A philosopher is someone who practices philosophy. The term "philosopher" comes from the Ancient Greek, φιλόσοφος, meaning "lover of wisdom"; the coining of the term has been attributed to the Greek thinker Pythagoras. In the classical sense, a philosopher was someone who lived according to a certain way of life, focusing on resolving existential questions about the human condition, not someone who discourses upon theories or comments upon authors; these particular brands of philosophy are Hellenistic ones and those who most arduously commit themselves to this lifestyle may be considered philosophers. A philosopher is one who challenges what is thought to be common sense, doesn’t know when to stop asking questions, reexamines the old ways of thought. In a modern sense, a philosopher is an intellectual who has contributed in one or more branches of philosophy, such as aesthetics, epistemology, metaphysics, social theory, political philosophy. A philosopher may be one who worked in the humanities or other sciences which have since split from philosophy proper over the centuries, such as the arts, economics, psychology, anthropology and politics.
The separation of philosophy and science from theology began in Greece during the 6th century BC. Thales, an astronomer and mathematician, was considered by Aristotle to be the first philosopher of the Greek tradition. While Pythagoras coined the word, the first known elaboration on the topic was conducted by Plato. In his Symposium, he concludes. Therefore, the philosopher is one. Therefore, the philosopher in antiquity was one who lives in the constant pursuit of wisdom, living in accordance to that wisdom. Disagreements arose as to what living philosophically entailed; these disagreements gave rise to different Hellenistic schools of philosophy. In consequence, the ancient philosopher thought in a tradition; as the ancient world became schism by philosophical debate, the competition lay in living in a manner that would transform his whole way of living in the world. Among the last of these philosophers was Marcus Aurelius, regarded as a philosopher in the modern sense, but refused to call himself by such a title, since he had a duty to live as an emperor.
According to the Classicist Pierre Hadot, the modern conception of a philosopher and philosophy developed predominately through three changes: The first is the natural inclination of the philosophical mind. Philosophy is a tempting discipline which can carry away the individual in analyzing the universe and abstract theory; the second is the historical change through the Medieval era. With the rise of Christianity, the philosophical way of life was adopted by its theology. Thus, philosophy was divided between a way of life and the conceptual, logical and metaphysical materials to justify that way of life. Philosophy was the servant to theology; the third is the sociological need with the development of the university. The modern university requires professionals to teach. Maintaining itself requires teaching future professionals to replace the current faculty. Therefore, the discipline degrades into a technical language reserved for specialists eschewing its original conception as a way of life.
In the fourth century, the word philosopher began to designate a man or woman who led a monastic life. Gregory of Nyssa, for example, describes how his sister Macrina persuaded their mother to forsake "the distractions of material life" for a life of philosophy. During the Middle Ages, persons who engaged with alchemy was called a philosopher – thus, the Philosopher's Stone. Many philosophers still emerged from the Classical tradition, as saw their philosophy as a way of life. Among the most notable are René Descartes, Baruch Spinoza, Nicolas Malebranche, Gottfried Wilhelm Leibniz. With the rise of the university, the modern conception of philosophy became more prominent. Many of the esteemed philosophers of the eighteenth century and onward have attended and developed their works in university. Early examples include: Immanuel Kant, Johann Gottlieb Fichte, Friedrich Wilhelm Joseph Schelling, Georg Wilhelm Friedrich Hegel. After these individuals, the Classical conception had all but died with the exceptions of Arthur Schopenhauer, Søren Kierkegaard, Friedrich Nietzsche.
The last considerable figure in philosophy to not have followed a strict and orthodox academic regime was Ludwig Wittgenstein. In the modern era, those attaining advanced degrees in philosophy choose to stay in careers within the educational system as part of the wider professionalisation process of the discipline in the 20th century. According to a 1993 study by the National Research Council, 77.1% of the 7,900 holders of a PhD in philosophy who responded were employed in educational institutions. Outside academia, philosophers may employ their writing and reasoning skills in other careers, such as medicine, business, free-lance writing and law; some known French social thinkers are Claude Henri Saint-Simon, Auguste Comte, Émile Durkheim. British social thought, with thinkers such as Herbert Spencer, addressed questions and ideas relating to political economy and social evolution; the political ideals of John Ruskin were a precursor of social economy. Important German philosophers and social thinkers included Immanuel Kant, Georg Wilhelm Friedrich Hegel, Karl Marx, Max Weber, Georg Simmel, Martin Heidegger.
