than the one they're in. Initially all they have in common are their aversions for each other and their eagerness to survive. When they realize all they have is each other, Sean and Kale set their differences aside, learn to cope with their seemingly tragic situation and find common ground. After a string of mishaps and clashing personalities, their time together proves far from foolproof when they surprisingly get swept into a whirlwind romance. The early stages of their engagement involve increasingly desperate measures to conceal their growing affection for each other and by the time Kale confesses his desires, Sean is obsessed. With hormones on both sides roiling and reality setting in, their need to explore each other grows. Can Kale hide his interest in the man he finds ideal until Sean is ready? Or will Sean's hysterical dramatic disposition send him packing? Crashing into Love is a romantic comedy about a quirky courtship, clashing personalities, love, and a developing relationship that turns profound - but not necessarily in that order Kale and Sean are pitch-perfect in this comical romance of unintentional companionship.
Описание: From the time you took your first breath, there has been someone telling you what to do...under the guise of making you better and keeping you safe. But it's rare to be told what NOT to do and WHY? I'm not talking about the "don't put your feet on the table" knowledge, but rather the real-life experience that proves what a dumbass we can be. Life can be one mean SOB, but F-BOMB YOUR LIFE peels back the curtain to show you how easy it is to F*CK your life without you even knowing it. Full of bona fide methods (once thought to be pearls of wisdom) that have served to nearly (and secretly) destroy every aspect of the human condition. The establishment does not want you to learn this stuff. I am not the establishment. So put your feet on the table, read this book, and crack the code to living a better life. You won't be disappointed, unless of course you have already been victimized by these methods. In that case, rise above and don't continue to be the victim; it's not a good look on anybody. People who stand out most in life are those who are either credibly awesome or incredibly awful. This book can lead to awesome or awful--the choice is yours. You are the author of your life, so take hold of this book and create your masterpiece!
This book revolutionizes the 1000-year old tradition that stems from the first commentaries on the Poetics by the Arabic scholars. Aristotle's treatise has always been thought to be about poetic-literary theory, with tragedy being its paradigm. Scott demonstrates, however, that Aristotle (384-322 BCE) employs poiesis not in the way universally assumed until now, as "language in verse" or "poetry," which the sophist Gorgias only coined in 415 BCE. Rather, Aristotle follows Diotima, who in the Symposium of Plato (424-347) explains poiesis as mousike kai metra (typically "'music' and verses"). One reason Aristotle employs the Diotiman and not the Gorgian sense of poiesis is that not one poem exists in the so-called "Poetics"; another reason is that the definition of tragedy includes "music." Scott subsequently demonstrates that Aristotle considers tragedy not to be a species of literature but one of dramatic "musical" theater that also requires dance and spectacle. Chapter 2 includes a revised version of Scott's "The Poetics of Performance: The Necessity of Performance, Spectacle, Music, and Dance in Aristotelian Tragedy" (Cambridge University Press, 1999). The book also supplements his arguments of "Purging the Poetics" (Oxford Studies in Ancient Philosophy, 2003), reprinted as Chapter 5, and provides the additional and seemingly insuperable reasons why Aristotle could not have written the clause with the words catharsis, pity, and fear in the definition of tragedy, as a number of internationally known ancient Greek specialists have already been accepting. One reason is that he defines by "biological division" and catharsis is not only missing from the preliminary divisions but is the only term in the definition not discussed in the entire treatise. A second reason is that catharsis contradicts the goal of tragedy as pleasure, itself indicated many times in the work. A third reason is that Aristotle writes in Chapter 13 that pity and fear do not belong to plots showing a virtuous person going from fortune to misfortune. Including pity and fear in the definition would thus exclude even plays like Antigone or Trojan Women from being tragedies. A fourth reason is that Aristotle says three times that tragoidos (originally "goat-song" but usually translated as "tragedy") can show agents going from misfortune to fortune, and the finest examples in Chapter 14 are the plays not like Oedipus but those ending happily, like Cresphontes, which would have no pity because of Aristotle's requirement of very significant suffering for pity. All of this allows a fresh and better reading of the treatise that even with its fundamental misinterpretations has been the foundation of Western literary, dramatic and artistic theory. VOL 1 includes Plato's and Aristotle's meaning of poiesis as "music-dance and verse" and of rhuthmos often as "dance," not "rhythm"; the importance of dance in the state for both thinkers, along with the proof that Aristotle considers tragedy to be a species of dramatic "musical" art. VOL 2 includes the issues of catharsis, pity, and fear, and a complete rebuttal of the only attempted rigorous reply (by Stephen Halliwell in Between Ecstasy and Truth, 2011) to "Purging the Poetics." Also included is a history of the Poetics; Bibliography; & the Index for both volumes.
