Suchergebnisse

En brist på konsensus i litteraturvetenskapen, gällande såväl det litterära forskningsobjektets grundläggande egenskaper som vilka teorier och metoder för att studera detta objekt som är mest giltiga, har varit påtaglig sedan 1960-talet. Det är även allmänt bekant att denna brist ligger till grund för vad som har kallats en epistemologisk?kris? inom ämnet.0Isak Hyltén-Cavallius avhandling, 'Den ofärdiga vetenskapen', undersöker möjligheten att betrakta den epistemologiska krisens inre motsättningar som ett produktivt villkor för en särpräglad form av kunskap, vilken är specifik för förståelsen av människan och hennes objekt som stadda i vardande. För detta ändamål vänder han sig till den kritiska hermeneutiken och främst så som den kommer till uttryck i Paul Ricoeurs La Métaphore vive

Preliminary Material -- Translating The Prince by Many Hands /Jacob Soll -- Translation and Circulation: Introduction to a research project /Roberto De Pol -- La première traduction française /Nella Bianchi Bensimon -- The first Latin translation /Caterina Mordeglia -- A Florentine Prince in Queen Elizabeth's court /Alessandra Petrina -- La primera traducción española /María Begoña Arbulu Barturen -- The first Dutch translation /Francesca Terrenato -- The first German translation /Serena Spazzarini -- The first translation in Scandinavia /Paolo Marelli -- The first Arabic translation /Arap El Ma'ani -- Chronological Summary -- Distribution of Manuscripts and Printings -- Comparison of Selected Passages -- The Introduction to the first Arabic translation -- Index.

"This is an anthology of private funerary poems in Greek from the archaic period until later antiquity. The vast majority of these poems were inscribed on tombs or grave stelai and served to identify, celebrate and mourn the dead. It is not in fact very difficult to distinguish such 'funerary' poems from other types of inscription, even if there are important overlaps in style and subject between, say, some honorific and some epitaphic verse-inscriptions; what can be much more difficult, however, is to distinguish 'public' from 'private' inscriptions, and indeed to decide what, if anything, is at stake in the distinction and how that distinction changed over time. Our earliest verse epitaphs seem to be 'private', in the sense that, as far as we can tell, they were designed and erected by the family of the deceased. For the fifth century, however, our evidence is predominantly Attic, and, from the first three-quarters of the century in particular, we have very few clearly 'private' such inscriptions, as opposed to those either sponsored or displayed (or both) by public authorities; this was the age of public burials and public commemorations in polyandry or 'multiple tombs', which (quite literally) embodied the spirit of public service demanded of male citizens. 'Private' poems too, of course, reflected the ideology of the city in which they were displayed, and we must not assume that a 'public-private' distinction mapped exactly on to some ancient equivalent of a modern 'official-unofficial' one. 'Private' inscriptions, for example, might need 'public' blessing to be erected in a particularly prominent place or even to use a particular language of praise."--