Ebook Nietzsche: Beyond Good and Evil: Prelude to a Philosophy of the Future (Cambridge Texts in the History of Philosophy), by Friedrich Nietzs
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Nietzsche: Beyond Good and Evil: Prelude to a Philosophy of the Future (Cambridge Texts in the History of Philosophy), by Friedrich Nietzs
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Beyond Good and Evil is one of the most scathing and powerful critiques of philosophy, religion, science, politics and ethics ever written. In it, Nietzsche presents a set of problems, criticisms and philosophical challenges that continue both to inspire and to trouble contemporary thought. In addition, he offers his most subtle, detailed and sophisticated account of the virtues, ideas, and practices which will characterize philosophy and philosophers of the future. With his relentlessly energetic style and tirelessly probing manner, Nietzsche embodies the type of thought he wants to foster, while defining its historical role and determining its agenda. This edition offers a new and readable translation, by Judith Norman, of one of the most influential texts in the history of philosophy, together with an introduction by Rolf-Peter Horstmann that sets it in its historical and philosophical context.
- Sales Rank: #385185 in eBooks
- Published on: 2001-11-22
- Released on: 2001-11-22
- Format: Kindle eBook
From School Library Journal
Grade 5-8-Skillfully read by Claire Higgins, Shakespeare's Romeo and Juliet will hold listeners spellbound as they become involved in the feud between the Capulets and the Montagues and in Romeo and Juliet's plight of love. Higgins' reading is very natural, and her voice is exceedingly pleasant to listen to. The cassette includes a plot summary, an introduction to Shakespeare by Leon Garfield, as well as supplementary information about Shakespeare and his writings by Dr. Rex Gibson, all read by Simon Russell Beale. This additional information is very worthwhile and will increase the listener's understanding of Shakespeare and why he continues to be important in literature. Peter Hutchins arranged the period background music. The technical qualities are excellent, and the teaching objectives are met. This program is appropriate for individual or group listening, and the additional information will provide an excellent springboard for discussion. A superior acquisition for both public and school libraries with audio collections.
Kathy Dummer, Newcastle Middle School, WY
Copyright 1999 Reed Business Information, Inc.
From Library Journal
This production of Romeo and Juliet featuring Kenneth Branagh and Sir John Gielgud is a superb contribution to the field of classics on cassette. The stunning performance by the Renaissance Theatre Company captures all the color and emotion of Shakespeare's eloquent tragedy of young love. With Samantha Bond as Juliet, Derek Jacobi as Mercutio, and Judi Dench as Nurse, the play, which is set in 16th-century Verona, contains some of the most passionate dialog ever written. An excellent musical score by Patrick Doyle accompanies the actors, as well as a full array of authentic sound effects. The pounding of hooves, the chiming of church bells, and the clashing of angry swords enrich this outstanding listening experience. A 24-page booklet complete with sketches and photos of the actors, a synopsis of the play, and background information is included in the package. Highly recommended for most libraries.
Gretchen Browne, Rockville Centre P.L., N.Y.
Copyright 1994 Reed Business Information, Inc.
Review
This splendid edition furnishes readers, students, and theater people alike with a marvelous set of tools for appreciating the many facets of Shakespeare's play: a freshly edited text from the authoritative 1599 quarto, trenchant explanatory notes, and - best of all – insightful performance notes detailing the various ways in which individual passages have been interpreted in important films and stage productions.
- Eric Rasmussen, University of Nevada, Reno and co-editor of the RSC Shakespeare edition
Even as the New Kittredge Shakespeare series glances back to George Lyman Kittredge's student editions of the plays, it is very much of our current moment: the slim editions are targeted largely at high school and first-year college students who are more versed in visual than in print culture. Not only are the texts of the plays accompanied by photographs or stills from various stage and cinema performances: the editorial contributions are performance-oriented, offering surveys of contemporary film interpretations, essays on the plays as performance pieces, and an annotated filmography. Traditional editorial issues (competing versions of the text, cruxes, editorial emendation history) are for the most part excluded; the editions focus instead on clarifying the text with an eye to performing it. There is no disputing the pedagogic usefulness of the New Kittredge Shakespeare's performance-oriented approach. At times, however, it can run the risk of treating textual issues as impediments, rather than partners, to issues of performance. This is particularly the case with a textually vexed play such as Pericles: Prince of Tyre. In the introduction to the latter, Jeffrey Kahan notes the frequent unintelligibility of the play as originally published: "the chances of a reconstructed text matching what Shakespeare actually wrote are about 'nil'" (p. xiii) But his solution — to use a "traditional text" rather than one corrected as are the Oxford and Norton Pericles — obscures how this "traditional text," including its act and scene division, is itself a palimpsest produced through three centuries of editorial intervention. Nevertheless, the series does a service to its target audience with its emphasis on performance and dramaturgy. Kahan's own essay about his experiences as dramaturge for a college production of Pericles is very good indeed, particularly on the play's inability to purge the trace of incestuous desire that Pericles first encounters in Antioch. Other plays' cinematic histories: Annalisa Castaldo's edition of Henry V contrasts Laurence Oliver's and Branagh's film productions; Samuel Crowl's and James Wells's edition of (respectively) I and 2 Henry IV concentrate on Welle's Chimes at Midnight and Gus Van Sant's My Own Private Idaho; Patricia Lennox's edition of As You Like It offers an overview of four Hollywood and British film adaptations; and John R. Ford's edition of A Midsummer Night's Dream provides a spirited survey of the play's rich film history.
The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.
Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499.
Most helpful customer reviews
1 of 2 people found the following review helpful.
I have come to regard “Beyond Good and Evil” among the finest pieces of work that ...
By stssp
Note: I am unable to read the text in the original German.
I have come to regard “Beyond Good and Evil” among the finest pieces of work that I have read. For sometime, certainly going back to my years in college I have always relied upon the Kauffman translation and never really questioned my selection but recently I decided to read all of Nietzsche’s works in chronological order. With some reservation I purchased all the Cambridge editions purely on an appeal to the veneration that Cambridge University Press possesses--not the most sound methodology for purchasing a book originally written in another language--and to that end I will say with much relief, Nietzsche in the Norman translation feels vital once more, sometimes urgently so. I feel that the Norman translation is an edition that should be noted and this so-called review is my effort to that end. I am so pleased. The Norman translation is hands down one of the best book purchases in my entire library of more than 3,000 titles.
58 of 66 people found the following review helpful.
The Kaufmann translation is better
By A Customer
While Beyond Good and Evil is probably the quintessial Nitzschean piece, I would have to say Zimmern's translation lags behind Kaufmann's. Although her use of quaint Elizabethan English is charming, and her edition has a beautifully personal touch to it (Zimmern was Nietzsche's dinner companion and erstwhile friend), the mistakes in her translation, while subtle, detract from it, especially when precision of language is so important for reading this book. Go with Kaufmann.
0 of 2 people found the following review helpful.
Interesting
By Jessica K. Hill
I have just recently started reading this book. It was a bit different from what I thought I was getting. A bit of a heavy read but still an excellent book.
This book took a while to get me, but arrived before its estimated arrival time.
Since not yet completing this book I don't have much to say at this time.
ThankYou
See all 47 customer reviews...
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