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1 drama
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2 de Griekse drama's
de Griekse drama'sVan Dale Handwoordenboek Nederlands-Engels > de Griekse drama's
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3 deus ex machina (Latin for god from a machine) (A god introduced by means of a crane in ancient Greek and Roman drama to decide the final outcome)
Религия: "бог из машины"Универсальный англо-русский словарь > deus ex machina (Latin for god from a machine) (A god introduced by means of a crane in ancient Greek and Roman drama to decide the final outcome)
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4 греческая драматургия
Большой англо-русский и русско-английский словарь > греческая драматургия
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5 драматургия
ж.1. ( теория) dramatic composition / theory2. собир. лит. the drama; plays pl.3. ( драматическое искусство) dramatic art -
6 драматургия
ж.1) ( драматическое искусство) dramaturgy, dramatics2) собир. лит. drama; dramatic works pl, plays plгре́ческая драматурги́я — the Greek drama
драматурги́я Шекспи́ра — Shakespearian drama
3) (рд.; сюжетное построение) dramatic concept (of), dramaturgic qualities pl (of) -
7 Aeschylus
Aeschylus, i, m., = Aischulos.I.The first great tragic poet of Greece, the originator of the Greek drama, Hor. A. P. 278; Cic. Tusc. 2, 10.—II.A rhetorician of Cnidos, a contemporary of Cicero, Cic. Brut. 95. -
8 Thespis
Thespis, is, m., = Thespis, the founder of the Greek drama, Hor. A. P. 276; id. Ep. 2, 1, 163. -
9 D
D, d (n. indecl., sometimes f. sc. littera), the flat dental mute, corresponding in character and sound to the English d and the Greek D, was the fourth letter of the Latin alphabet, and was called de: Ter. Maur. p. 2385 P., Auson. Idyll. 12, de Litt. Monos. 14. But at the end of a syllable, or after another consonant, its sound was sharpened, so that the grammarians often discuss the question whether d or t should be written, especially in conjunctions and prepositions. Illa quoque servata est a multis differentia, ut ad cum esset praepositio, d litteram, cum autem conjunctio, t acciperet (Quint. 1, 7, 5; cf. id. 1, 4, 16). Hence we may infer that some disputed this distinction, and that the sounds of ad and at must at least have been very similar (cf. also Terent. Scaur. p. 2250, Vel. Long. p. 2230 sq., Cassiod. p. 2287, 2291). Thus also aput, it, quit, quot, aliut, set, haut are found for apud, id, quid, quod, aliud, sed, haud. It would appear from the remarks of these authors that the last two words in particular, having a proclitic character, while they distinctly retained the d sound before an initial vowel in the following word, were pronounced before a consonant almost as set, haut (Mar. Vict. p. 2462 P., Vel. Long. l. l. v. Corss. Ausspr. 1, 191 sq.). The use of t for d in the middle of a word, as Alexenter for Alexander, atnato for adnato, is very rare (cf. Wordsworth, Fragm. p. 486 sq.). On the other hand, the use of d for t, which sometimes appears in MSS. and inscrr., as ed, capud, essed, inquid (all of which occur in the Cod. palimps. of Cic. Rep.), adque, quodannis, sicud, etc., fecid, reliquid, etc. (all in inscriptions after the Augustan period), is to be ascribed to a later phonetic softening (cf. Corss. Ausspr. 1, 191 sq.).II.As an initial, the letter d, in pure Latin words, suffers only a vowel after it; the single consonantal compound dr being found only in borrowed words, such as drama, Drusus, Druidae, etc., and in the two onomatopees drenso and drindio. Accordingly, the d of the initial dv, from du, was rejected, and the remaining v either retained unaltered (as in v iginti for du iginti; cf. triginta) or changed into b (as in b ellum, b is, b onus, for du ellum, du is, du onus; v. those words and the letter B). So too in and after the 4th century A.D., di before vowels was pronounced like j (cf. J ovis for Dj ovis, and J anus for Di anus); and hence, as the Greek di ( di) passed into dz, i. e. z (as in z a for d ia, and z eta for di aeta), we sometimes find the same name written in two or three ways, as Diabolenus, Jabolenus, Zabolenus; Jadera, Diadora, Zara. In many Greek words, however, which originally began with a y sound, d was prefixed by an instinctive effort to avoid a disagreeable utterance, just as in English the initial j has regularly assumed the sound of dj: thus Gr. zugon, i. e. diugon = L. jugum; and in such cases the d sound has been prefixed in Greek, not lost in Latin and other languages (v. Curt. Griech. Etym. p. 608 sq.).b. As a medial, d before most consonants undergoes assimilation; v. ad, no. II.; assum, init., and cf. iccirco, quippiam, quicquam, for idcirco, quidpiam, quidquam; and in contractions like cette from cedite, pelluviae from pediluviae, sella from sedela. In contractions, however, the d is sometimes dropped and a compensation effected by lengthening the preceding vowel, as scāla for scand-la. D before endings which begin with s was suppressed, as pes from ped-s, lapis from lapid-s, frons from frond-s, rasi from radsi, risi from rid-si, lusi from lud-si, clausi from claud-si; but in the second and third roots of cedo, and in the third roots of some other verbs, d is assimilated, as cessi, cessum, fossum, etc. D is also omitted before s in composition when another consonant follows the s, as ascendo, aspicio, asto, astringo, and so also before the nasal gn in agnatus, agnitus, and agnosco, from gnatus, etc.: but in other combinations it is assimilated, as assentio, acclamo, accresco; affligo, affrico; agglomero, aggrego; applico, approbo, etc. In tentum, from tendo, d is dropped to avoid the combination ndt or ntt, since euphony forbids a consonant to be doubled after another.g. Final d stood only in ad, apud, sed, and in the neuter pronouns quid, quod, illud, istud, and aliud, anciently alid. Otherwise, the ending d was considered barbarous, Prisc. p. 686 P.III.The letter d represents regularly an original Indo-Germanic d, in Greek d, but which in German becomes z, in Gothic t, and in Anglo-Saxon t: cf. Gr. hêdomai, Sanscr. svad, Germ. süss, Angl.