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Wesley Newcomb Hohfeld, born in 1879, died prematurely in 1918. He
left only a few law journal articles as his published work. His
'Fundamental Legal Conceptions', originally published as two
articles in the 'Yale Law Journal' for 1913 and 1917 and left
incompletely revised at his death is, however, one of the principal
foundations of analytic jurisprudence. The analysis of rights that
Hohfeld offers is still regularly cited and relied upon by both
lawyers and philosophers, and it is treated as a source of insight
into the nature of moral rights as well as the legal rights that
were Hohfeld's own focus of concern. Although some of his
analytical distinctions were anticipated by earlier jurists, their
insights were fragmentary and imperfect by comparison. Hohfeld's
systematic and exhaustive (yet concise) treatment is generally
regarded as unsurpassed. This is not to say that he has not been
criticized, but his book forms the essential starting point for any
discussion of the nature and structure of rights. 'Fundamental
Legal Conceptions' has long been difficult to obtain. This new
edition makes this classic of analytic jurisprudence available with
a comprehensive introduction by Dr. N.E. Simmonds of Corpus
Christi, University of Cambridge, UK.
Christian Wolff is a composer who has followed a distinctive path
often at the centre of avant-garde activity working alongside
figures such as John Cage, Merce Cunningham, and Cornelius Cardew.
In a career spanning sixty years, he has produced a significant and
influential body of work that has aimed to address, in a searching
and provocative manner, what it means to be an experimental and
socially aware artist. This book provides a wide-ranging
introduction to a composer often overlooked despite his influence
upon many of the major figures in new music since the 1950s from
Cage to John Zorn to the new wave of experimentalists across the
globe. As the first detailed analysis of the music of this prolific
and highly individual composer, Changing the System: The Music of
Christian Wolff contains contributions from leading experts in the
field of new and experimental music, as well as from performers and
composers who have worked with Wolff. The reception of Wolff's
music is discussed in relation to the European avant-garde and also
within the context of Wolff's association with Cage and Feldman.
Music from his earliest compositions of the 1950s, the highly
indeterminate scores, the politically-inspired pieces up to the
most recent works are discussed in detail, both in relation to
their compositional techniques, general aesthetic development, and
matters of performance. The particular challenges and aesthetic
issues arising from Wolff's idiosyncratic notations and the
implications for performers are a central theme. Likewise, the ways
in which Wolff's political persuasions - which arguably account for
some of the notational methods he chooses - have been worked out
through his music, are examined. With a foreword by his close
associate Michael Parsons, this is a valuable addition to
experimental music literature.
Summarizes various approaches to schizophrenia and points to their
weaknesses and strengths. To gain a better understanding of the
condition, the text considers factors including deprivation,
cultural influences and brain function. It also challenges
over-reliance on 19th century phenomenology.
Christian Wolff is a composer who has followed a distinctive path
often at the centre of avant-garde activity working alongside
figures such as John Cage, Merce Cunningham, and Cornelius Cardew.
In a career spanning sixty years, he has produced a significant and
influential body of work that has aimed to address, in a searching
and provocative manner, what it means to be an experimental and
socially aware artist. This book provides a wide-ranging
introduction to a composer often overlooked despite his influence
upon many of the major figures in new music since the 1950s from
Cage to John Zorn to the new wave of experimentalists across the
globe. As the first detailed analysis of the music of this prolific
and highly individual composer, Changing the System: The Music of
Christian Wolff contains contributions from leading experts in the
field of new and experimental music, as well as from performers and
composers who have worked with Wolff. The reception of Wolff's
music is discussed in relation to the European avant-garde and also
within the context of Wolff's association with Cage and Feldman.
Music from his earliest compositions of the 1950s, the highly
indeterminate scores, the politically-inspired pieces up to the
most recent works are discussed in detail, both in relation to
their compositional techniques, general aesthetic development, and
matters of performance. The particular challenges and aesthetic
issues arising from Wolff's idiosyncratic notations and the
implications for performers are a central theme. Likewise, the ways
in which Wolff's political persuasions - which arguably account for
some of the notational methods he chooses - have been worked out
through his music, are examined. With a foreword by his close
associate Michael Parsons, this is a valuable addition to
experimental music literature.