Important Chinese philosophers and social thinke
A playwright or dramatist is a person who writes plays. The word "play" is from Middle English pleye, from Old English plæġ, pleġa, plæġa ("play, exercise; the word "wright" is an archaic English term for a builder. The words combine to indicate a person who has "wrought" words and other elements into a dramatic form—a play; the first recorded use of the term "playwright" is from 1605, 73 years before the first written record of the term "dramatist". It appears to have been first used in a pejorative sense by Ben Jonson to suggest a mere tradesman fashioning works for the theatre. Jonson uses the word in his Epigram 49, thought to refer to John Marston: Epigram LXVIII — On Playwright PLAYWRIGHT me reads, still my verses damns, He says I want the tongue of epigrams. Playwright, I loath to have thy manners known In my chaste book. Jonson described himself as a poet, not a playwright, since plays during that time were written in meter and so were regarded as the province of poets; this view was held as late as the early 19th century.
The term "playwright" again lost this negative connotation. The earliest playwright in Western literature with surviving works are the Ancient Greeks; these early plays were for annual Athenian competitions among play writers held around the 5th century BC. Such notables as Aeschylus, Sophocles and Aristophanes established forms still relied on by their modern counterparts. For the ancient Greeks, playwriting involved poïesis, "the act of making"; this is the source of the English word poet. In the 4th century BCE, Aristotle wrote his Poetics, in which he analyzed the principle of action or praxis as the basis for tragedy, he considered elements of drama: plot, thought, diction and spectacle. Since the myths, on which Greek tragedy were based, were known, plot had to do with the arrangement and selection of existing material. Character was determined by action. Tragedy is mimesis—"the imitation of an action, serious", he developed his notion of hamartia, or tragic flaw, an error in judgment by the main character or protagonist, which provides the basis for the "conflict-driven" play.
The Italian Renaissance brought about a stricter interpretation of Aristotle, as this long-lost work came to light in the late 15th century. The neoclassical ideal, to reach its apogee in France during the 17th century, dwelled upon the unities, of action and time; this meant that the playwright had to construct the play so that its "virtual" time would not exceed 24 hours, that it would be restricted to a single setting, that there would be no subplots. Other terms, such as verisimilitude and decorum, circumscribed the subject matter significantly. For example, verisimilitude limits of the unities. Decorum fitted proper protocols for language on stage. In France, contained too many events and actions, violating the 24-hour restriction of the unity of time. Neoclassicism never had as much traction in England, Shakespeare's plays are directly opposed to these models, while in Italy and bawdy commedia dell'arte and opera were more popular forms. In England, after the Interregnum, restoration of the monarchy in 1660, there was a move toward neoclassical dramaturgy.
One structural unit, still useful to playwrights today, is the "French scene", a scene in a play where the beginning and end are marked by a change in the makeup of the group of characters onstage, rather than by the lights going up or down or the set being changed. Popularized in the nineteenth century by the French playwrights Eugène Scribe and Victorien Sardou, the most schematic of all formats, the "well-made play" relies on a series of coincidences that determined the action; this plot driven format is reliant on a prop device, such as a glass of water, or letter that reveals some secret information. In most cases, the character receiving the secret information misinterprets its contents, thus setting off a chain of events. Well-made plays are thus motivated by various plot devices which lead to "discoveries" and "reversals of action," rather than being character motivated. Henrik Ibsen's A Doll's House is an example of a well-made structure that began to integrate a more realistic approach to character.
The character Nora's leaving is as much motivated by "the letter" and disclosure of a "past secret" as it is by her own determination to strike out on her own. The well-made play infiltrated other forms of writing and is still seen in popular formats such as the mystery, or "whodunit." Full-length play: Generally, two or three acts with an act break that marks some kind of scene change or time shift. These acts are divided into scenes, which are defined by shifts in time and place; this type of structure is called episodic. Episodic plays contain scene changes and require careful attention to transitions, so as to maintain entails a more causal relationship between units and is defined by the unity of time, and/or action. Short play: A more popular format the short play does not have an intermission and runs over an hour, but less than an hour-and-a-half. One-act play: A useful form for experimental work with less reliance on character development and arc; these remain under an hour in length.