-Sax. svēte (sweet), with Lat. suadeo; domare with Gr. damaô, Germ. zähmen, Eng. tame; domus with demô, timber, O. H. Germ. zimber; duo with duô, zwei, two. But it is also interchanged with other sounds, and thus sometimes represents—1. 2.An original r: ar and ad; apur or apor and apud; meridies and medidies, audio and auris; cf. arbiter, from ad-beto; arcesso for ad-cesso.—3.An original l: adeps, Gr. aleipha; dacrima and lacrima, dingua and lingua; cf. on the contrary, olere for odere, consilium and considere, Ulixes from Odusseus (v. Corss. Ausspr. 1, 223).—4.An original s: Claudius, from the Sabine Clausus, medius and misos; and, on the contrary, rosa and rhodon. —5. IV.In the oldest period of the language d was the ending of the ablat. sing. and of the adverbs which were originally ablatives (cf. Ritschl, Neue Plaut. Excur. I.; Brix ad Plaut. Trin. Prol. 10): pu CNANDO, MARID, DICTATORED, IN ALTOD MARID, NAVALED PRAEDAD on the Col. Rostr.; DE SENATVOS SENTENTIAD (thrice) IN OQVOLTOD, IN POPLICOD, IN PREIVATOD, IN COVENTIONID, and the adverbs SVPRAD SCRIPTVM EST (thrice), EXSTRAD QVAM SEI, and even EXSTRAD VRBEM, in S. C. de Bacch. So intra-d, ultra-d, citra-d, contra-d, infra-d, supra-d; contro-d, intro-d, etc.; and probably interea-d, postea-d. Here too belongs, no doubt, the adverb FACILVMED, found in the last-mentioned inscription. But this use of the d became antiquated during the 3d century B.C., and is not found at all in any inscription after 186 B. C. Plautus seems to have used or omitted it at will (Ritschl, Neue Plaut. Excurs. p. 18: Corss. Ausspr. 1, 197; 2, 1008).2.D final was also anciently found—a.In the accus. sing. of the personal pronouns med, ted, sed: INTER SED CONIOVRASE and INTER SED DEDISE, for inter se conjuravisse and inter se dedisse, in the S. C. de Bacch. This usage was retained, at least as a license of verse, when the next word began with a vowel, even in the time of Plautus. But in the classic period this d no longer appears. —b.In the imperative mood;c.as estod,
Fest. p. 230. The Oscan language retained this ending (v. Corss. Ausspr. 1, 206).—In the preposition se-, originally identical with the conjunction sed (it is retained in the compound seditio); also in red-, prod-, antid-, postid-, etc. ( redire, prodire, etc.); and in these words, too, it is a remnant of the ancient characteristic of the ablative (v. Corss. Ausspr. 1, 200 sq.; Roby, Lat. Gr. 1, 49).V.As an abbreviation, D usually stands for the praenomen Decimus; also for Deus, Divus, Dominus, Decurio, etc.; over epitaphs, D. M. = Diis Manibus; over temple inscriptions, D. O. M. = Deo Optimo Maxumo; in the titles of the later emperors, D. N. = Dominus Noster, and DD. NN. = Domini Nostri. Before dates of letters, D signified dabam, and also dies; hence, a. d. = ante diem; in offerings to the gods, D. D. = dono or donum dedit; D. D. D. = dat, dicat, dedicat, etc. Cf. Orell. Inscr. II. p. 457 sq.► The Romans denoted the number 500 by D; but the character was then regarded, not as a letter, but as half of the original Tuscan numeral (or CI[C ]) for 1000. -
10 d
D, d (n. indecl., sometimes f. sc. littera), the flat dental mute, corresponding in character and sound to the English d and the Greek D, was the fourth letter of the Latin alphabet, and was called de: Ter. Maur. p. 2385 P., Auson. Idyll. 12, de Litt. Monos. 14. But at the end of a syllable, or after another consonant, its sound was sharpened, so that the grammarians often discuss the question whether d or t should be written, especially in conjunctions and prepositions. Illa quoque servata est a multis differentia, ut ad cum esset praepositio, d litteram, cum autem conjunctio, t acciperet (Quint. 1, 7, 5; cf. id. 1, 4, 16). Hence we may infer that some disputed this distinction, and that the sounds of ad and at must at least have been very similar (cf. also Terent. Scaur. p. 2250, Vel. Long. p. 2230 sq., Cassiod. p. 2287, 2291). Thus also aput, it, quit, quot, aliut, set, haut are found for apud, id, quid, quod, aliud, sed, haud. It would appear from the remarks of these authors that the last two words in particular, having a proclitic character, while they distinctly retained the d sound before an initial vowel in the following word, were pronounced before a consonant almost as set, haut (Mar. Vict. p. 2462 P., Vel. Long. l. l. v. Corss. Ausspr. 1, 191 sq.). The use of t for d in the middle of a word, as Alexenter for Alexander, atnato for adnato, is very rare (cf. Wordsworth, Fragm. p. 486 sq.). On the other hand, the use of d for t, which sometimes appears in MSS. and inscrr., as ed, capud, essed, inquid (all of which occur in the Cod. palimps. of Cic. Rep.), adque, quodannis, sicud, etc., fecid, reliquid, etc. (all in inscriptions after the Augustan period), is to be ascribed to a later phonetic softening (cf. Corss. Ausspr. 1, 191 sq.).II.As an initial, the letter d, in pure Latin words, suffers only a vowel after it; the single consonantal compound dr being found only in borrowed words, such as drama, Drusus, Druidae, etc., and in the two onomatopees drenso and drindio. Accordingly, the d of the initial dv, from du, was rejected, and the remaining v either retained unaltered (as in v iginti for du iginti; cf. triginta) or changed into b (as in b ellum, b is, b onus, for du ellum, du is, du onus; v. those words and the letter B). So too in and after the 4th century A.D., di before vowels was pronounced like j (cf. J ovis for Dj ovis, and J anus for Di anus); and hence, as the Greek di ( di) passed into dz, i. e. z (as in z a for d ia, and z eta for di aeta), we sometimes find the same name written in two or three ways, as Diabolenus, Jabolenus, Zabolenus; Jadera, Diadora, Zara. In many Greek words, however, which originally began with a y sound, d was prefixed by an instinctive effort to avoid a disagreeable utterance, just as in English the initial j has regularly assumed the sound of dj: thus Gr. zugon, i. e. diugon = L. jugum; and in such cases