This book revolutionizes the 1000-year old tradition that stems from the first commentaries on the Poetics by the Arabic scholars. Aristotle's treatise has always been thought to be about poetic-literary theory, with tragedy being its paradigm. Scott demonstrates, however, that Aristotle (384-322 BCE) employs poiesis not in the way universally assumed until now, as "poetry," which the sophist Gorgias only coined in 415 BCE. Rather, Aristotle follows Diotima, who in the Symposium of Plato (424-347) explains poiesis as mousike kai metra (typically "'music' and verses"). One reason Aristotle employs the Diotiman and not the Gorgian sense of poiesis is that not one poem exists in the so-called "Poetics"; another reason is that the definition of tragedy includes "music." Scott subsequently demonstrates that Aristotle considers tragedy not to be a species of literature but one of dramatic "musical" theater that also requires dance and spectacle. Chapter 2 includes a revised version of Scott's "The Poetics of Performance: The Necessity of Performance, Spectacle, Music, and Dance in Aristotelian Tragedy" (Cambridge University Press, 1999). The book also supplements his arguments of "Purging the Poetics" (Oxford Studies in Ancient Philosophy, 2003), reprinted as Chapter 5, and provides the additional and seemingly insuperable reasons why Aristotle could not have written the clause with the words catharsis, pity, and fear in the definition of tragedy, as a number of internationally known ancient Greek specialists have already been accepting. One reason is that he defines by "biological division" and catharsis is not only missing from the preliminary divisions but is the only term in the definition not discussed in the entire treatise. A second reason is that catharsis contradicts the goal of tragedy as pleasure, itself indicated many times in the work. A third reason is that Aristotle writes in Chapter 13 that pity and fear do not belong to plots showing a virtuous person going from fortune to misfortune. Including pity and fear in the definition would thus exclude even plays like Antigone or Trojan Women from being tragedies. A fourth reason is that Aristotle says three times that tragoidos (originally "goat-song" but usually translated as "tragedy") can show agents going from misfortune to fortune, and the finest examples in Chapter 14 are the plays not like Oedipus but those ending happily, like Cresphontes, which would have no pity because of Aristotle's requirement of very significant suffering for pity. All of this allows a fresh and better reading of the treatise that even with its fundamental misinterpretations has been the foundation of Western literary, dramatic and artistic theory. VOLUME 1 includes Plato's and Aristotle's meaning of poiesis as "music-dance and verse" and of rhuthmos often as "dance," not "rhythm"; the importance of dance in the state for both thinkers, along with the proof that Aristotle considers tragedy to be a species of dramatic "musical" art. VOLUME 2 includes the issues of catharsis, pity, and fear, and a complete rebuttal of the only attempted rigorous reply (by Stephen Halliwell in Between Ecstasy and Truth, 2011) to "Purging the Poetics." Also included is a history of the Poetics; Bibliography; & the Index for both volumes.
Автор: Miller Scott, Hicks Gregory N. Название: Investor-State Dispute Settlement: A Reality Check ISBN: 1442240725 ISBN-13(EAN): 9781442240728 Издательство: Неизвестно Рейтинг: Цена: 10346.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Investor-State Dispute Settlement (ISDS) is a provision in Bilateral Investment Treaties (BITs) and other international investment agreements that allows investors to enter arbitration with states over treaty breaches. This report is an empirical review of ISDS, based on the record of disputes under existing investment treaties.
Автор: Scott Gregory L. Название: Aristotle`s Favorite Tragedy: Oedipus or Cresphontes? ISBN: 0999704907 ISBN-13(EAN): 9780999704905 Издательство: Неизвестно Цена: 3920.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
The Poetics is considered the foundation of Western dramatic and literary theory, and readers interpret Aristotle on the basis of Chapter 13 to claim that Oedipus, with its pity, fear and horrible ending, is the finest type of tragedy. Some specialists, however, discuss Aristotle also stating in Chapter 14 that the happily-ending plays like Cresphontes are the finest, with the type of plays like Oedipus, which involve an agent killing or committing great suffering to a family member and only recognizing the family connection afterwards, being second-best. This passage obviously creates a dilemma. No commentator has ever been able to resolve it to the satisfaction of the profession, and as a result Oedipus maintains its stature. Indeed, the specialist Elizabeth Belfiore recently published ("The Elements of Tragedy," in A Companion to Aristotle, ed. Georgios Anagnostopoulos, 2009) a defense of Oedipus as the best play for Aristotle in spite of the explicit ranking of Chapter 14.
Gregory Scott here demonstrates instead that Aristotle actually means what he says in Chapter 14: Tragoidos, originally "goat-song" or the like, and typically translated misleadingly as "tragedy," really involves for him serious drama primarily about good people, and Aristotle says three times in the book that it can end in misfortune or in fortune. Scott, building on his ground-breaking work from 2003, "Purging the Poetics" (Oxford Studies in Ancient Philosophy) that is reprinted in his Aristotle on Dramatic Musical Composition: The Real Role of Literature, Catharsis, Music and Dance in the POETICS (2nd ed., 2018), resolves the dilemma between Chapters 13 and 14 once and for all, showing that the latter half of Chapter 14 is about tragoidos in general while the earlier text is only about one or two (or a mixture) of the subclasses of tragoidos as given in Chapter 18 and rarely discussed by commentators: "tragedy" of suffering, complex "tragedy," "tragedy" of character, and simple/spectacular "tragedy." The chapters are arbitrary divisions from the Renaissance and the texts must have both come from different original treatises of Aristotle and been assembled badly after his death, or the texts were part of a much larger work, now lost, in which the rest of the theory and the transitions from one topic to another were delineated.
In addition to resolving the perennial dilemma and shining a better light on Aristotle's notion of "tragedy," Scott also explains why the best type of play like Cresphontes is better than the second-best one, when they both have recognition and reversal, the conditions for the best kind of plot for Aristotle. With all of this in place, we can easily detect another dilemma that rarely gets discussed in the ranking of the four types of "tragedy" in Chapter 14: The third best type, which is not problematic in this context, involves an agent who knows someone is a family member and who kills the member anyway; we can easily deduce Medea is an example. However, all known commentators accept that Aristotle speaks of Sophocles' horribly-ending Antigone when he exemplifies the worst of the four types. Yet the reason Aristotle gives for the last-place finish is that Antigone is both apathes, "without suffering," and miaron, "shocking" or "revolting." Scott explains in detail not only that Aristotle must be speaking of Euripides' version of Antigone, which ends happily, but why its last-place ranking results.
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