In the US the 10-minute play
National Library of the Czech Republic
The National Library of the Czech Republic is the central library of the Czech Republic. It is directed by the Ministry of Culture; the library's main building is located in the historical Clementinum building in Prague, where half of its books are kept. The other half of the collection is stored in the district of Hostivař; the National Library is the biggest library in the Czech Republic, in its funds there are around 6 million documents. The library has around 60,000 registered readers; as well as Czech texts, the library stores older material from Turkey and India. The library houses books for Charles University in Prague; the library won international recognition in 2005 as it received the inaugural Jikji Prize from UNESCO via the Memory of the World Programme for its efforts in digitising old texts. The project, which commenced in 1992, involved the digitisation of 1,700 documents in its first 13 years; the most precious medieval manuscripts preserved in the National Library are the Codex Vyssegradensis and the Passional of Abbes Kunigunde.
In 2006 the Czech parliament approved funding for the construction of a new library building on Letna plain, between Hradčanská metro station and Sparta Prague's football ground, Letná stadium. In March 2007, following a request for tender, Czech architect Jan Kaplický was selected by a jury to undertake the project, with a projected completion date of 2011. In 2007 the project was delayed following objections regarding its proposed location from government officials including Prague Mayor Pavel Bém and President Václav Klaus. Plans for the building had still not been decided in February 2008, with the matter being referred to the Office for the Protection of Competition in order to determine if the tender had been won fairly. In 2008, Minister of Culture Václav Jehlička announced the end of the project, following a ruling from the European Commission that the tender process had not been carried out legally; the library was affected by the 2002 European floods, with some documents moved to upper levels to avoid the excess water.
Over 4,000 books were removed from the library in July 2011 following flooding in parts of the main building. There was a fire at the library in December 2012. List of national and state libraries Official website
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
Theatre or theater is a collaborative form of fine art that uses live performers actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place a stage. The performers may communicate this experience to the audience through combinations of gesture, song and dance. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality and immediacy of the experience; the specific place of the performance is named by the word "theatre" as derived from the Ancient Greek θέατρον, itself from θεάομαι. Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, many of its themes, stock characters, plot elements. Theatre artist Patrice Pavis defines theatricality, theatrical language, stage writing and the specificity of theatre as synonymous expressions that differentiate theatre from the other performing arts and the arts in general.
Modern theatre includes performances of musical theatre. The art forms of ballet and opera are theatre and use many conventions such as acting and staging, they were influential to the development of musical theatre. The city-state of Athens is, it was part of a broader culture of theatricality and performance in classical Greece that included festivals, religious rituals, law and gymnastics, poetry, weddings and symposia. Participation in the city-state's many festivals—and mandatory attendance at the City Dionysia as an audience member in particular—was an important part of citizenship. Civic participation involved the evaluation of the rhetoric of orators evidenced in performances in the law-court or political assembly, both of which were understood as analogous to the theatre and came to absorb its dramatic vocabulary; the Greeks developed the concepts of dramatic criticism and theatre architecture. Actors were either amateur or at best semi-professional; the theatre of ancient Greece consisted of three types of drama: tragedy and the satyr play.
The origins of theatre in ancient Greece, according to Aristotle, the first theoretician of theatre, are to be found in the festivals that honoured Dionysus. The performances were given in semi-circular auditoria cut into hillsides, capable of seating 10,000–20,000 people; the stage consisted of a dancing floor, dressing scene-building area. Since the words were the most important part, good acoustics and clear delivery were paramount; the actors wore masks appropriate to the characters they represented, each might play several parts. Athenian tragedy—the oldest surviving form of tragedy—is a type of dance-drama that formed an important part of the theatrical culture of the city-state. Having emerged sometime during the 6th century BCE, it flowered during the 5th century BCE, continued to be popular until the beginning of the Hellenistic period. No tragedies from the 6th century BCE and only 32 of the more than a thousand that were performed in during the 5th century BCE have survived. We have complete texts extant by Aeschylus and Euripides.