the d sound has been prefixed in Greek, not lost in Latin and other languages (v. Curt. Griech. Etym. p. 608 sq.).b. As a medial, d before most consonants undergoes assimilation; v. ad, no. II.; assum, init., and cf. iccirco, quippiam, quicquam, for idcirco, quidpiam, quidquam; and in contractions like cette from cedite, pelluviae from pediluviae, sella from sedela. In contractions, however, the d is sometimes dropped and a compensation effected by lengthening the preceding vowel, as scāla for scand-la. D before endings which begin with s was suppressed, as pes from ped-s, lapis from lapid-s, frons from frond-s, rasi from radsi, risi from rid-si, lusi from lud-si, clausi from claud-si; but in the second and third roots of cedo, and in the third roots of some other verbs, d is assimilated, as cessi, cessum, fossum, etc. D is also omitted before s in composition when another consonant follows the s, as ascendo, aspicio, asto, astringo, and so also before the nasal gn in agnatus, agnitus, and agnosco, from gnatus, etc.: but in other combinations it is assimilated, as assentio, acclamo, accresco; affligo, affrico; agglomero, aggrego; applico, approbo, etc. In tentum, from tendo, d is dropped to avoid the combination ndt or ntt, since euphony forbids a consonant to be doubled after another.g. Final d stood only in ad, apud, sed, and in the neuter pronouns quid, quod, illud, istud, and aliud, anciently alid. Otherwise, the ending d was considered barbarous, Prisc. p. 686 P.III.The letter d represents regularly an original Indo-Germanic d, in Greek d, but which in German becomes z, in Gothic t, and in Anglo-Saxon t: cf. Gr. hêdomai, Sanscr. svad, Germ. süss, Angl.-Sax. svēte (sweet), with Lat. suadeo; domare with Gr. damaô, Germ. zähmen, Eng. tame; domus with demô, timber, O. H. Germ. zimber; duo with duô, zwei, two. But it is also interchanged with other sounds, and thus sometimes represents—1. 2.An original r: ar and ad; apur or apor and apud; meridies and medidies, audio and auris; cf. arbiter, from ad-beto; arcesso for ad-cesso.—3.An original l: adeps, Gr. aleipha; dacrima and lacrima, dingua and lingua; cf. on the contrary, olere for odere, consilium and considere, Ulixes from Odusseus (v. Corss. Ausspr. 1, 223).—4.An original s: Claudius, from the Sabine Clausus, medius and misos; and, on the contrary, rosa and rhodon. —5. IV.In the oldest period of the language d was the ending of the ablat. sing. and of the adverbs which were originally ablatives (cf. Ritschl, Neue Plaut. Excur. I.; Brix ad Plaut. Trin. Prol. 10): pu CNANDO, MARID, DICTATORED, IN ALTOD MARID, NAVALED PRAEDAD on the Col. Rostr.; DE SENATVOS SENTENTIAD (thrice) IN OQVOLTOD, IN POPLICOD, IN PREIVATOD, IN COVENTIONID, and the adverbs SVPRAD SCRIPTVM EST (thrice), EXSTRAD QVAM SEI, and even EXSTRAD VRBEM, in S. C. de Bacch. So intra-d, ultra-d, citra-d, contra-d, infra-d, supra-d; contro-d, intro-d, etc.; and probably interea-d, postea-d. Here too belongs, no doubt, the adverb FACILVMED, found in the last-mentioned inscription. But this use of the d became antiquated during the 3d century B.C., and is not found at all in any inscription after 186 B. C. Plautus seems to have used or omitted it at will (Ritschl, Neue Plaut. Excurs. p. 18: Corss. Ausspr. 1, 197; 2, 1008).2.D final was also anciently found—a.In the accus. sing. of the personal pronouns med, ted, sed: INTER SED CONIOVRASE and INTER SED DEDISE, for inter se conjuravisse and inter se dedisse, in the S. C. de Bacch. This usage was retained, at least as a license of verse, when the next word began with a vowel, even in the time of Plautus. But in the classic period this d no longer appears. —b.In the imperative mood;c.as estod,
Fest. p. 230. The Oscan language retained this ending (v. Corss. Ausspr. 1, 206).—In the preposition se-, originally identical with the conjunction sed (it is retained in the compound seditio); also in red-, prod-, antid-, postid-, etc. ( redire, prodire, etc.); and in these words, too, it is a remnant of the ancient characteristic of the ablative (v. Corss. Ausspr. 1, 200 sq.; Roby, Lat. Gr. 1, 49).V.As an abbreviation, D usually stands for the praenomen Decimus; also for Deus, Divus, Dominus, Decurio, etc.; over epitaphs, D. M. = Diis Manibus; over temple inscriptions, D. O. M. = Deo Optimo Maxumo; in the titles of the later emperors, D. N. = Dominus Noster, and DD. NN. = Domini Nostri. Before dates of letters, D signified dabam, and also dies; hence, a. d. = ante diem; in offerings to the gods, D. D. = dono or donum dedit; D. D. D. = dat, dicat, dedicat, etc. Cf. Orell. Inscr. II. p. 457 sq.► The Romans denoted the number 500 by D; but the character was then regarded, not as a letter, but as half of the original Tuscan numeral (or CI[C ]) for 1000. -
11 teatro
m theatre, AE theaterfig ( luogo) sceneteatro all'aperto open air theatre (AE theater)teatro lirico opera (house)* * *teatro s.m.1 theatre; (amer.) theater; ( palcoscenico) stage, scene: il teatro greco di Taormina, the Greek theatre in Taormina; teatro all'aperto, open-air theatre; il cinema e il teatro, the screen and the stage; frequentatore di teatri, theatre goer; ho visto l''Amleto' a teatro, I saw 'Hamlet' on the stage; questo soggetto non è adatto per il teatro, this subject is not fit for the stage; andare a teatro, to go to the theatre; fare del teatro, to be on the stage; scrivere per il teatro, to write for the stage // teatro esaurito, full house // gente di teatro, theatre people // (cinem.) teatro di posa, studio2 ( pubblico) audience3 ( opere teatrali) theatre; plays (pl.): il teatro di Shakespeare, Shakespeare's plays; il teatro greco, moderno, the Greek, modern theatre; teatro dell'assurdo, theatre of the absurd; teatro di varietà, variety (o amer. vaudeville)5 ( luogo d'azione) theatre, scene: questi luoghi furono teatro di molte battaglie, these places were the scene of many battles.* * *[te'atro]sostantivo maschile1) (luogo) theatre BE, theater AE, (play)house2) (pubblico)3) (genere) theatre BE, theater AE, dramadi teatro — [autore, attore] theatre attrib.
