Richard Tarrant is Pope Professor of Latin in the Department of Classics at Harvard University. He has been a Visiting Professor at the Institute for Advanced Study in Princeton and a Visiting Fellow at Corpus Christi College, Oxford. At Harvard he has been honored with the Levenson Prize for undergraduate teaching, a Harvard College Professorship and a Phi Beta Kappa Prize for excellence in teaching.
The Eclogues of Virgil gave definitive form to the pastoral mode, and these magically beautiful poems, which were influential in so much subsequent literature, perhaps best exemplify what pastoral can do. "Song replying to song replying to song," touchingly comic, poignantly sad, sublimely joyful, the various music that these shepherds make echoes in scenes of repose and harmony, and of hardship and trouble in work and love.
The Eclogues of Virgil includes concise, informative notes and an introduction that describes the fundamental role of this deeply original book in the pastoral tradition.
Plato's account of Socrates' trial and death (399 BC) is a significant moment in Classical literature and the life of Classical Athens. In these four dialogues, Plato develops the Socratic belief in responsibility for one's self and shows Socrates living and dying under his philosophy. In Euthyphro, Socrates debates goodness outside the courthouse; Apology sees him in court, rebutting all charges of impiety; in Crito, he refuses an entreaty to escape from prison; and in Phaedo, Socrates faces his impending death with calmness and skilful discussion of immortality.
Christopher Rowe's introduction to his powerful new translation examines the book's themes of identity and confrontation, and explores how its content is less historical fact than a promotion of Plato's Socratic philosophy.
The Eclogues were Virgil's first published poems. Ancient sources say that he spent three years composing and revising them at about the age of thirty. Though these poems begin a sequence that continues with the Georgics and culminates in the Aeneid, they are no less elegant in style or less profound in insight than the later, more extensive works. These intricate and highly polished variations on the idea of the pastoral poem, as practiced by earlier Greek poets, mix political, social, historical, artistic, and moral commentary in musical Latin that exerted a profound influence on subsequent Western poetry.
Poet Len Krisak's vibrant metric translation captures the music of Virgil's richly textured verse by employing rhyme and other sonic devices. The result is English poetry rather than translated prose. Presenting the English on facing pages with the original Latin, Virgil's Eclogues also features an introduction by scholar Gregson Davis that situates the poems in the time in which they were created.
In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate eclecticism of George Martin's recordings of the Beatles did not resemble live performances—in the Albert Hall or elsewhere—but instead created a new sonic world. The role of the record producer, writes Virgil Moorefield in The Producer as Composer, was evolving from that of organizer to auteur; band members became actors in what Frank Zappa called a "movie for your ears." In rock and pop, in the absence of a notated score, the recorded version of a song—created by the producer in collaboration with the musicians—became the definitive version. Moorefield, a musician and producer himself, traces this evolution with detailed discussions of works by producers and producer-musicians including Spector and Martin, Brian Eno, Bill Laswell, Trent Reznor, Quincy Jones, and the Chemical Brothers. Underlying the transformation, Moorefield writes, is technological development: new techniques—tape editing, overdubbing, compression—and, in the last ten years, inexpensive digital recording equipment that allows artists to become their own producers. What began when rock and pop producers reinvented themselves in the 1960s has continued; Moorefield describes the importance of disco, hip-hop, remixing, and other forms of electronic music production in shaping the sound of contemporary pop. He discusses the making of Pet Sounds and the production of tracks by Public Enemy with equal discernment, drawing on his own years of studio experience. Much has been written about rock and pop in the last 35 years, but hardly any of it deals with what is actually heard in a given pop song. The Producer as Composer tries to unravel the mystery of good pop: why does it sound the way it does?
Among the topics covered:How social psychology can be more cognitive without being less social.How the self-esteem system functions to resolve important interpersonal dilemmas.Shared interests of social psychology and cultural evolution.The evolution of stereotypes.An adaptive socio-ecological perspective on social competition and bullying.Evolutionary game theory and personality.
Evolutionary Perspectives on Social Psychology has much to offer students and faculty in both fields as well as evolutionary scientists outside of psychology. This volume can be used as a primary text in graduate courses and as a supplementary text in various upper-level undergraduate courses.
The ethics of efficiency must be considered with regard to the logic of action or to economic, political, legal or scientific systems.
This book presents a question on the central theme of responsible research and innovation (RRI), which has an ethical influence on effective logics. The issue is to question the opportunity and modularities of an ethical effective influence on the logics of efficiency of research and innovation.
From the distinction of efficiency and effectiveness, lies the problem of efficacy, the ethical accord between the two. Thus appears the possibility of taking effective responsibility with respect to systematic injustices potentially linked to this efficiency. This book proposes categories to understand the ethical implications of research and innovation processes, under the aspect of their efficacy.