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2 January 1818
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Vulcan is a small hypothetical planet
that was proposed to exist in an orbit between Mercury and the Sun.
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the first spacecraft to reach the vicinity of the Moon
and to orbit the Sun,
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#FelizAniversário
#FelizCumpleaños
#HappyBirthday
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#BuonCompleanno
#Nacimientos
The Death of Procris, c. 1495
by
2 January 1462 – 12 April 1522
also known as Piero di Lorenzo
Perseus Rescuing Andromeda, oil on canvas, 1510 or 1513, Uffizi
Tritons and Nereids (1500), oil on panel, 37 x158 cm,
Milano, Altomani collection
St. John the Evangelist, oil on panel, 1504-6,
Honolulu Museum of Art, USA
Venus, Mars and Cupid, Gemäldegalerie, Berlin, c. 1505
the-fight-between-the-lapiths-and-the-centaurs-1500
the-discovery-of-honey-by-bacchus-1505
the-forest-fire-1505
by Piero di Cosimo
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František Xaver Brixi
2 January 1732 – 14 October 1771
Czech organist and composer
F.X. Brixi
Pastores
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Mily Alexeyevich Balakirev
Ми́лий Алексе́евич Бала́кирев
List_of_compositions_by_Mily_Balakirev
Mily Balakirev Dumka in E flat Minor
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George Gilbert Aimé Murray
2 January 1866 – 20 May 1957
Australian-English playwright and scholar
…
Title: The Poetics
Author: Aristotle
Commentator: Gilbert Murray
Translator: Ingram Bywater
… part 7
Having thus distinguished the parts,
let us now consider the proper construction of the Fable or Plot,
as that is at once the first and the most important thing in Tragedy.
We have laid it down that a tragedy is an imitation of an action
that is complete in itself,
as a whole of some magnitude;
for a whole may be of no magnitude to speak of.
Now a whole is that which has beginning, middle, and end.
A beginning is that which is not itself necessarily after anything else,
and which has naturally something else after it;
an end is that which is naturally after something itself,
either as its necessary or usual consequent,
and with nothing else after it; and a middle,
that which is by nature after one thing and has also another after it.
A well-constructed Plot,
therefore,
cannot either begin or end at any point one likes;
beginning and end in it must be of the forms just described.
Again:
to be beautiful,
a living creature,
and every whole made up of parts,
must not only present a certain order in its arrangement of parts,
but also be of a certain definite magnitude.
Beauty is a matter of size and order,
and therefore impossible either in a very minute creature,
since our perception becomes indistinct as it approaches instantaneity;
or in a creature of vast size
—one, say, 1,000 miles long—
as in that case,
instead of the object being seen all at once,
the unity and wholeness of it is lost to the beholder.
Just in the same way,
then,
as a beautiful whole made up of parts,
or a beautiful living creature,
must be of some size,
a size to be taken in by the eye,
so a story or Plot must be of some length,
but of a length to be taken in by the memory.
As for the limit of its length,
so far as that is relative to public performances and spectators,
it does not fall within the theory of poetry.
If they had to perform a hundred tragedies,
they would be timed by water-clocks,
as they are said to have been at one period.
The limit,
however,
set by the actual nature of the thing is this:
the longer the story,
consistently with its being comprehensible as a whole,
the finer it is by reason of its magnitude.
As a rough general formula,
'a length which allows of the hero passing
by a series of probable or necessary stages
from misfortune to happiness,
or from happiness to misfortune',
may suffice as a limit for the magnitude of the story.
Habiendo así distinguido las partes,
consideremos ahora la construcción apropiada de la Fábula o Trama,
ya que eso es a la vez lo primero y lo más importante en la tragedia.
Hemos establecido que una tragedia es una imitación de una acción
eso está completo en sí mismo,
como un todo de alguna magnitud;
pues un todo puede no ser de ninguna magnitud para hablar.
Ahora un todo es aquello que tiene principio, medio y fin.
Un comienzo es aquello que no es necesariamente tras otra cosa,
y que tiene naturalmente algo más después de eso;
un final es aquello que es naturalmente después de algo en sí mismo,
ya sea como su consecuencia necesaria o habitual,
y con nada más después de eso; y un medio,
eso que es por naturaleza después de una cosa y también tiene otra después de ella.