The origins of tragedy remain obscure, though by the 5th century BCE it was institutionalised in competitions held as part of festivities celebrating Dionysus. As contestants in the City Dionysia's competition playwrights were required to present a tetralogy of plays, which consisted of three tragedies and one satyr play; the performance of tragedies at the City Dionysia may have begun as early as 534 BCE. Most Athenian tragedies dramatise events from Greek mythology, though The Persians—which stages the Persian response to news of their military defeat at the Battle of Salamis in 480 BCE—is the notable exception in the surviving drama; when Aeschylus won first prize for it at the City Dionysia in 472 BCE, he had been writing tragedies for more than 25 years, yet its tragic treatment of recent history is the earliest example of drama to survive. More than 130 years the philosopher Aristotle analysed 5th-century Athenian tragedy in the oldest surviving work of dramatic theory—his Poetics. Athenian comedy is conventionally divided into three periods, "Old Comedy", "Middle Comedy", "New Comedy".
Old Comedy survives today in the form of the eleven surviving plays of Aristophanes, while Middle Comedy is lost. New Comedy is known from the substantial papyrus fragments of Menander. Aristotle defined comedy as a representation of laughable people that involves some kind of blunder or ugliness that does not cause pain or disaster. In addition to the categories of comedy and tragedy at the City Dionysia, the festival included the Satyr Play. Finding its origins in rural, agricultural rituals dedicated to Dionysus, the satyr play found its way to Athens in its most well-known form. Satyr's themselves were tied to the god Dionysus as his loyal woodland companions engaging in drunken revelry and mischief at his side; the satyr play itself was classified as tragicomedy, erring
Liberal arts education
Liberal arts education can claim to be the oldest programme of higher education in Western history. It has its origin in the attempt to discover first principles –'those universal principles which are the condition of the possibility of the existence of anything and everything'; the liberal arts known as the seven liberal arts, are those subjects or skills that in classical antiquity were considered essential for a free person to know in order to take an active part in civic life, something that included participating in public debate, defending oneself in court, serving on juries, most military service. Grammar and rhetoric were the core liberal arts, while arithmetic, the theory of music, astronomy were the following stage of education. Liberal arts today can refer to academic subjects such as literature, philosophy and social and physical sciences. For both interpretations, the term refers to matters not relating to the professional, vocational, or technical curriculum. Rooted in the basic curriculum – the enkuklios paideia or "education in a circle" – of late Classical and Hellenistic Greece, the "liberal arts" or "liberal pursuits" were so called in formal education during the Roman Empire.
The first recorded use of the term "liberal arts" occurs in De Inventione by Marcus Tullius Cicero, but it is unclear if he created the term. Seneca the Younger discusses liberal arts in education from a critical Stoic point of view in Moral Epistles; the exact classification of the liberal arts varied however in Roman times, it was only after Martianus Capella in the 5th century AD influentially brought the seven liberal arts as bridesmaids to the Marriage of Mercury and Philology, that they took on canonical form. The four'scientific' artes – music, arithmetic and astronomy – were known from the time of Boethius onwards as the quadrivium. After the 9th century, the remaining three arts of the'humanities' – grammar and rhetoric – were grouped as the trivium, it was in that two-fold form that the seven liberal arts were studied in the medieval Western university. During the Middle Ages, logic came to take predominance over the other parts of the trivium. In the Renaissance, the Italian humanists and their Northern counterparts, despite in many respects continuing the traditions of the Middle Ages, reversed that process.
Re-christening the old trivium with a new and more ambitious name: Studia humanitatis, increasing its scope, they downplayed logic as opposed to the traditional Latin grammar and rhetoric, added to them history and moral philosophy, with a new emphasis on poetry as well. The educational curriculum of humanism spread throughout Europe during the sixteenth century and became the educational foundation for the schooling of European elites, the functionaries of political administration, the clergy of the various recognized churches, the learned professions of law and medicine; the ideal of a liberal arts, or humanistic education grounded in classical languages and literature, persisted until the middle of the twentieth century. Some subsections of the liberal arts are in the trivium – the verbal arts of grammar and rhetoric – and other parts are in the quadrivium – the numerical arts of music and arithmetic, the graphical and mathematical art of Geometry; each subsection includes the interpretation of information.