fare teatro — to act, to be an actor
4) fig. (scenario) scene, settingqueste strade sono state teatro di violenti scontri — these streets have been the scene of violent fighting
il teatro delle operazioni — mil. the theatre of operations
•teatro tenda — = big top used for theatrical performances
* * *teatro/te'atro/sostantivo m.2 (pubblico) tutto il teatro applaudiva the whole house clapped3 (genere) theatre BE, theater AE, drama; il teatro di Goldoni Goldoni's plays; di teatro [autore, attore] theatre attrib.; un uomo di teatro a man of the theatre; fare teatro to act, to be an actor; scrivere per il teatro to write for the stage4 fig. (scenario) scene, setting; queste strade sono state teatro di violenti scontri these streets have been the scene of violent fighting; il teatro delle operazioni mil. the theatre of operationsteatro all'aperto open-air theatre; teatro lirico opera house; teatro di marionette puppet theatre; teatro di posa studio; teatro tenda = big top used for theatrical performances. -
12 theatre
(Amer.: theater) noun1) Theater, dasat the theatre — im Theater
go to the theatre — ins Theater gehen
2) (lecture theatre) Hörsaal, der3) (Brit. Med.) see academic.ru/106855/operating_theatre">operating theatre4) (dramatic art)* * *['Ɵiətə]1) (a place where plays, operas etc are publicly performed.) das Theater3) ((also operating-theatre) a room in a hospital where surgical operations are performed: Take the patient to the theatre; ( also adjective) a theatre nurse.) der Operationssaal; Operations-...•- theatrical- theatrically
- theatricality
- theatricals
- the theatre* * *thea·tre, AM thea·ter[ˈθɪətəʳ, AM ˈθi:ət̬ɚ]I. nopen-air \theatre Freilichtbühne f, Freilichttheater ntto go to the \theatre ins Theater gehenat the \theatre im Kino3. UNIVthe Greek \theatre das griechische Theaterto be in the \theatre beim Theater arbeitento do \theatre Theater spielen, auf der Bühne stehento make good \theatre bühnenwirksam sein, sich akk für die Bühne eignenher tears were pure \theatre ihre Tränen waren reines Theater\theatre of war Kriegsschauplatz m1. (of/for the theatre) (location, production, visit) Theater-long \theatre night lange Theaternacht\theatre seat Sitzplatz m im Theater, Theatersitzplatz m\theatre sister [or nurse] Operationsschwester f\theatre nuclear weapon taktische Atomwaffe\theatre weapon Kurzstreckenrakete f* * *(US) ['ɵɪətə(r)]n1) Theater ntwhat's on at the theatre? — was wird im Theater gegeben?
2) no pl (= theatrical business, drama) Theater nthe's always been keen on (the) theatre — er war schon immer theaterbegeistert
he has been in (the) theatre all his life —
not all Shaw's plays are good theatre — nicht alle Stücke von Shaw eignen sich für die Bühne
3) (Brit: operating theatre) Operationssaal m4) (= scene of events) Schauplatz mtheatre of operations — Schauplatz m der Handlungen
* * *theatre [ˈθıətə(r)] s2. MED Br Operationssaal m, OP m:1. Theater n:a) Schauspielhaus nb) (Theater)Publikum nd) Theaterwelt f:theater of the absurd absurdes Theater;theater of cruelty Theater der Grausamkeit;be in the theater beim Theater sein2. koll Bühnenwerke pl3. US Kino n (auch Publikum)4. fig (Kriegs) Schauplatz m:* * *(Amer.: theater) noun1) Theater, das2) (lecture theatre) Hörsaal, der3) (Brit. Med.) see operating theatre* * *(UK) n.Theater - n. n.Schauplatz m.Schauspielhaus n. -
13 БИБЛИОГРАФИЯ
Мы приняли следующие сокращения для наиболее часто упоминаемых книг и журналов:IJP - International Journal of Psycho-analysisJAPA - Journal of the American Psychoanalytic AssociationSE - Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. James Strachey (London: Hogarth Press and the Institute of Psycho-Analysis, 1953—74.)PSOC - Psychoanalytic Study of the Child (New Haven: Yale University Press)PQ - Psychoanalytic QuarterlyWAF - The Writings of Anna Freud, ed. Anna Freud (New York: International Universities Press, 1966—74)PMC - Psychoanalysis The Major Concepts ed. Burness E. Moore and Bernard D. Fine (New Haven: Yale University Press)\О словаре: _about - Psychoanalytic Terms and Concepts\1. Abend, S. M. Identity. PMC. Forthcoming.2. Abend, S. M. (1974) Problems of identity. PQ, 43.3. Abend, S. M., Porder, M. S. & Willick, M. S. (1983) Borderline Patients. New York: Int. Univ. Press.4. Abraham, K. (1916) The first pregenital stage of libido. Selected Papers. London, Hogarth Press, 1948.5. Abraham, K. (1917) Ejaculatio praecox. In: selected Papers. New York Basic Books.6. Abraham, K. (1921) Contributions to the theory of the anal character. Selected Papers. New York: Basic Books, 1953.7. Abraham, K. (1924) A Short study of the development of the libido, viewed in the light of mental disorders. In: Selected Papers. London: Hogarth Press, 1927.8. Abraham, K. (1924) Manic-depressive states and the pre-genital levels of the libido. In: Selected Papers. London: Hogarth Press, 1949.9. Abraham, K. (1924) Selected Papers. London: Hogarth Press, 1948.10. Abraham, K. (1924) The influence of oral erotism on character formation. Ibid.11. Abraham, K. (1925) The history of an impostor in the light of psychoanalytic knowledge. In: Clinical Papers and Essays on Psychoanalysis. New York: Basic Books, 1955, vol. 2.12. Abrams, S. (1971) The psychoanalytic unconsciousness. In: The Unconscious Today, ed. M. Kanzer. New York: Int. Univ. Press.13. Abrams, S. 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New York: Basic Books, vol. 2.814. Stern, D. N. (1985) The Interpersonal World of the Infant New York: Basic Books.815. Stevens, A. (1982) Archetype. London: Rouledge & Kegan Paul.816. Stoller, R. J. (1971) The term "transvestism". Arch. Gen. Psychiat., 24.817. Stoller, R. J. (1972) The "bedrock" of masculinity and femininity: bisexuality. Arch. Gen. Psychiat., 26.818. Stoller, R. J. (1974) Hostility and mystery in perversion. IJP, 55.819. Stoller, R. J. (1975) Sex and Gender, vol. 2. New York: Jason Aronson.820. Stoller, R. J. (1976) Primary femininity. JAPA, 24 (5).821. Stoller, R. J. (1982) Hear miss. In: Eating, Sleeping, and Sexuality, ed. M. Zalea. New York: Brunner/ Mazel.822. Stoller, R. J. (1985) Observing the Erotic Imagination. New Haven: Yale Univ. Press.823. Stolorow, R. (1984) Self psychology — a structural psychology. In: Reflections on Self Psychology, ed. J. Lichtenberg & S. Kaplan Hillsdale, N. J.: Analytic Press.824. Stolorow, R. Transference. PMC. Forthcoming.825. Stone, L. (1954) The