Sean Gurd (134 results)

Condition: New. Num Pages: 204 pages, 5. BIC Classification: 2AHA; DSBB; DSG. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 234 x 163 x 20. Weight in Grams: 434. . 2005. hardcover. . . . . Books ship from the US and Ireland.

Condition: New. Num Pages: 204 pages, 5. BIC Classification: 2AHA; DSBB; DSG. Category: (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 234 x 163 x 20. Weight in Grams: 434. . 2005. hardcover. . . . .

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Paperback. Condition: New. Listening is a social process. Even apparently trivial acts of listening are expert performances of acquired cognitive and bodily habits. Contemporary scholars acknowledge this fact with the notion that there are "auditory cultures." In the fourth century BCE, Greek philosophers recognized a similar phenomenon in music, which they treated as a privileged site for the cultural manufacture of sensory capabilities, and proof that in a traditional culture perception could be ordered, regular, and reliable. This approachable and elegantly written book tells the story of how music became a vital topic for understanding the senses and their role in the creation of knowledge. Focussing in particular on discussions of music and sensation in Plato and Aristoxenus, Sean Gurd explores a crucial early chapter in the history of hearing and gently raises critical questions about how aesthetic traditionalism and sensory certainty can be joined together in a mutually reinforcing symbiosis.…

Taschenbuch. Condition: Neu. Neuware -What do the bizzare etymologies of Jean-Pierre Brisset, made-up languages for literary fiction, The Dialectic of Enlightenment, Latin grammarians, Horace's Epodes, and the Papyrus of Ani have in common Absolutely nothing. Yet, taken together they provide an unusually coherent picture of a hitherto unacknowledged non-tradition of linguistic investigation. At these moments, particularly within the traditions of European writing which can loosely be termed 'avant-garde,' philology goes rogue, hearkening to unearthly imperatives and barely comprehended intimations, and producing results well beyond those generated by more respectable - and supposedly more grounded - philological endeavors. 'Pataphilology: An Irreader seeks to document and analyze such moments of philological speculation, invention, and détournement.In using the term 'pataphilology, Gurd and van Gerven Oei are not proposing a facile analogy with 'pataphysics, where 'pataphilology would be philology's wacky twin, always out for a lark, never doing anything real. This would presuppose an operation (even if parenthetical) on philology analogous to a shift from physics to 'pataphysics, something which Alfred Jarry, to whom this volume owes the latter neologism, appears to contradict in his initial definition: 'Pataphysics [.] is the science of that which is superinduced upon metaphysics, whether within or beyond the latter's limitations, extending as far beyond metaphysics as the latter extends beyond physics.' Any way you cut it, 'pataphysics is a physics that demands - or, better, that relies on - an utmost philological sensitivity to writing, unheard etymologies, unstable translations, incomplete formalizations, and haphazard decryptions. This volume seeks, then, to document how philological practices - no matter how non-standard, disreputable, or academically useless - have played a role in the production of avant-garde literature and knowledge, as well as forgotten, alternative, or fictitious scholarly projects.Ranging from the papyrus of Ani to the future languages of speculative fiction, from the fictional tablets of Armand Schwerner to the Attic Nights of Aulus Gellius, from Horace to Lacan, 'Pataphilology: An Irreader is a cabinet of philological curiosity - and a map of the ever-changing constellations that emerge when human language loses its chains.TABLE OF CONTENTS //The Papyrus Of Ani: Egyptian Book Of The Dead. A Prototype Of Ekphrastic Translation of Plate 1, Chapters 1-5 (Along with a Brief Note to Explain Its Rudiments) - Steve McCafferyIntroduction: Elements of 'Pataphilology - Sean GurdThe Walker and the Wake: Analysis of Non-Intrinsic Philological Isolates - Michael D. Gordin & Joshua T. Katz'On Epic Naïvete' Adorno's Allegory of Philology - James Porter'Pataphilological Lacan - Sean BrauneGoing Soft on Canidia: The Epodes, an Unappreciated Classic - Paul Allen MillerThe Paraphilologist as 'Pataphysician - Erik Gunderson.…

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Condition: very good. Ithaca : Cornell University Press, 2005. Hardcover. Dustjacket. 204 pp.- How should a literary scholar approach a text characterized not by stability but by variation and flux? This book offers a radical new perspective on the limits and the accomplishments f the modern traditions of textual criticism in classics. Sean Alexander Gurd takes as his starting point the case of a single Greek tragedy by Euripides, one of his last. According to ancient accounts, the Iphigenia at Aulis was produced at the city Dionysia, the great festival of Athenian tragedy, sometime after Euripides died (between 407 and 405. Whether the text performed then was entirely the work of Euripides, and whether the version that appears in the manuscripts reflects either that performance or its defunct author's design, are unknown. But since the mid-eighteenth-century the mysteries and conflicting evidence concerning Iphigenia at Aulis have given rise to an array of different attempts to reconstruct the original, and every generation has seen a version of the play that is radically different from those that came before. Gurd pioneers a literary philology comfortable with this textual multiplicity, capable of reading Iphigenias at Aulis in the plural. Regarding the dossier of successive editions of Iphigenia at Aulis as a symbol for the condition of modern textual reason, Gurd shows lovers of classical literature exactly how contingent the texts they read really are. Condition : very good copy. ISBN 9780801443299. Keywords : CLASSICAL ANTIQUITY, Euripides.…

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