The Pragmatic Imagination: A History of the Wharton School ...
journals.cambridge.org/abstract_S0007680500067052
by RR Locke - 1986Jun 11, 2012 - By Steven A. Sass. (Philadelphia: University of Pennsylvania Press, 1982. xxiii + 351 pp. ... Table of Contents - 1986 - Volume 60, Issue 01. Buy This ... The Pragmatic Imagination: A History of the Wharton School, 1881–1981.
yy日本8天
假日末；
- 陳佩琪、柯文哲現象方興未艾：
- 顏厥安︰防止總統暴衝是憲改要務；從公民社會到公民共和；以「微型憲改」自救；三一八學運 擋下馬傾中政策...
- Helmut Kohl 科爾
- 林義雄(6)：好好做事、 3訴球
- 高志明 (義美)︰「初衷、自制、溯源、自主管理」
- 劉振強
- Barry Goldwater 高華德 1909-1998
- Viggo Mortensen 維果·莫天森
台灣約17~20年前就有海外遊學的課程--或雙學位....
這則，有意思的是去Arizona州。我則是看一本60年代的傳記，對該州有深刻印象： 高華德傳 ，黃沙譯，台北：文星，1964，
Barry Goldwater: The Biography of a Conservative
by Rob Wood, Dean Smith
http://hcpeople.blogspot.tw/2015/04/barry-goldwater.html
午餐自理；
有意思，我2014.11.20就貼此文。http://hceducation.blogspot.tw/2014/11/blog-post_20.html
昨天：謝謝江老師。的確是好消息 (對漫步文化)。本月22日有討論會，有興趣的朋友可參加：http://hclectures.blogspot.tw/2015/03/blog-post_24.html
這討論會前一小時由彭先生主講，後一小時討論。由於本書內容和文字都有點深，所以估計當天看完全書的，可能只一成的。不過，我今天讀了第24章，決定它是該書具體而微的代表作，可以寫小論文。該章25個注解也很好，不過我認為應該是40個注解，尤其是羅馬的史地。
Tabernacle of Cherves | ca. 1220-1230 | French http://met.org/1DnhxZn
Villa_Doria_Pamphili
阿彭，
注解極妙。
以24章為例，末尾的Noli me tantere (語種？)---昨天復活節，牧師竟說King James 的Don't touch me 等翻譯不好.....
章前的但丁地名也注得不錯。只是薩賓那如注離羅馬不遠？
另外下文黑體字 (p.254) 是什麼意思？
Thomas Mann Jahrbuch Bd. 8 - Page 115 - Google Books Result
Dennoch war es mir leise unlieb, wenn Schildknapp, auf die wundervolle Darbietung hinweisend, sein .Besichtigen Sie jenes!' rief und Adrian in das dankbare ...
尋找苦事的人，自有苦吃 希伯來書p.257 章節？
Pantheon
巴特農神殿 康斯坦奇劇院
rome argentina road parthenon constance theatre
Alfred Tennyson's poem The Princess (and, by extension, Gilbert and Sullivan's comic operaPrincess Ida) is speculated by Gerhard Joseph to have been inspired by Love's Labour's Lost.[33]
Thomas Mann in his novel Doctor Faustus (1943) has the fictional German composer Adrian Leverkühn attempt to write an opera on the story of the play.[34]
- Blackmur, R.P. (1950). "Parody and Critique: Notes on Thomas Mann's Doctor Faustus". The Kenyon Review 12 (1): 20.
Music[edit]
Unlike many of Shakespeare’s plays, music plays a role only in the final scene of Love's Labour's Lost. The songs of spring and winter, titled "Ver and Hiems" and "The Cuckoo and the Owl", respectively, occur near the end of the play. Given the critical controversy regarding the exact dating of Love's Labour's Lost, there is some indication that "the songs belong to the 1597 additions."[21]
Different interpretations of the meaning of these songs include: optimistic commentary for the future, bleak commentary regarding the recent announcement of death, or an ironic device by which to direct the King and his Lords towards a new outlook on love and life.[22]In keeping with the theme of time as it relates to reality and fantasy, these are seasonal songs that restore the sense of time to the play. Due to the opposing nature of the two songs, they can be viewed as a debate on the opposing attitudes on love found throughout the play.[20] Catherine McLay comments that the songs are functional in their interpretation of the central themes in Love's Labour's Lost.[21] McLay also suggests that the songs negate what many consider to be a "heretical" ending for a comedy. The songs, a product of traditional comedic structure, are a method by which the play can be "[brought] within the periphery of the usual comic definition."[21]
Critic Thomas Berger states that, regardless of the meaning of these final songs, they are important in their contrast with the lack of song throughout the rest of the play.[22] In cutting themselves off from women and the possibility of love, the King and his Lords have effectively cut themselves off from song. Song is allowed into the world of the play at the beginning of Act III, after the Princess and her ladies have been introduced and the men begin to fall in love. Moth’s song "Concolinel" indicates that the vows will be broken.[22] In Act I, Scene II, Moth recites a poem but fails to sing it. Don Armado insists that Moth sing it twice, but he does not. Berger infers that a song was intended to be inserted at this point, but was never written. Had a song been inserted at this point of the play, it would have followed dramatic convention of the time, which often called for music between scenes.[22]
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