widening scope of indications for psychoanalysis. JAPA, 2.826. Stone, L. (1961) The Psychoanalytic Situation. New York: Int. Univ. Press.827. Stone, L. (1967) The psychoanalytic situation and transference. JAPA, 15.828. Stone, L. (1971) Reflections on the psychoanalytic concept of aggression. FQ, 40.829. Stone, L. (1973) On resistance to the psychoanalytic process. In: Psychoanalysis and Contemporary Science, ed. B. B. Rubinstein. New York: Macmillan, vol. 2.830. Stone, M. H. (1980) Borderline Syndromes. New York: McGrow Hill.831. Strachey, J. (1934) The nature of the therapeutic action of psychoanalysis. IJP, 15.832. Strachey, J. (1962) The emergence of Freud's fundamental hypothesis. SE, 3.833. Strachey, J. (1963) Obituary (Joan Riviere). IJP, 44.834. Strachey, J. (1966) General preface. SE, 1.835. Swank, R. L. (1949) Combat exhaustion. J. Nerv. Ment. Dis., 109.836. Szekely, L. (1960) Success, success neurosis and the self. Brit. J. Med. Psychol., 33.837. 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(1971) Problems in the selection of patients for psychoanalysis. Brit. J. Med. Psychol., 44.849. Valenstein, A. F. (1979) The concept of "classical" psycho-analysis. JAPA. 27. (suppl.).850. Volkan, V. D. (1981) Linking Objects and Linking Phenomena. New York: Int. Univ. Press.851. Waelder, R. (1930) The principle of multiple function. PQ, 5.852. Waelder, R. (1962) Book review of Psychoanalysis, Scientific Method and Philosophy, ed. S. Hook. JAPA, 10.853. Waelder, R. (1962) Psychoanalysis scientific method, and philosophy. JAPA, 10.854. Waelder, R. (1963) Psychic determinism and the possibility of prediction. PQ, 32.855. Waelder, R. (1967) Trauma and the variety of extraordinary challenges. In: Fuest (1967).856. Waelder, R. (1967) Inhibitions, symptoms and anxiety: forty years later. PQ, 36.857. Waldhorn, H. F. (1960) Assessment of analyzability. PQ, 29.858. Waldhorn, H. F. & Fine, B. (1971) Trauma and symbolism. Kris Study Group monogr. New York: Int. Univ. Press.859. Wallace, E. R. 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J.: Lawrence Eribaum.872. White. R. W. (1963) Ego and Reality in Psychoanalytic Theory. Psychol. Issues, 3.873. Whitman, R. M. (1963) Remembering and forgetting dreams in psychoanalysis. JAPA, 11.874. Wiedeman, G. Sexuality. PMC. Forthcoming.875. Wiedeman, G. (1962) Survey of psychoanalytic literature on overt male homosexuality. JAPA, 10.876. Wieder, H. (1966) Intellectuality. PSOC, 21.877. Wieder, H. (1978) The psychoanalytic treatment of preadolescents In Child Analysis and Therapy, ed. J. Glenn. New York Aronson.878. Willick, M. S. Defense. PMC. Forthcoming.879. Wilson, C. P. (1967) Stone as a symbol of teeth. PQ, 36.880. Wilson, C. P Hohan, C. & Mintz, I. (1983) Fear of Being Fat. New York: Aronson.881. Wilson, C. P. S Mintz, I. (1982) Abstaining and bulimic anorexics. Primary Care, 9.882. Wilson, E. O. (1978) On Human Nature. Cambridge: Harvard Univ. Press.883. Winnicott, C. (1978) D. W. W.: a reflection. In: Between Reality and Fantasy. New York: Jason Aronson.884. Winnicott, D. W. (1953) Transitional object and transitional phenomena. In: Collected Papers. New York Basic Books, 1958.885. Winnicott, D. W. (1956) Primary maternal preoccupation. In: Winnicott (1958).886. Winnicott, D. W. (1958) Collected Papers. New York: Basic Books, Inc.887. Winnicott, D. W. (1960) Ego distortions in terms of true and false self. In: The Maturational Processes and the Facilitating Environment. New York: Int. Univ. Press, 1965.888. Winnicott, D. W. (1960) The theory of the parent-infant relationship. In: Winnicott (1965).889. Winnicott, D. W. (1965) The Maturational Processes and the Facilitating Environment. New York: Int. Univ. Press.890. Winnicott, D. W. (1971) Playing and Reality. New York: Basic Books.891. Winnicott, D. W. (1971) Therapeutic Consultations in Child Psychiatry. New York: Basic Books.892. Winnicott, D. W. (1977) The Piggle. New York: Int. Univ. Press.893. Winson, J. (1985) Brain and Psyche. New York: Anchor Press.894. Wolf, E. S. (1976) Ambience and abstinence. Annu. Psycho-anal., 4.895. Wolf, E. S. (1980) On the developmental line of self-object relations. In: Advances in Self Psychology, ed. A. Goldberg. New York: Int. Univ. Press.896. Wolf, E. S. (1983) Empathy and countertransference. In: The Future of Psychoanalysis, ed. A. Coldberg. New York: Int. Univ. Press.897. Wolf, E. S. (1984) Disruptions in the psychoanalytic treatment of disorders of the self. In: Kohut's Legacy, ed. P. Stepansky & A. Coldberg, Hillsdale, H. J.: Analytic Press, 1984.898. Wolf, E. S. (1984) Selfobject relations disorders. In: Character Pathology, ed. M. Zales. New York: Bruner/Mazel.899. Wolf, E. S. & Trosman, H. (1974) Freud and Popper-Lynkeus. JAPA, 22.900. Wolfenstein, M. (1966) How is mourning possible? PSOC, 21.901. Wolman, B. B. ed. (1977) The International Encyclopedia of Psychiatry, Psychology, Psychoanalysis, and Neurology. New York: Aesculapius.902. Wolpert, E. A. (1980) Major affective disorders. In: Comprehensive Textbook of Psychiatry, ed. H. I. Kaplan, A. M. Freedman & B. J. Saddock. Boston: Williams & Wilkins, vol. 2.903. Wurmser, L. (1977) A defense of the use of metaphor in analytic theory formation. PQ, 46.904. Wurmser, L. (1981) The Mask of Shame. Baltimore: Johns Hopkins Univ. Press.905. Zetzel, E. R. (1956) Current concepts of transference. TJP, 37.Словарь психоаналитических терминов и понятий > БИБЛИОГРАФИЯ
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14 theater
thea·tre, AM thea·ter[ˈθɪətəʳ, AM ˈθi:ət̬ɚ]I. nopen-air \theater Freilichtbühne f, Freilichttheater ntto go to the \theater ins Theater gehenat the \theater im Kino3. UNIVthe Greek \theater das griechische Theaterto be in the \theater beim Theater arbeitento do \theater Theater spielen, auf der Bühne stehento make good \theater bühnenwirksam sein, sich akk für die Bühne eignenher tears were pure \theater ihre Tränen waren reines Theater\theater of war Kriegsschauplatz m1. (of/for the theatre) (location, production, visit) Theater-long \theater night lange Theaternacht\theater seat Sitzplatz m im Theater, Theatersitzplatz m\theater sister [or nurse] Operationsschwester f\theater nuclear weapon taktische Atomwaffe\theater weapon Kurzstreckenrakete f* * *(US) ['ɵɪətə(r)]n1) Theater ntto go to the theatre — ins Theater gehen
what's on at the theatre? — was wird im Theater gegeben?
