This book investigates the writings of Karen Blixen (Isak Dinesen) from an existentialist angle. Although it has not been subject to much study, Blixen’s writing elegantly and subtly integrates the ideas of Kierkegaard, Nietzsche and Sartre in a way that makes the philosophers more accessible to a wider audience. However, Blixen also offers her own ideas of the fundamental problem in existentialism: how to arrive at an authentic identity through free, individual choices – or, as Nietzsche put it: how to become who you are. On the whole, Blixen’s authorship can be seen as an existential study of the 20th century and the ways by which Western culture came to be what it is now. In agreement with Nietzsche’s statement that all philosophy is an involuntary autobiography, this book also contains accounts of the lives of the three philosophers chiefly involved in this study.
Hamlet’s Age and the Earl of Southampton investigates the exact age of the eponymous prince in Shakespeare’s play, a topic which has been subject to frequent debates over the past 239 years. Whether Hamlet is sixteen, eighteen or, as the Gravedigger states in Act V, thirty years old may seem irrelevant to performances of the play (since actors tackling the part are very rarely in their teens), but it still tends to influence our general view of the Danish prince. Romantic criticism in the early 19th century insisted on a heroic and supremely intelligent teenage prince, and, to a large extent, this view of Hamlet still prevails. Whether Shakespeare meant his protagonist to be the irreproachable prince of Romantic fancy, however, remains a question. Numerous scholars have found references to the Earl of Essex in Hamlet, but Henry Wriothesley, the third Earl of Southampton, once indisputably Shakespeare’s patron, is a far more likely candidate. If Shakespeare had Southampton in mind when writing his Danish tragedy, this would account for the Gravedigger’s estimate of Hamlet’s age in Act V and explain several things that have puzzled us over the last four centuries.
The neurobiology and mechanisms discovered in animals often do not translate to patients with a chronic pain condition. To help researchers and clinicians develop and use models that can help translate data from animals into humans, this book presents experimental animal models, with a focus on how they may translate into humans human experimental pain models, including details about pain induction and assessment human surrogate pain models clinical applications of pain models models that may link mechanisms of pain and pruritus Pain Models contains 29 chapters by internationally recognized experts. It is a comprehensive survey of pain models at different levels, and commentaries by clinicians directly address clinical perspectives. This unique book is unprecedented in its content. It's a quick reminder of the hard work needed to investigate the complex issue of pain perception. With the advent of increasingly sensitive noninvasive investigational tools, the authors want readers to know that basic research is still needed to help develop new drugs. This book will enrich anyone who wishes to know all that goes into conducting pain research with a lab-based pain model.
Although relatively small, the northern countries of Scandinavia have made a disproportionately large contribution to world cinema. Indeed, some of their films are among the best known of all times, including The Seventh Seal, Dancer in the Dark, and The Girl with the Dragon Tattoo. And Scandinavian directors are also among the best known, just to mention Ingmar Bergman and Lars von Trier. But there is much more to the cinema of Denmark, Norway, Sweden, Finland and Iceland than that, and this book shows us what they have been accomplishing over more than a century from the beginnings of cinema until the present. The Historical Dictionary of Scandinavian Cinema shows just how long and busy this history has been in the chronology, starting in 1896. The introduction then describes the situation in each one of the component countries, all of which approached and developed the field in a similar but also slightly different manner. The dictionary section, with over 400 substantial entries, looks at the situation in greater detail, with over 400 substantial entries on major actors, directors and others, significant films, various genres and themes, and subjects such as animation, ethnicity, migration and censorship. Given its contribution to world cinema it is good to finally have an encyclopedia like this which can meet the interests of the scholar and researcher but also the movie fan.
This book investigates the writings of Karen Blixen (Isak Dinesen) from an existentialist angle. Although it has not been subject to much study, Blixen’s writing elegantly and subtly integrates the ideas of Kierkegaard, Nietzsche and Sartre in a way that makes the philosophers more accessible to a wider audience. However, Blixen also offers her own ideas of the fundamental problem in existentialism: how to arrive at an authentic identity through free, individual choices – or, as Nietzsche put it: how to become who you are. On the whole, Blixen’s authorship can be seen as an existential study of the 20th century and the ways by which Western culture came to be what it is now. In agreement with Nietzsche’s statement that all philosophy is an involuntary autobiography, this book also contains accounts of the lives of the three philosophers chiefly involved in this study.
Hamlet’s Age and the Earl of Southampton investigates the exact age of the eponymous prince in Shakespeare’s play, a topic which has been subject to frequent debates over the past 239 years. Whether Hamlet is sixteen, eighteen or, as the Gravedigger states in Act V, thirty years old may seem irrelevant to performances of the play (since actors tackling the part are very rarely in their teens), but it still tends to influence our general view of the Danish prince. Romantic criticism in the early 19th century insisted on a heroic and supremely intelligent teenage prince, and, to a large extent, this view of Hamlet still prevails. Whether Shakespeare meant his protagonist to be the irreproachable prince of Romantic fancy, however, remains a question. Numerous scholars have found references to the Earl of Essex in Hamlet, but Henry Wriothesley, the third Earl of Southampton, once indisputably Shakespeare’s patron, is a far more likely candidate. If Shakespeare had Southampton in mind when writing his Danish tragedy, this would account for the Gravedigger’s estimate of Hamlet’s age in Act V and explain several things that have puzzled us over the last four centuries.
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