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In the past, discussions of absolute constructions (ACs) have been limited by an imprecise understanding of what ACs are. By examining the nature and function of ACs and related constructions in Greek, Latin and Sanskrit, this new study arrives at a clear and simple definition of ACs. Focussing on the earliest attested material in each language, it highlights how AC usage differs between languages and offers explanations for these differences. Identifying the common core shared by all ACs, it suggests a starting-point and way by which they developed into Greek, Latin and Sanskrit. Further historical study reveals how ACs have been conceived of by grammarians, philologists and even Christian missionaries over the last two thousand years and how enduring misconceptions still affect our discussion of them today. All Sanskrit material is annotated in detail, making it accessible for classicists in particular and allowing a better understanding of ACs in Greek and Latin.

Indo-European languages --- Grammar, Comparative and general --- Absolute constructions --- Constructions absolues (Linguistique) --- Constructions absolues --- Absolute constructions. --- Indogermanische Sprachen. --- Absoluter Kasus. --- Aryan languages --- Indo-Germanic languages --- Absolute constructions (Grammar) --- Absolute phrase (Grammar) --- Dangling participle (Grammar) --- Nominative absolute (Grammar) --- Syntax --- Langues indo-européennes --- Arts and Humanities --- History --- Linguistics --- Philology --- Indo-European languages - Absolute constructions --- Grammar, Comparative and general - Absolute constructions

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Eternity. --- Absolute, The. --- Nicholas, --- Nicholas, - of Cusa, Cardinal, - 1401-1464.

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This book is born out of two contradictions: first, it explores the making of meaning in a musical form that was made to lose its meaning at the turn of the nineteenth century; secondly, it is a history of a music that claims to have no history - absolute music. The book therefore writes against that notion of absolute music which tends to be the paradigm for most musicological and analytical studies. It is concerned not so much with what music is, but with why and how meaning is constructed in instrumental music and what structures of knowledge need to be in place for such meaning to exist. From the thought of Vincenzo Galilei to that of Theodore Adorno, Daniel Chua suggests that instrumental music has always been a critical and negative force in modernity, even with its nineteenth-century apotheosis as 'absolute music'.

Music --- Absolute music --- Absolute muziek --- Musique absolue --- Absolute music. --- Musique pure --- Musique --- Philosophy and aesthetics --- Philosophie et esthétique --- Philosophy and aesthetics. --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Abstract music --- Philosophy --- Muziekfilosofie --- Muziekesthetica

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Atheism --- Atheïsme --- Athéisme --- Idealism --- Reason --- Absolute, The --- Hegel, Georg Wilhelm Friedrich, --- Hegel, Georg Wilhelm Friedrich --- Absolute [The ] --- History --- 19th century --- Hegel, Georg Wilhelm Friedrich, - 1770-1831 --- Idéalisme allemand --- Raison

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Absolute, The --- Idealism, German. --- Romanticism --- History. --- Duits idealisme --- German idealism --- Idealism [German ] --- Idealisme [Duits ] --- Idéalisme absolu --- Idéalisme allemand --- Idéalisme objectif --- Idéalisme subjectif --- Idealism, German --- Metaphysics --- Ontology --- One (The One in philosophy) --- History --- Germany --- Absolute [The ]