2) no pl (= theatrical business, drama) Theater nthe's always been keen on (the) theatre — er war schon immer theaterbegeistert
he has been in (the) theatre all his life —
not all Shaw's plays are good theatre — nicht alle Stücke von Shaw eignen sich für die Bühne
3) (Brit: operating theatre) Operationssaal m4) (= scene of events) Schauplatz mtheatre of operations — Schauplatz m der Handlungen
* * *1. Theater n:a) Schauspielhaus nb) (Theater)Publikum nd) Theaterwelt f:theater of the absurd absurdes Theater;theater of cruelty Theater der Grausamkeit;be in the theater beim Theater sein2. koll Bühnenwerke pl3. US Kino n (auch Publikum)4. fig (Kriegs) Schauplatz m:* * *(US) n.Theater - n. -
15 theatre
1. n обыкн. g2. n театральное искусство; театрfly-by-night theatre — театр, который может скоро закрыться
an alive theatre — театр с живыми актёрами, настоящий театр
3. n драматические произведения4. n сценические эффекты; режиссура; сценическое искусствоthe play was good theatre — пьеса была сценична; пьеса была хорошо поставлена
5. n аудитория, зрители6. n аудитория, демонстрационный зал; операционнаяlecture theatre — лекционный зал, аудитория
7. n поле действий; поприщеtheatre forces — силы театра военных действий, силы ТВД
8. n воен. театрtheatre of war — театр военных действий, фронт
variety theatre — мюзик-холл, театр эстрады
Синонимический ряд:1. battlefield (noun) arena; battlefield2. drama (noun) Broadway; comedy; drama; dramaturgy; show business; stage; the dramatic arts; theater; thespian performance3. playhouse (noun) auditorium; coliseum; concert hall; odium; playhouse4. the movies (noun) cinema; film society; flick; movie house; movies; the movies -
16 merit
1. nounthere is no merit in doing that — es ist nicht [sehr] sinnvoll, das zu tun
2) (good feature) Vorzug, der2. transitive verbon his/its merits — nach seinen Vorzügen
* * *['merit] 1. noun1) (the quality of worth, excellence or praiseworthiness: He reached his present position through merit.) der Verdienst2) (a good point or quality: His speech had at least the merit of being short.) der Wert2. verb(to deserve as reward or punishment: Your case merits careful consideration.) verdienen- academic.ru/46296/meritorious">meritorious* * *mer·it[ˈmerɪt]I. nthe film has little artistic \merit der Film ist künstlerisch nicht besonders wertvollshe won her promotion on \merit sie ist aufgrund ihrer Leistung befördert wordento judge sb on his/her own \merit jdn nach seinem/ihrem Verdienst beurteilen3. (intrinsic nature)▪ \merits pl sachlicher Gehaltto consider a case on its own \merits eine Sache gesondert behandelnconsidered purely on its own \merits... für sich akk genommen...to judge sth on its own \merits etw für sich akk genommen beurteilenthe \merits of not smoking die Vorteile des NichtrauchensII. vtthis plan \merits careful attention dieser Plan verdient volle Aufmerksamkeit* * *['merɪt]1. n(= achievement) Leistung f, Verdienst nt; (= advantage) Vorzug mto look or inquire into the merits of sth — etw auf seine Vorteile or Vorzüge untersuchen
what are the particular merits of Greek drama? — wodurch zeichnet sich das griechische Drama besonders aus?
judged on one's own merits — ausschließlich nach Leistung( en) or Verdiensten beurteilt
I don't see any merit in being rich — ich betrachte Reichtum als kein besonderes Verdienst
he sees little merit in paying for research —
there's no particular merit in coming early — es ist keine besondere Leistung or kein besonderes Verdienst, früh zu kommen
to pass an exam with merit — ein Examen mit Auszeichnung bestehen
certificate of merit (Sch, Univ) — Urkunde für besonders gute Leistungen an Schule oder Universität
2. vtverdienen* * *merit [ˈmerıt]A s1. Verdienst n:a man of merit eine verdiente oder verdienstvolle Persönlichkeit;merit system POL US auf Fähigkeit allein beruhendes Anstellungs- und Beförderungssystem im öffentlichen Dienst;a) es ist wenig verdienstvoll, etwas zu tun,b) es hat wenig Wert oder Sinn, etwas zu tun;make a merit of sth sich etwas als Verdienst anrechnen2. a) Wert mb) Vorzug m, Pluspunkt m:work of merit bedeutendes Werk;of artistic merit von künstlerischem Wert;without merit wertlos; gehaltlos, nicht fundiert oder gültig, sachlich unbegründet;the observation had some merit an der Beobachtung war etwas dran;judge sth on its merits etwas aufgrund seiner Vorzüge beurteilen3. the merits pl JUR und fig die Hauptpunkte pl, die wesentlichen Gesichtspunkte pl, der sachliche Gehalt:on its own merits aufs Wesentliche gesehen, an und für sich betrachtet;consider a case on its merits JUR einen Fall nach materiell-rechtlichen Gesichtspunkten oder aufgrund des vorliegenden Tatbestandes behandeln;discuss sth on its merits eine Sache ihrem wesentlichen Inhalt nach besprechen;inquire into the merits of a case einer Sache auf den Grund gehenB v/t Lohn, eine Strafe etc verdienen* * *1. nounthere is no merit in doing that — es ist nicht [sehr] sinnvoll, das zu tun
2) (good feature) Vorzug, der2. transitive verbon his/its merits — nach seinen Vorzügen
* * *n.Verdienst m. -
17 действие
1) General subject: act, acting, action, activity, agency, deed, effect, efficacy, execution (особ. разрушательное), factum, force, impact, influence, move, operation, performance, play, prudery, run, running, shouldering, virtue, work, business, procedure2) Medicine: anastalsis (вяжущих лекарственных средств), intention (в хирургии - процесс или операция), motion (кишечника)3) Military: (машины) activity, (машины) effect, (машины) function, (машины) functioning, (машины) influence, (машины) run, (машины) running4) Engineering: coverage, service coverage, working5) Mathematics: manipulation, op (operation), operation (op), rale, rule6) Law: act of commission (в отличие от бездействия, упущения), affirmative action (в отличие от бездействия), affirmative performance, validity (действие документа)7) Economy: proceeding8) Accounting: event9) Automobile industry: functionment (машины)10) Greek: drama11) Diplomatic term: exercise12) Cinema: business of the stage, stage business13) Psychology: action unit (как единица поведения), behavior, efficiency (причины), praxis, will15) Electronics: attack, phase integral16) Information technology: practice19) Cartography: process20) Geophysics: response21) Business: gesture, reaction, step, intervention23) American English: jurisdiction [as in to fall under a specific jurisdiction]25) leg.N.P. act (as distinguished from "event"), operation (e.g., of a statute)26) Makarov: action (воздействие), action (физическая величина), action (функционирование), agency (агента, представителя и т.п.), effect (воздействие), effect (см.тж. эффект), function (функционирование), impact (воздействие), influence (воздействие), movement, operation (прибора, механизма), operation (функционирование), performance (функционирование), run (машины), run (мотора, машины), (работа] ветра wind action -
18 théâtre
théâtre [teαtʀ]masculine noun► de théâtre [accessoires, costumes, décors] stage• homme/femme de théâtre man/woman of the theatreb. [d'événement, crime] scene* * *teɑtʀnom masculin1) Littérature ( genre) theatre [BrE]de théâtre — [acteur, directeur, billet] theatre [BrE] (épith); [décor, costume, masque] stage (épith); fig [gestes] histrionic