Records of people experiencing verbal hallucinations or hearing voices can be found throughout history. Voices of Reason, Voices of Insanity examines almost 2,800 years of these reports including Socrates, Schreber and Pierre Janet's "Marcelle", to provide a clear understanding of the experience and how it may have changed over the millenia. Through six cases of historical and contemporary voice hearers, Leudar and Thomas demonstrate how the experience has metamorphosed from being a sign of virtue to a sign of insanity, signalling such illnesses as schizophrenia or dissociation. They argue that the experience is interpreted by the voice hearer according to social categories conveyed through language, and is therefore best studied as a matter of language use. Controversially, they conclude that 'hearing voices' is an ordinary human experience which is unfortunately either mystified or pathologised. Voices of Reason, Voices of Insanity offers a fresh perspective on this enigmatic experience and will be of interest to students, researchers and clinicians alike.
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Wesley Newcomb Hohfeld, born in 1879, died prematurely in 1918. He
left only a few law journal articles as his published work. His
'Fundamental Legal Conceptions', originally published as two
articles in the 'Yale Law Journal' for 1913 and 1917 and left
incompletely revised at his death is, however, one of the principal
foundations of analytic jurisprudence. The analysis of rights that
Hohfeld offers is still regularly cited and relied upon by both
lawyers and philosophers, and it is treated as a source of insight
into the nature of moral rights as well as the legal rights that
were Hohfeld's own focus of concern. Although some of his
analytical distinctions were anticipated by earlier jurists, their
insights were fragmentary and imperfect by comparison. Hohfeld's
systematic and exhaustive (yet concise) treatment is generally
regarded as unsurpassed. This is not to say that he has not been
criticized, but his book forms the essential starting point for any
discussion of the nature and structure of rights. 'Fundamental
Legal Conceptions' has long been difficult to obtain. This new
edition makes this classic of analytic jurisprudence available with
a comprehensive introduction by Dr. N.E. Simmonds of Corpus
Christi, University of Cambridge, UK.
How is life possible in a world of evil, suffering, and chaos?
Christians have historically been inept at offering adequate
answers as to why people's lives are derailed by sudden chaos and,
even worse, at equipping people to live in the throes, or
aftermath, of that same chaos. Underlying this confusion is an
assumption that evil is a formidable chink in the armor of God's
creation. The book of Job challenges such thinking, but its meaning
often remains hidden because of a long-standing belief in Christian
hermeneutics that the book is about why bad things happen to good
people, or about why suffering happens. This is not the case. With
In a Vision of the Night Philip Thomas offers a fresh perspective
into the book of Job by reading it alongside the fiction of Cormac
McCarthy. While some critics have previously identified Joban
overtones in McCarthy's work, Thomas argues for something far
stronger: a recurrent Joban resonance throughout McCarthy's works.
McCarthy's rejection of philosophical theodicy, his
anti-anthropocentric vision of the world, his assumed presence of
chaotic figures, and the quietly persistent note of hope that runs
throughout his books reveal the Joban influence. Thomas contends
that knowledge of the book of Job gives insight into McCarthy's
literary output; conversely, reading Job through a McCarthyite lens
enables proper apprehension of the scriptural text. Through a
thematically based theological reading of McCarthy and Job, In a
Vision of the Night draws out often overlooked aspects of the book
of Job. Further, it reveals that McCarthy, like the Joban author,
constructs a theodicy that both rejects the easy stance of a
detached and generalized answer to the question of why chaos comes
and advances the more pressing question of how life continues in
the face of chaos.
This is a reproduction of a book published before 1923. This book
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++++ The below data was compiled from various identification fields
in the bibliographic record of this title. This data is provided as
an additional tool in helping to ensure edition identification:
++++ Report Of The Secretary Of War, Communicating Information In
Relation To The Geology And Topography Of California ...; Issue 47
Of Senate Executive Document Philip Thomas Tyson, Persifor Frazer
Smith, Bennett Riley, Theodore Talbot, Edward Otho Cresap Ord, John
Fries Frazer, George Horatio Derby, Robert Stockton Williamson sn,
1850 Science; Earth Sciences; Geology; California; Discoveries in
geography; Geology; Oregon; Science / Earth Sciences / Geology;
United States
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