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Non-fiction --- Esthétique moderne --- Criticisme --- Imagination --- Discours, essais, conférences.
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Genres [Letterkundige ] --- Genres [Literaire ] --- Genres littéraires --- Letterkundige genres --- Literaire genres --- Literary form --- English poetry --- Early modern, 1500-1700 --- History and criticism --- English language --- Versification --- Epic poetry [English ] --- Verse drama [English ] --- Classical influences --- Renaissance --- England --- Classicism --- English poetry - Early modern, 1500-1700 - History and criticism. --- English language - Early modern, 1500-1700 - Versification. --- Epic poetry, English - History and criticism. --- Verse drama, English - History and criticism. --- English poetry - Classical influences. --- Renaissance - England. --- Classicism - England. --- Literary form.
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Literature, Modern --- Laudatory poetry --- Praise in literature --- Criticism --- Renaissance --- History and criticism --- Theory, etc --- History --- -Laudatory poetry --- -Literature, Modern --- -Praise in literature --- Revival of letters --- Civilization --- History, Modern --- Civilization, Medieval --- Civilization, Modern --- Humanism --- Middle Ages --- Modern literature --- Arts, Modern --- Encomiums --- Epideictic poetry --- Eulogistic poetry --- Panegyrics --- Praise poems --- Poetry --- Appraisal of books --- Books --- Evaluation of literature --- Literary criticism --- Literature --- Rhetoric --- Aesthetics --- Style, Literary --- -Theory, etc --- Appraisal --- Technique --- Evaluation --- History and criticism&delete& --- Literature, Modern - 15th and 16th centuries - History and criticism - Theory, etc --- Laudatory poetry - History and criticism - Theory, etc --- Criticism - History
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Education, Humanistic --- Education, Liberal --- Humanistic education --- Liberal arts education --- Liberal education --- Education --- Classical education --- Humanisme --- Histoire
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Originally published in 1973. Toward Freedom and Dignity is a humanist's view of the humanities in an age of burgeoning technology. O. B. Hardison Jr. deals with the status of the humanities and their future—how they are regarded and how they may come to contribute to a genuinely humane society. He argues that humanistic studies are not a luxury in either education or society. They are central to the preparation of human beings for the kind of society that is possible if we manage to avoid an Orwellian technocracy. Social goals and priorities must be set in terms of the ideal of a culture truly adjusted to human needs and human limitations. In framing his argument, Hardison draws on ideas of the humanities since the Renaissance, especially on the philosophical humanities that emerged in Europe in the works of authors like Kant, Schiller, and Coleridge. He is untroubled by anti-humanistic trends in college curricula and the surrounding culture, and he contends that we have only one practical option: to ensure that culture evolves toward a more humane society, toward freedom and dignity.
Education, Humanistic. --- Education, Liberal --- Humanistic education --- Liberal arts education --- Liberal education --- Education --- Classical education --- Higher & further education, tertiary education
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Originally published in 1989. In Prosody and Purpose in the English Renaissance the eminent scholar O. B. Hardison Jr. sets out "to recover the special kinds of music inherent in English Renaissance poetry." The book begins with a thorough and wide-ranging survey of the development of prosodic theory from the ancient ars metrica tradition to the sixteenth century, with special emphasis on such issues as the relation of verse form and genre, the relation of syntax to prosody, and the role of language reform in shaping Renaissance prosody. The second part of the book considers the impact of prosodic traditions on specific literary works and verse forms, among them Surrey's Aeneid, Heywood's translation of Seneca's Thyestes, Sackville and Norton's Gorboduc, and the dramatic and epic verse of Marlowe, Shakespeare, Spenser, and Milton. Throughout, Hardison examines not only how poets crafted their verse but why. He explores authorial purposes ranging from technical attempts to match sound and genre to the lofty aims of improving the vernacular or ennobling culture, from the dramatist's practical search for verse forms suited to the stage to Milton's quest for a meter fit to convey divine relation.
Literary form. --- Classicism --- Renaissance --- English poetry --- Verse drama, English --- Epic poetry, English --- English language --- Classical influences. --- History and criticism. --- Versification. --- Pseudo-classicism --- Aesthetics --- Literature --- Civilization, Classical --- Form, Literary --- Forms, Literary --- Forms of literature --- Genre (Literature) --- Genre, Literary --- Genres, Literary --- Genres of literature --- Literary forms --- Literary genetics --- Literary genres --- Literary types (Genres) --- Germanic languages --- Literature: history & criticism
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Originally published in 1965. The European dramatic tradition rests on a group of religious dramas that appeared between the tenth and twelfth centuries. These dramas, of interest in themselves, are also important for the light they shed on three historical and critical problems: the relation of drama to ritual, the nature of dramatic form, and the development of representational techniques. Hardison's approach is based on the history of the Christian liturgy, on critical theories concerning the kinship of ritual and drama, and on close analysis of the chronology and content of the texts themselves. Beginning with liturgical commentaries of the ninth century, Hardison shows that writers of the period consciously interpreted the Mass and cycle of the church year in dramatic terms. By reconstructing the services themselves, he shows that they had an emphatic dramatic structure that reached its climax with the celebration of the Resurrection. Turning to the history of the Latin Resurrection play, Hardison suggests that the famous Quem quaeritis—the earliest of all medieval dramas—is best understood in relation to the baptismal rites of the Easter Vigil service. He sets forth a theory of the original form and function of the play based on the content of the earliest manuscripts as well as on vestigial ceremonial elements that survive in the later ones. Three texts from the eleventh and twelfth centuries are analyzed with emphasis on the change from ritual to representational modes. Hardison discusses why the form inherited from ritual remained unchanged, while the technique became increasingly representational. In studying the earliest vernacular dramas, Hardison examines the use of nonritual materials as sources of dramatic form, the influence of representational concepts of space and time on staging, and the development of nonceremonial techniques for composition of dialogue. The sudden appearance of these elements in vernacular drama suggests the existence of a hitherto unsuspected vernacular tradition considerably older than the earliest surviving vernacular plays.
Liturgical drama. --- Christian drama, Latin (Medieval and modern) --- Drama, Medieval --- History and criticism. --- Catholic Church --- Liturgy --- History --- Drama, Liturgical --- Liturgical dramas --- Bible plays --- Liturgy and drama --- Opera --- Mysteries and miracle-plays --- History and criticism --- Church of Rome --- Roman Catholic Church --- Katholische Kirche --- Katolyt︠s︡ʹka t︠s︡erkva --- Römisch-Katholische Kirche --- Römische Kirche --- Ecclesia Catholica --- Eglise catholique --- Eglise catholique-romaine --- Katolicheskai︠a︡ t︠s︡erkovʹ --- Chiesa cattolica --- Iglesia Católica --- Kościół Katolicki --- Katolicki Kościół --- Kościół Rzymskokatolicki --- Nihon Katorikku Kyōkai --- Katholikē Ekklēsia --- Gereja Katolik --- Kenesiyah ha-Ḳatolit --- Kanisa Katoliki --- כנסיה הקתולית --- כנסייה הקתולית --- 가톨릭교 --- 천주교 --- Literature: history & criticism
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