coup de théâtre — lit coup de théâtre; fig dramatic turn of events
2) ( art dramatique)faire du théâtre — ( comme profession) to be an actor; ( à l'école) to do drama; ( en amateur) to be involved in amateur dramatics
c'est du théâtre — fig it's just a put-on (colloq)
3) ( lieu) theatre [BrE]être le théâtre d'émeutes — fig to be the scene of riots
le théâtre des opérations — Armée the theatre [BrE] of operations
•Phrasal Verbs:* * *teɒtʀ nm1) (= art dramatique) theatre Grande-Bretagne theater USA2) (= salle, bâtiment) theatre Grande-Bretagne theater USA3) (= techniques, genre) drama, theatre Grande-Bretagne theater USA4) (= activité) stage, theatre Grande-Bretagne theater USAfaire du théâtre (en professionnel) — to be on the stage, (en amateur) to do some acting
5) (= œuvres) plays pl dramatic works pl6) fig (= lieu)7) péjoratif histrionics pl playacting* * *théâtre nm1 littér ( genre) theatreGB; le théâtre de l'absurde the theatreGB of the absurd; aimer le théâtre classique/burlesque/expérimental to like classical/burlesque/experimental theatreGB; le théâtre de Molière/de Racine Molière's/Racine's plays; le théâtre antique Greek classical drama; de théâtre [acteur, directeur, billet] theatreGB ( épith); [décor, costume, masque] stage ( épith); fig [gestes] histrionic; c'est un homme de théâtre he's a man of the theatreGB; coup de théâtre lit coup de théâtre; fig dramatic turn of events, coup de théâtre sout;2 ( art dramatique) faire du théâtre ( comme profession) to be an actor; ( à l'école) to do drama; ( en amateur) to be involved in amateur dramatics; se destiner au théâtre to intend to go on stage; adapter une nouvelle pour le théâtre to adapt a short story for the stage; faire son théâtre○ fig to put on one's act; c'est du théâtre fig it's just a put-on○;3 ( lieu) theatreGB; le théâtre était plein the theatreGB was full; être le théâtre d'affrontements/d'émeutes fig to be the scene of fighting/of riots; le théâtre des opérations Mil the theatreGB of operations.théâtre de Boulevard farce; théâtre antique amphitheatreGB; théâtre de marionnettes puppet theatreGB; théâtre d'ombres shadow theatreGB; théâtre en plein air open-air theatreGB; théâtre de verdure = théâtre en plein air.[teatr] nom masculinA.1. [édifice - généralement] theatre2. [compagnie théâtrale] theatre companyelle veut faire du théâtre she wants to go on the stage ou to become an actress ou to actje vis pour le théâtre [acteur] I live for the theatre ou stageje préfère le théâtre au cinéma I prefer theatre ou plays to filmsle théâtre élisabéthain/romantique Elizabethan/Romantic theatre ou dramale théâtre de boulevard mainstream popular theatre (as first played in theatres on the Paris boulevards)6. [attitude pleine d'outrance] histrionicsle voilà qui fait son théâtre there he goes, putting on his usual actB.1. [lieu d'un événement] scenenotre région a été le théâtre de nombreuses mutations our part of the country has seen a lot of changes2. MILITAIREthéâtre d'opérations ou des opérations the theatre of operations————————de théâtre locution adjectivale[cours] drama (modificateur)[agence] booking[jumelles] opera (modificateur)[accessoire, décor] stage (modificateur)une femme de théâtre a woman of the stage ou theatre -
19 tragedy
1. n трагедияtragedy king — актёр, исполняющий в трагедии роль короля; главный трагик труппы
2. n трагическая ситуацияthe tragedy is that … — трагедия в том, что …
3. n трагическое событиеСинонимический ряд:1. calamity (noun) adversity; affliction; anguish; bad fortune; blight; calamity; cataclysm; catastrophe; contretemps; disaster; grave adversity; misadventure; mischance; misery; misfortune; mishap; suffering; tribulation; woes2. tragic drama (noun) drama; Elizabethan tragedy; Greek tragedy; play; tearjerker; theatrical production; tragic drama; tragic novel; tragic story; tragicomedyАнтонимический ряд:blessing; comedy -
20 Philosophy
And what I believe to be more important here is that I find in myself an infinity of ideas of certain things which cannot be assumed to be pure nothingness, even though they may have perhaps no existence outside of my thought. These things are not figments of my imagination, even though it is within my power to think of them or not to think of them; on the contrary, they have their own true and immutable natures. Thus, for example, when I imagine a triangle, even though there may perhaps be no such figure anywhere in the world outside of my thought, nor ever have been, nevertheless the figure cannot help having a certain determinate nature... or essence, which is immutable and eternal, which I have not invented and which does not in any way depend upon my mind. (Descartes, 1951, p. 61)Let us console ourselves for not knowing the possible connections between a spider and the rings of Saturn, and continue to examine what is within our reach. (Voltaire, 1961, p. 144)As modern physics started with the Newtonian revolution, so modern philosophy starts with what one might call the Cartesian Catastrophe. The catastrophe consisted in the splitting up of the world into the realms of matter and mind, and the identification of "mind" with conscious thinking. The result of this identification was the shallow rationalism of l'esprit Cartesien, and an impoverishment of psychology which it took three centuries to remedy even in part. (Koestler, 1964, p. 148)It has been made of late a reproach against natural philosophy that it has struck out on a path of its own, and has separated itself more and more widely from the other sciences which are united by common philological and historical studies. The opposition has, in fact, been long apparent, and seems to me to have grown up mainly under the influence of the Hegelian philosophy, or, at any rate, to have been brought out into more distinct relief by that philosophy.... The sole object of Kant's "Critical Philosophy" was to test the sources and the authority of our knowledge, and to fix a definite scope and standard for the researches of philosophy, as compared with other sciences.... [But Hegel's] "Philosophy of Identity" was bolder. It started with the hypothesis that not only spiritual phenomena, but even the actual world-nature, that is, and man-were the result of an act of thought on the part of a creative mind, similar, it was supposed, in kind to the human mind.... The philosophers accused the scientific men of narrowness; the scientific men retorted that the philosophers were crazy. And so it came about that men of science began to lay some stress on the banishment of all philosophic influences from their work; while some of them, including men of the greatest acuteness, went so far as to condemn philosophy altogether, not merely as useless, but as mischievous dreaming. Thus, it must be confessed, not only were the illegitimate pretensions of the Hegelian system to subordinate to itself all other studies rejected, but no regard was paid to the rightful claims of philosophy, that is, the criticism of the sources of cognition, and the definition of the functions of the intellect. (Helmholz, quoted in Dampier, 1966, pp. 291-292)Philosophy remains true to its classical tradition by renouncing it. (Habermas, 1972, p. 317)I have not attempted... to put forward any grand view