Academic areas that are associated with the term liberal arts include: Arts Philosophy Religious studies Social science Mathematics Natural Sciences For example, the core courses for Georgetown University's Doctor of Liberal Studies program cover philosophy, history, art and the social sciences. Wesleyan University's Master of Arts in Liberal Studies program includes courses in visual arts, art history and professional writing, history, film, education, biology and astronomy; the liberal arts education at the secondary school level prepares the student for higher education at a university. They are thus meant for the more academically minded students. In addition to the usual curriculum, students of a liberal arts education study Latin and Ancient Greek; some liberal arts education provide general education, others have a specific focus. The four traditional branches are: humanities education modern languages lower level mathematical-scientific education economical and social-scientific education Curricula differ from school to school, but include language, informatics, chemistry, geography, music, philosophy, civics / citizenship, social sciences, several foreign languages.
Schools concentrate not only on academic subjects, but on producing well-rounded individuals, so physical education and religion or ethics are compulsory in non-denominational schools which are prevalent. For example, the German constitution guarantees the separ
Opera is a form of theatre in which music has a leading role and the parts are taken by singers, but is distinct from musical theater. Such a "work" is a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery and sometimes dance or ballet; the performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Opera is a key part of the Western classical music tradition. Understood as an sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as musical theater, Singspiel and Opéra comique. In traditional number opera, singers employ two styles of singing: recitative, a speech-inflected style and self-contained arias; the 19th century saw the rise of the continuous music drama. Opera originated in Italy at the end of the 16th century and soon spread through the rest of Europe: Heinrich Schütz in Germany, Jean-Baptiste Lully in France, Henry Purcell in England all helped to establish their national traditions in the 17th century.
In the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his "reform" operas in the 1760s; the most renowned figure of late 18th-century opera is Wolfgang Amadeus Mozart, who began with opera seria but is most famous for his Italian comic operas The Marriage of Figaro, Don Giovanni, Così fan tutte, as well as Die Entführung aus dem Serail, The Magic Flute, landmarks in the German tradition. The first third of the 19th century saw the high point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti and Vincenzo Bellini all creating works that are still performed, it saw the advent of Grand Opera typified by the works of Auber and Meyerbeer. The mid-to-late 19th century was a golden age of opera and dominated by Giuseppe Verdi in Italy and Richard Wagner in Germany; the popularity of opera continued through the verismo era in Italy and contemporary French opera through to Giacomo Puccini and Richard Strauss in the early 20th century.
During the 19th century, parallel operatic traditions emerged in central and eastern Europe in Russia and Bohemia. The 20th century saw many experiments with modern styles, such as atonality and serialism and Minimalism. With the rise of recording technology, singers such as Enrico Caruso and Maria Callas became known to much wider audiences that went beyond the circle of opera fans. Since the invention of radio and television, operas were performed on these mediums. Beginning in 2006, a number of major opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. Since 2009, complete performances are live streamed; the words of an opera are known as the libretto. Some composers, notably Wagner, have written their own libretti. Traditional opera referred to as "number opera", consists of two modes of singing: recitative, the plot-driving passages sung in a style designed to imitate and emphasize the inflections of speech, aria in which the characters express their emotions in a more structured melodic style.
Vocal duets and other ensembles occur, choruses are used to comment on the action. In some forms of opera, such as singspiel, opéra comique and semi-opera, the recitative is replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, are referred to as arioso; the terminology of the various kinds of operatic voices is described in detail below. During both the Baroque and Classical periods, recitative could appear in two basic forms, each of, accompanied by a different instrumental ensemble: secco recitative, sung with a free rhythm dictated by the accent of the words, accompanied only by basso continuo, a harpsichord and a cello. Over the 18th century, arias were accompanied by the orchestra. By the 19th century, accompagnato had gained the upper hand, the orchestra played a much bigger role, Wagner revolutionized opera by abolishing all distinction between aria and recitative in his quest for what Wagner termed "endless melody". Subsequent composers have tended to follow Wagner's example, though some, such as Stravinsky in his The Rake's Progress have bucked the trend.
The changing role of the orchestra in opera is described in more detail below. The Italian word opera means "work", both in the sense of the labour done and the result produced; the Italian word derives from the Latin opera, a singular noun meaning "work" and the plural of the noun opus. According to the Oxford English Dictionary, the Italian word was first used in the sense "composition in which poetry and music are combined" in 1639. Dafne by Jacopo Peri was the earliest composition considered opera, it was writt