Una parcela bien construida,
por lo tanto,
no puede comenzar ni finalizar en ningún punto que le guste;
principio y final debe ser de las formas que acabamos de describir.
De nuevo:
para ser bella,
una criatura viviente,
y cada conjunto compuesto de partes,
no solo debe presentar un cierto orden en la disposición de las partes,
pero también ser de cierta magnitud definida.
La belleza es una cuestión de tamaño y orden,
y por lo tanto imposible en una criatura muy diminuta
ya que nuestra percepción se vuelve indistinta a medida que se acerca a la instantaneidad;
o en una criatura de gran tamaño
-uno, digamos, 1,000 millas de largo-
como en ese caso,
en lugar de que el objeto se vea todo a la vez,
la unidad y la totalidad se pierden para el espectador.
Solo de la misma manera,
entonces,
como un hermoso conjunto compuesto de partes,
o una hermosa criatura viviente,
debe ser de algún tamaño,
un tamaño para ser tomado por el ojo,
entonces una historia o trama debe ser de cierta longitud,
pero de un largo para ser tomado por la memoria.
En cuanto al límite de su longitud,
en lo que respecta a las actuaciones públicas y espectadores,
no cae dentro de la teoría de la poesía.
Si tuvieran que realizar cien tragedias,
serían cronometrados por relojes de agua,
como se dice que fueron en un período.
El límite,
sin embargo,
establecido por la naturaleza real de la cosa es esto:
cuanto más larga sea la historia,
consistentemente con que sea comprensible como un todo,
el más fino es en razón de su magnitud.
Como una fórmula general aproximada,
'una longitud que permite que pase el héroe
por una serie de etapas probables o necesarias
de la desgracia a la felicidad,
o de la felicidad a la desgracia ',
puede ser suficiente como un límite para la magnitud de la historia.
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Self-portrait, 1928
German sculptor and playwright
The Magdeburger Ehrenmal
(Magdeburg commemorative sculpture) (1929),
which created a large controversy
about Barlach's anti-war position (Magdeburg Cathedral)
Desperate Dance,
illustration for the play Der Arme Vetter (The Poor Cousin),
1919,
Dallas Museum of Art
by Ernst Barlach
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Aquiles Serdán Alatriste
2 November 1876 – 18 November 1910
was captured and executed.
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1891 – Giovanni Michelucci, Italian architect and urban planner, designed the Firenze Santa Maria Novella railway station (d. 1990)
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Дзига Вертов;
born David Abelevich Kaufman,
Дави́д А́белевич Ка́уфман,
known as Denis Kaufman;
2 January 1896 – 12 February 1954
Polish-Russian director and screenwriter
The Man with the Movie Camera(1929)
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born Isaak Ozimov;
c. January 2, 1920– April 6, 1992
Russian-American chemist, author, and academic
FOUNDATION EPIC FAN TRAILER | An Isaac Asimov Movie
CGI 3D Animated Titles : "Foundation: Titles Sequence" trailer
- by Niels Prayer
Foundation - Titles - trailer
FOUNDATION AND EMPIRE (ASIMOV - 2011) --tribute
The Last Question
isaac asimov lightyears
Gandahar Light Years 1988
GANDAHAR - LIGHT YEARS in HD ENGLISH
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Glenn Lamont Goins
January 2, 1954 – July 29, 1978
known as Glen Goins
Parliament-Funkadelic
George Clinton - Atomic Dog
Parliament-Funkadelic
George Clinton & Parliament Funkadelic
- Give Up The Funk
Soul Train Dancers 1979
"Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)" (Parliament)
parliament-Funkadelic - Do That Stuff [HD]
George Clinton & Parliament-Funkadelic
@ Harmony Festival
"Bop Gun (Endangered Species)"
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Australian animator and screenwriter
Uncle. Adam Elliot. 1996. Animation.
short film Cousin 1998
Harvie Krumpet
- corto animado ganador del Oscar 2004
Mary and Max - Trailer subtitulado español
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#Obituario RecordarANuestrosMuertos
EsDarlesVidaEternaEnNuestrosCorazones.
EnPazDescanse:
#observances
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