of the nature of philosophy; nor do I have any such grand view to put forth if I would. It will be obvious that I do not agree with those who see philosophy as the history of "howlers" and progress in philosophy as the debunking of howlers. It will also be obvious that I do not agree with those who see philosophy as the enterprise of putting forward a priori truths about the world.... I see philosophy as a field which has certain central questions, for example, the relation between thought and reality.... It seems obvious that in dealing with these questions philosophers have formulated rival research programs, that they have put forward general hypotheses, and that philosophers within each major research program have modified their hypotheses by trial and error, even if they sometimes refuse to admit that that is what they are doing. To that extent philosophy is a "science." To argue about whether philosophy is a science in any more serious sense seems to me to be hardly a useful occupation.... It does not seem to me important to decide whether science is philosophy or philosophy is science as long as one has a conception of both that makes both essential to a responsible view of the world and of man's place in it. (Putnam, 1975, p. xvii)What can philosophy contribute to solving the problem of the relation [of] mind to body? Twenty years ago, many English-speaking philosophers would have answered: "Nothing beyond an analysis of the various mental concepts." If we seek knowledge of things, they thought, it is to science that we must turn. Philosophy can only cast light upon our concepts of those things.This retreat from things to concepts was not undertaken lightly. Ever since the seventeenth century, the great intellectual fact of our culture has been the incredible expansion of knowledge both in the natural and in the rational sciences (mathematics, logic).The success of science created a crisis in philosophy. What was there for philosophy to do? Hume had already perceived the problem in some degree, and so surely did Kant, but it was not until the twentieth century, with the Vienna Circle and with Wittgenstein, that the difficulty began to weigh heavily. Wittgenstein took the view that philosophy could do no more than strive to undo the intellectual knots it itself had tied, so achieving intellectual release, and even a certain illumination, but no knowledge. A little later, and more optimistically, Ryle saw a positive, if reduced role, for philosophy in mapping the "logical geography" of our concepts: how they stood to each other and how they were to be analyzed....Since that time, however, philosophers in the "analytic" tradition have swung back from Wittgensteinian and even Rylean pessimism to a more traditional conception of the proper role and tasks of philosophy. Many analytic philosophers now would accept the view that the central task of philosophy is to give an account, or at least play a part in giving an account, of the most general nature of things and of man. (Armstrong, 1990, pp. 37-38)8) Philosophy's Evolving Engagement with Artificial Intelligence and Cognitive ScienceIn the beginning, the nature of philosophy's engagement with artificial intelligence and cognitive science was clear enough. The new sciences of the mind were to provide the long-awaited vindication of the most potent dreams of naturalism and materialism. Mind would at last be located firmly within the natural order. We would see in detail how the most perplexing features of the mental realm could be supported by the operations of solely physical laws upon solely physical stuff. Mental causation (the power of, e.g., a belief to cause an action) would emerge as just another species of physical causation. Reasoning would be understood as a kind of automated theorem proving. And the key to both was to be the depiction of the brain as the implementation of multiple higher level programs whose task was to manipulate and transform symbols or representations: inner items with one foot in the physical (they were realized as brain states) and one in the mental (they were bearers of contents, and their physical gymnastics were cleverly designed to respect semantic relationships such as truth preservation). (A. Clark, 1996, p. 1)Socrates of Athens famously declared that "the unexamined life is not worth living," and his motto aptly explains the impulse to philosophize. Taking nothing for granted, philosophy probes and questions the fundamental presuppositions of every area of human inquiry.... [P]art of the job of the philosopher is to keep at a certain critical distance from current doctrines, whether in the sciences or the arts, and to examine instead how the various elements in our world-view clash, or fit together. Some philosophers have tried to incorporate the results of these inquiries into a grand synoptic view of the nature of reality and our human relationship to it. Others have mistrusted system-building, and seen their primary role as one of clarifications, or the removal of obstacles along the road to truth. But all have shared the Socratic vision of using the human intellect to challenge comfortable preconceptions, insisting that every aspect of human theory and practice be subjected to continuing critical scrutiny....Philosophy is, of course, part of a continuing tradition, and there is much to be gained from seeing how that tradition originated and developed. But the principal object of studying the materials in this book is not to pay homage to past genius, but to enrich one's understanding of central problems that are as pressing today as they have always been-problems about knowledge, truth and reality, the nature of the mind, the basis of right action, and the best way to live. These questions help to mark out the territory of philosophy as an academic discipline, but in a wider sense they define the human predicament itself; they will surely continue to be with us for as long as humanity endures. (Cottingham, 1996, pp. xxi-xxii)10) The Distinction between Dionysian Man and Apollonian Man, between Art and Creativity and Reason and Self- ControlIn his study of ancient Greek culture, The Birth of Tragedy, Nietzsche drew what would become a famous distinction, between the Dionysian spirit, the untamed spirit of art and creativity, and the Apollonian, that of reason and self-control. The story of Greek civilization, and all civilizations, Nietzsche implied, was the gradual victory of Apollonian man, with his desire for control over nature and himself, over Dionysian man, who survives only in myth, poetry, music, and drama. Socrates and Plato had attacked the illusions of art as unreal, and had overturned the delicate cultural balance by valuing only man's critical, rational, and controlling consciousness while denigrating his vital life instincts as irrational and base. The result of this division is "Alexandrian man," the civilized and accomplished Greek citizen of the later ancient world, who is "equipped with the greatest forces of knowledge" but in whom the wellsprings of creativity have dried up. (Herman, 1997, pp. 95-96)Historical dictionary of quotations in cognitive science > Philosophy
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