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This volume offers the first translation into Portuguese of the History of plants, by Theophrastus. The nature of the subject needed the collaboration of a Hellenist and a Botanist, in order to ensure the accuracy of the translation and the specificity of the footnotes and indexes. Beside the large number of footnotes, there is an introduction that identifies Theophrastus, his intellectual circle and the scientific structure of his exposition. The volume also includes a bibliography and seven indexes: two of Greek nomenclature and its translation into Portuguese, referring to the chapters of Theophrastus’ text; four of Latin names given to the vegetal and animal species, referring to the footnotes; and a last one of toponyms.
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After the study entitled History of the Plants, Theophrastus continued his research on botany and published a second set of results, now entitled Causes of the Plants.Assuming the inevitable dialogue between the two titles, Theophrastus progressed, however, from an inventory to a more technical reflection, looking at agriculture as an 'art' with the capacity to manipulate nature and serve commercial, gastronomic and medicinal objectives.This volume offers the first translation into Portuguese of the Causes of plants, by Theophrastus. The nature of the subject needed the collaboration of a Hellenist and a botanist, in order to ensure the accuracy of the translation and the specificity of the footnotes and indexes. Beside the large number of footnotes, there is an introduction that identifies Theophrastus, his intellectual circle and the scientific structure of his exposition. The volume also includes a bibliography and eight indexes: four of Greek nomenclature and its translation into Portuguese, referring to the chapters of Theophrastus' text; the others of Latin names given to the species (plants and animals), referring to the footnotes.
Botany --- Peripatetics --- Theophrastus --- Greek science
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Arthur Schnitzlers einaktiges Versdrama Paracelsus, entstanden 1894-1898, spielt im Basel des 16. Jahrhunderts. Paracelsus' historischer Konflikt mit den Basler Doktoren spiegelt die für Schnitzler aktuelle Divergenz zwischen den Entdeckungen von Sigmund Freud und der konventionellen Wiener Schulmedizin. Mit dem Modell einer Hypnose, die verborgene Wünsche sowohl aufdeckt als auch suggeriert, wird eine hochambivalente Therapievariante vorgestellt, die sowohl den Narzissmus des behandelnden Arztes als auch das Begehren der Patientin bedient.Der dreizehnte Band der historisch-kritischen Ausgabe präsentiert das gesamte nachgelassene Material. Die erste Niederschrift, in der Paracelsus' persönlicher Gegner noch ein Musiker ist, unterscheidet sich dabei vor allem in der Figurencharakterisierung und Handlungsmotivation von der zweiten, in der das ärztliche Genie und ein spießiger Handwerker aufeinandertreffen. Schnitzler verlegt das ,Künstlertum' zwar vom Musischen ins Medizinische, lässt aber auch massive Kritik an der vermeintlichen Allmacht des Heilkünstlers zu.Neben der Dokumentation der Entstehungs- und Druckgeschichte bietet die Edition die faksimilierten Handschriften samt Transkription, einen kritisch geprüften Drucktext nach dem Erstdruck mit einem Variantenapparat sowie einen Kommentar. At the center of Schnitzler's one-act verse drama Paracelsus, written between 1894 and 1898 and set in sixteenth-century Basel, is a hypnosis experiment that blurs the boundaries between dream and reality. This historical critical edition documents the text's genesis and print history, and provides manuscript facsimiles including transcriptions, a critically reviewed printed text with a variants apparatus, and a commentary.
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