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Book is in NEW condition. 0.63

Unread book in perfect condition.

Unread book in perfect condition.

Die Vorlesung Geschichte der Philosophie von Thomas von Aquin bis Kant wurde von Martin Heidegger im Wintersemester 1926/27 an der Universitat Marburg an der Lahn gehalten. Sie fallt somit in die letzte Phase der Ausarbeitung von Sein und Zeit. Einem einleitenden Teil mit der Anzeige des Vorhabens und der Bestimmung der Philosophie als phanomenologischer Ontologie folgen vier Hauptabschnitte, die jeweils einem Philosophen gelten: Thomas von Aquin (mit langeren Erorterungen zu den Quaestiones disputatae de veritate), Rene Descartes, Baruch de Spinoza (dem wie sonst nirgends bei Heidegger ein eigenes Kapitel gewidmet ist) und Gottfried Wilhelm Leibniz. Im letzten Teil erortert Heidegger die Auswirkungen der bisherigen Metaphysik auf den Leibnizschuler Christian Wolff und dessen Gegner Christian August Crusius, und mit einem Vorblick auf Immanuel Kant schliesst er die Vorlesung. Zwar ist bei den genannten Philosophen immer wieder von Ontologie die Rede, doch wird ihnen das Sein selbst nie fragwurdig. Diese Fraglosigkeit grundet in der seit der Antike herrschenden Idee vom Sein als immerwahrender Anwesenheit, als Wahren, Dauern und Gegenwart. Doch sind die Zeitbestimmungen, weshalb eigens die Frage gestellt werden muss, wie die Zeit uber ihren vulgaren Begriff hinaus zu interpretieren sei, damit sie jene fundamentale Funktion ubernehmen kann; doch bleibt auch dies im Bereich des Selbstverstandlichen. Mit der Frage nach dem Sein und dessen moglicher Verwurzelung in der Existenz des Menschen schliesst die Vorlesung. Sie weist deutlich auf die in Sein und Zeit dann eigens gestellte Frage nach dem Sinn von Sein voraus.

One volume; text in German. Fifth volume in the series. Pencil underlining and notes in text; weak spine; moderate wear and tear to jacket. Ships with tracking the same or next business day from New Haven, CT. We fully guarantee to ship the exact same item as listed and work hard to maintain our excellent customer service.

In this book, which was first published in 1958 and reissued in 1981, Professor Heller sees Mann as the late heir of the central tradition of modern German literature and also as one of the most ironic writers within that tradition. He offers a detailed study of the major works of fiction, Buddenbrooks, Tonio Kröher, Death in Venice, The Magic Mountain, Joseph and His Brothers, Doctor Faustus and Felix Krull, as well as a discussion of Mann's most significant political essay, 'Meditations of a Non-Political Man'. Beyond this, Heller's book is a profound commentary on Mann by a mind attuned to (and mouded by) precisely the intellectual and cultural traditions which are so much part of Mann's creative make-up.

McDonald's study offers fresh insights into Mann's Joseph tetralogy in two ways. Beginning with Mann's well documented love for public performance, he rereads the Joseph novels as a script, showing how performance figures prominently in the form as well as the substance of the narrative. Then he interprets several of the essay-lectures composed during the Joseph years (1926-1943), emphasizing their performative qualities and their conscious (and subliminal) interweavings with the novel. Mann's passionate re-enactment of Kleist's play "Amphitryon" in his 1927 lecture provided a model of identity that he developed fully in Joseph. The model also helped him contain the more pessimistic account of identity he encountered in Freud. The Freud lectures of 1929 and 1936 develop psychoanalysis as an Enlightenment project useful in combating the irrationalism of the Nazis, and carefully control its darker aspects.

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 0.35

In a lecture in 1923, Thomas Mann said that the ordinary middle-class German had never considered culture to include an interest in politics, and still did not do so. The idea of the true freedom which comes to the man who lives as much as possible in the invisible world of culture and accepts as a kind of fate his social, political and material circumstances was indeed at the heart of the German idealism of Goethe's day, and unworldliness went along with very great achievements in literature, scholarship and philosophy. Bildung, self-cultivation, came to be as natural a requirement of educated, middle-class life as sport was in England. In this book, originally published in 1975, Professor Bruford provides a sequel to Culture and Society in Classical Weimar 1775-1806 and shows how the ideal of self-cultivation entered into the thought of a number of highly individual German philosophers, theologians, poets and novelists, each in his own corner of the rapidly changing world of the nineteenth century.

Book is in NEW condition. 0.31

In a lecture in 1923, Thomas Mann said that the ordinary middle-class German had never considered culture to include an interest in politics, and still did not do so. The idea of the true freedom which comes to the man who lives as much as possible in the invisible world of culture and accepts as a kind of fate his social, political and material circumstances was indeed at the heart of the German idealism of Goethe's day, and unworldliness went along with very great achievements in literature, scholarship and philosophy. Bildung, self-cultivation, came to be as natural a requirement of educated, middle-class life as sport was in England. In this book, originally published in 1975, Professor Bruford provides a sequel to Culture and Society in Classical Weimar 1775-1806 and shows how the ideal of self-cultivation entered into the thought of a number of highly individual German philosophers, theologians, poets and novelists, each in his own corner of the rapidly changing world of the nineteenth century.

