LEADER 01737nam 2200529 a 450 001 9910450417403321 005 20200520144314.0 010 $a0-8262-6241-4 035 $a(CKB)1000000000024259 035 $a(OCoLC)179099694 035 $a(CaPaEBR)ebrary10069583 035 $a(SSID)ssj0000140948 035 $a(PQKBManifestationID)11146608 035 $a(PQKBTitleCode)TC0000140948 035 $a(PQKBWorkID)10056827 035 $a(PQKB)10353630 035 $a(MiAaPQ)EBC3570819 035 $a(Au-PeEL)EBL3570819 035 $a(CaPaEBR)ebr10069583 035 $a(EXLCZ)991000000000024259 100 $a20031030d2004 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aDon't let the fire go out!$b[electronic resource] /$fJean Carnahan 210 $aColumbia $cUniversity of Missouri Press$dc2004 215 $a1 online resource (270 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-8262-1513-0 327 $aIn the blink of an eye -- Moving forward -- Mrs. Carnahan goes to Washington -- Root causes -- Magnificent dreams and noble plans -- Mansion on the hill -- One in a hundred -- Be not overcome -- An ember in the soul. 606 $aLegislators$zUnited States$vBiography 606 $aWomen legislators$zUnited States$vBiography 608 $aElectronic books. 615 0$aLegislators 615 0$aWomen legislators 676 $a328.73/092 676 $aB 700 $aCarnahan$b Jean$0858557 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910450417403321 996 $aDon't let the fire go out$91916630 997 $aUNINA LEADER 03958nam 2200373 450 001 9910346026103321 005 20230330061636.0 035 $a(CKB)4920000000093844 035 $a(NjHacI)994920000000093844 035 $a(EXLCZ)994920000000093844 100 $a20230330d2012 uy 0 101 0 $apor 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aLuciano$hVolume II /$fLuciano de Samo?sata ; traducao do grego, introducao e notas de Custo?dio Magueijo 210 4$d©2012 210 1$aCoimbra :$cCoimbra University Press,$d[2012] 215 $a1 online resource (288 pages) 311 $a989-26-0799-6 327 $aINTRODUC?A?O GERAL 11 -- EU, LU?CIO - MEMO?RIAS DE UM BURRO 17 -- Introduc?a?o 19 -- Traduc?a?o 23 -- UMA HISTO?RIA VERI?DICA 61 -- Introduc?a?o 63 -- Traduc?a?o: Livro I 65 -- Livro II 87 -- O MENTIROSO OU O INCRE?DULO 109 -- Introduc?a?o 111 -- Traduc?a?o 115 -- [OS DOIS] AMORES 139 -- Introduc?a?o 141 -- Traduc?a?o 143 -- A DANC?A 181 -- Introduc?a?o 185 -- Traduc?a?o 191 -- HERMOTIMO OU AS ESCOLAS FILOSO?FICAS 223 -- Introduc?a?o 225 -- Traduc?a?o 231. 330 $aA trajecto?ria de uma vida. Amadurecido pelas viagens e pela experie?ncia da vida, materialmente afortunado, Luciano cedo se farta da actividade judicia?ria, da reto?rica e da sofi?stica, para se entregar a uma actividade litera?ria que, na?o sendo nova, ele, no entanto, reforma de maneira radical: trata-se do dia?logo filoso?fico, mas agora entendido e elaborado segundo princi?pios originais. De facto, Luciano aligeira substancialmente o majestoso dia?logo filoso?fico que vinha dos tempos de Plata?o e acrescenta-lhe um aspecto drama?tico, orientado no sentido da sa?tira - o que significa reunir no «novo ge?nero» dois ge?neros diferentes e ate? muito diversos: o dia?logo filoso?fico e a come?dia. Realmente, foram sobretudo as obras em forma de dia?logo que deram fama a Luciano. E? nelas que melhor se expande a sua cri?tica panfleta?ria e corrosiva, que atinge, literalmente, tudo e todos: os deuses e os hero?is, a religia?o e as religio?es, a filosofia e as suas variadi?ssimas seitas, a moral convencional, a sociedade e os seus pilares mais destacados, os homens e as suas vaidades, as suas superstic?o?es irracionais e o aproveitamento que delas fazem os espertos ... enfim, podemos dizer que em Luciano conflui o que de mais violento havia na come?dia. Um certo epicurismo pra?tico e um cinismo teo?rico afinam e refinam o processo. 330 $aA life trajectory. Matured by his travels and life experiences, and materially well endowed, Lucian soon grows tired of judicial activities, rhetoric and sophistry, and retires to devote himself to literary activity which he radically reforms. The traditional philosophical dialogue is now understood differently and organized according to new principles. Lucian lightens the majestic tone of the Platonic-style dialogue and adds a dramatic satirical aspect, thereby blending two quite different genres (the philosophical dialogue and comedy) into an entirely new genre. It was these dialogues that brought fame to Lucian. In them he expanded his corrosive social criticism, sparing no one: gods and heroes, religion and religions, philosophy and its various sects, conventional morality, society and its most revered pillars, men and their vanity, irrational superstitions and the use that is made of them by the cunning ... Lucian used what was most violent in comedy, refining the process with a certain practical epicurianism and theoretical cynicism. 517 $aLuciano 676 $a887.01 700 $aLucian$cof Samosata,$0865922 702 $aMagueijo$b Custo?dio 801 0$bNjHacI 801 1$bNjHacl 906 $aBOOK 912 $a9910346026103321 996 $aLuciano$93012341 997 $aUNINA