New PDF release: Fausto (Penguin Clásicos)

By Johann Wolfgang von Goethe

Los mejores libros jamás escritos.

«Nada tenía y, sin embargo, tenía lo suficiente:
el afán de saber los angeles verdad y el placer por el engaño.»

Este poema dramático, inspirado en una leyenda medieval, narra l. a. historia de Fausto, sabio anciano que, en el ocaso de su existencia, establece un pacto con Mefistófeles, a quien entrega su alma a cambio de los angeles juventud. Las dos partes del Fausto, cuya escritura abarca toda los angeles vida creativa de Goethe, conforman un clásico inagotable de l. a. literatura common. En él, los angeles filosofía y el arte se dan l. a. mano para representar los angeles inquietud del hombre en busca del saber y los angeles belleza.

El presente volumen recupera los angeles fiel traducción en verso de Pedro Gálvez y l. a. empareja con el texto unique en alemán que Albrecht Schöne fijó para l. a. Deutscher Klassiker Verlag (Insel) y que ha sido considerado unánimemente su edición definitiva. Completan el tomo una exhaustiva e iluminadora introducción del editor y un apéndice con todos los escritos autobiográficos de Goethe, que atestiguan el extenso y laborioso proceso de escritura de l. a. obra, que va de l. a. década de 1760 a los angeles muerte del poeta en 1832.

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Additional info for Fausto (Penguin Clásicos)

Sample text

14 Introductions of new visualizing techniques, starting with X rays in 1895, have in fact always been accompanied by enthusiastic claims of increased transparency. But in each case this has proven to be illusory. Even a combination of all available perspectives will never produce an undistorted, transparent body. Invariably, our view of the body is informed by the modality of its visualizing instruments. The Visible Human is not beyond representation because digital imagery imitates body shapes better than conventional anatomical illustration; rather, its illusion of verisimilitude is primarily due to the fact that digital images are now a common visual currency in medical practice.

Death, Dissection and the Destitute. London, 1987. , ‘Visible Human Project Pays Back Investment’. In: The Lancet, 352, p. 46. 1999. , ‘Medical Virtual Reality: The Current State of the Future’. In: Health Care in the Information Age. S. J. Weghorst, H. B. Sieburg, and K. S. Morgan (eds), pp. 100-106. Amsterdam, 1996. , The Body Emblazoned: Dissection and the Human Body in Renaissance Culture. London, 1995. html: Digital Anatomy & the Hyper-Texted Body’. In: CTheory, 21, no page numbers. 1998.

10 Hands-on contact with the cadaver was the exclusive privilege of the anatomist. During public dissection students were not allowed to touch any body parts; only afterwards, behind closed doors and in small sessions, were they given the opportunity to train their manual skills. The anatomist’s personality and oratory talent largely determined the educational value of public lessons, but it is safe to say that they were of little instructional use to anyone except, perhaps, the anatomist himself.

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