Fortunately for us, brothers Heinrich and Thomas Mann remained devoted and eloquent correspondents even while disagreeing passionately on matters literary, political, philosophical, and personal. In their correspondence, set against a shifting backdrop of locations in Europe and America, mundane concerns blend easily with astonishing artistic and critical insights. That these irrepressible siblings were among the giants of twentieth-century letters gives their exchanges unique literary and historical fascination.Beginning in Germany and Italy at the turn of the century, the letters document with disarming immediacy the brothers' views on aesthetics, politics, and the social responsibility of the writer, as well as their mutual jealousy, admiration, rivalry, and loyalty. The devastating rift caused by Thomas's support of Germany during World War I and his brother's utter opposition to the war took many years to mend, but they found their way back to friendship in the 1920s. After Hitler rose to power, both writers ultimately sought refuge in the United States. The letters offer a moving portrayal of their struggle, as novelists and socially engaged intellectuals, to bear witness to the cataclysmic historical changes around them and to their experience of exile, in Europe and then in America. This first complete English translation of their correspondence is a dramatic human dialogue and a major literary event.

Thomas Mann (1875-1955) won the Nobel Prize for literature in 1929. This is a collection of his shorter works. "Death in Venice", later filmed by Lucion Visconti starring Dirk Bogarde, was published in 1911. It is a poetic meditation on art and beauty, where the dying composer Aschenbach (modelled on Gustav Mahler) becomes fixated by the young boy Tadzio. The other stories are: "Tonio Kroger"; the collection entitled "Tristan"; "The Blood of the Walsungs"; "Mario the Magician"; and "The Tables of the Law". A number of essays are also included.

Gently used with minimal wear on the corners and cover. A few pages may contain light highlighting or writing, but the text remains fully legible. Dust jacket may be missing, and supplemental materials like CDs or codes may not be included. Could have library markings. Ships promptly!

In a lecture in 1923, Thomas Mann said that the ordinary middle-class German had never considered culture to include an interest in politics, and still did not do so. The idea of the true freedom which comes to the man who lives as much as possible in the invisible world of culture and accepts as a kind of fate his social, political and material circumstances was indeed at the heart of the German idealism of Goethe's day, and unworldliness went along with very great achievements in literature, scholarship and philosophy. Bildung, self-cultivation, came to be as natural a requirement of educated, middle-class life as sport was in England. In this book, originally published in 1975, Professor Bruford provides a sequel to Culture and Society in Classical Weimar 1775-1806 and shows how the ideal of self-cultivation entered into the thought of a number of highly individual German philosophers, theologians, poets and novelists, each in his own corner of the rapidly changing world of the nineteenth century.

In this book, which was first published in 1958 and reissued in 1981, Professor Heller sees Mann as the late heir of the central tradition of modern German literature and also as one of the most ironic writers within that tradition. He offers a detailed study of the major works of fiction, Buddenbrooks, Tonio Kroher, Death in Venice, The Magic Mountain, Joseph and His Brothers, Doctor Faustus and Felix Krull, as well as a discussion of Mann's most significant political essay, 'Meditations of a Non-Political Man'. Beyond this, Heller's book is a profound commentary on Mann by a mind attuned to (and mouded by) precisely the intellectual and cultural traditions which are so much part of Mann's creative make-up.

Studienarbeit aus dem Jahr 2005 im Fachbereich Germanistik - Neuere Deutsche Literatur, Note: 2, Philipps-Universität Marburg, Veranstaltung: Thomas Mann: Der Zauberberg, 17 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: In der Literaturwissenschaft scheint die Gattungsbestimmung des Zauberbergs eine schwierige Angelegenheit darzustellen. Eine große Anzahl von Literaturwissenschaftlern haben sich bereits mit dieser Thematik auseinandergesetzt, allerdings ohne zu einem eindeutigen, für alle verbindlichen Ergebnis bei der Kategoriezuweisungen des Romans zu kommen. Vielfältige Interpretationsmodelle sind so im Laufe der Jahre entstanden. Jürgen Scharfschwerdt schreibt hierzu: „Überblickt man [...] die bisher erschienene Literatur, so erweist sich sehr schnell, dass die Unterschiede zwischen den vorliegenden Ergebnissen wohl nicht größer gedacht werden können." Die Deutungen reichen von einer Erneuerung, bis hin zu einer absoluten Parodie des Bildungsromans. Aber auch andere Interpretationen, unabhängig von dem Genre der Bildung, werden unternommen. Einige sprechen von einem Gesellschafts-, andere von einem Zeit- und wiederum manche von einem Entwicklungsroman. Bestimmte Tendenzen lassen sich in dem Werk von Thomas Mann für jede Auslegung finden und so wurden „fast alle Möglichkeiten der Deutung für Thomas Manns Zauberberg verbindlich zu machen gesucht." Bereits 1921, also noch während der Arbeit an seinem Werk, hat Thomas Mann den Zauberberg als einen „Bildungsroman" bezeichnet. Entsprechende Bemerkungen lassen sich häufiger finden. Auch wenn die Forschung diese Aussagen Manns zunächst dankbar aufnahmen und eine Reihe von Interpreten somit den Zauberberg zu den Bildungsromanen rechneten, wurde dieser Gattungsbezeichnung vielfach, wie bereits erwähnt, widersprochen. Diese Arbeit wird das Interpretationsmodell des Autors aufgreifen und versuchen diese Gattungszuordnung im Laufe der Arbeit zu rechtfertigen.

Michel Thomas's approach to language learning aims to provide in a few hours a functional working knowledge of a language without books, note-taking or conscious memorizing. This CD pack provides an eight-hour course in German plus a 2-CD review course.

Thomas Mann (1875-1955) won the Nobel Prize for literature in 1929. This is a collection of his shorter works. "Death in Venice", later filmed by Lucion Visconti starring Dirk Bogarde, was published in 1911. It is a poetic meditation on art and beauty, where the dying composer Aschenbach (modelled on Gustav Mahler) becomes fixated by the young boy Tadzio. The other stories are: "Tonio Kroger"; the collection entitled "Tristan"; "The Blood of the Walsungs"; "Mario the Magician"; and "The Tables of the Law". A number of essays are also included.