Originally published in 1927, this book presents a selection of previously unprinted essays by the classical scholar John Arthur Platt (1860-1925). A variety of figures and subjects are discussed, both classical and otherwise, including Aristophanes, Edward Fitzgerald, and the relationship between poetry and science. The text also contains a preface written by A. E. Housman. This book will be of value to anyone with an interest in Platt and his writings.

The papers in this collection discuss the central questions about the connections between language, reality and human understanding. The complex relations between accounts of meaning and facts about ordinary speakers’ understanding of their language are examined so as to illuminate the philosophical character of the connections between language and reality. The collection as a whole is a thematically unified treatment of some of the most central questions within contemporary philosophy of language.

“This exceptionally fine collection brings together many of the best analysts of Brahms, and nineteenth-century music generally, in the English-speaking world today.” —Nineteenth-Century Music Review Contributors to this exciting volume examine the intersection of structure and meaning in Brahms’s music, utilizing a wide range of approaches, from the theories of Schenker to the most recent analytical techniques. They combine various viewpoints with the semiotic-based approaches of Robert Hatten, and address many of the most important genres in which Brahms composed. The essays reveal the expressive power of a work through the comparison of specific passages in one piece to similar works and through other artistic realms such as literature and painting. The result of this intertextual re-framing is a new awareness of the meaningfulness of even Brahms’s most “absolute” works. “Through its unique combination of historical narrative, expressive content, and technical analytical approaches, the essays in Expressive Intersections in Brahms will have a profound impact on the current scholarly discourse surrounding Brahms analysis.” —Notes