This book provides a pre-history of Russia's war on Ukraine and Europe’s relations to it, illuminating the deep roots of the EU’s neighbourhood crisis as well as the migration crises the Union created in the last decade. To do so, the book employs a new and innovative framework that allows for a comprehensive, yet nuanced analysis of borders and a more cogent interpretation of their socio-political consequences. Drawing on interdisciplinary scholarship the book analytically examines the key common elements of borderscapes and links them in related arrays to allow for nuanced evaluation of both their particular and cumulative effects, as well as interpretation of their overall consequences, particularly for issues of identities and orders. The book offers a significant conceptual and theoretical advance, providing a transferable conceptualization of borderscapes to guide research, analysis, and interpretation. Drawing on the author’s experience in policy, practice and academia, it also makes a methodological contribution by pushing the boundaries of reflexivity in interpretive International Relations (IR) research. Analyzing three main sites in Central and Eastern Europe (CEE), the book challenges conventional critical wisdom on EU bordering in the Schengen zone, at its external frontiers, and in its Eastern neighborhood. In so doing, it sheds new light on the politics of post-communist transitions as well as the contemporary politics of CEE. It also shows how EU bordering and its relations to identities and orders created great benefits for many Europeans, but also hindered the lives of many others and became self-defeating. This book is a must-read for scholars, students, and policy-makers, interested in a better understanding of Critical Border Studies (CBS) in particular, and International Relations in general. It will also appeal to anyone interested in CEE or wishing to get a deeper understanding of Russia’s war and the fight for Europe’s future.
This book provides a pre-history of Russia's war on Ukraine and Europe’s relations to it, illuminating the deep roots of the EU’s neighbourhood crisis as well as the migration crises the Union created in the last decade. To do so, the book employs a new and innovative framework that allows for a comprehensive, yet nuanced analysis of borders and a more cogent interpretation of their socio-political consequences. Drawing on interdisciplinary scholarship the book analytically examines the key common elements of borderscapes and links them in related arrays to allow for nuanced evaluation of both their particular and cumulative effects, as well as interpretation of their overall consequences, particularly for issues of identities and orders. The book offers a significant conceptual and theoretical advance, providing a transferable conceptualization of borderscapes to guide research, analysis, and interpretation. Drawing on the author’s experience in policy, practice and academia, it also makes a methodological contribution by pushing the boundaries of reflexivity in interpretive International Relations (IR) research. Analyzing three main sites in Central and Eastern Europe (CEE), the book challenges conventional critical wisdom on EU bordering in the Schengen zone, at its external frontiers, and in its Eastern neighborhood. In so doing, it sheds new light on the politics of post-communist transitions as well as the contemporary politics of CEE. It also shows how EU bordering and its relations to identities and orders created great benefits for many Europeans, but also hindered the lives of many others and became self-defeating. This book is a must-read for scholars, students, and policy-makers, interested in a better understanding of Critical Border Studies (CBS) in particular, and International Relations in general. It will also appeal to anyone interested in CEE or wishing to get a deeper understanding of Russia’s war and the fight for Europe’s future.
John Birchensha (c.1605-?1681) is chiefly remembered for the impression that his theories about music made on the mathematicians, natural philosophers and virtuosi of the Royal Society in the 1660s and 1670s, and for inventing a system that he claimed would enable even those without practical experience of music to learn to compose in a short time by means of 'a few easy, certain, and perfect Rules'-his most famous composition pupil being Samuel Pepys in 1662. His great aim was to publish a treatise on music in its philosophical, mathematical and practical aspects (which would have included a definitive summary of his rules of composition), entitled Syntagma music Subscriptions for this book were invited in 1672-3, and it was due to be published by March 1675; but it never appeared, and no final manuscript of it survives. Consequently knowledge about his work has hitherto remained extremely sketchy. Recent research, however, has brought to light a number of manuscripts which allow us at last to form a more complete view of Birchensha's ideas. Almost none of this material has been previously published. The new items include an autograph treatise of c.1664 ('A Compendious Discourse of the Principles of the Practicall & Mathematicall Partes of Musick') which Birchensha presented to the natural philosopher Robert Boyle, and which covers concisely much of the ground that he intended to cover in Syntagma music a detailed synopsis for Syntagma music hich he prepared for a meeting of the Royal Society in February 1676; and an autograph notebook (now in Brussels) containing his six rules of composition with music examples, presumably written for a pupil. Bringing all this material together in a single volume will allow scholars to see how Birchensha's rules and theories developed over a period of fifteen years, and to gain at least a flavour of the lost Syntagma music
Reprint of the original, first published in 1871. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
Human genetic enhancement, examined from the standpoint of the new field of political bioethics, displaces the age-old question of truth: What is human nature? This book displaces that question with another: What kind of human nature should humans want to create for themselves? To answer that question, this book answers two others: What constraints should limit the applications of rapidly developing biotechnologies? What could possibly form the basis for corresponding public policy in a democratic society? Benjamin Gregg focuses on the distinctly political dimensions of human nature, where politics refers to competition among competing values on which to base public policy, legislation, and political culture. This book offers citizens of democratic communities a broad perspective on how they together might best approach urgent questions of how to deal with the socially and morally challenging potential for human genetic engineering.
The first philosophers of the Frankfurt School famously turned to the psychoanalytic theories of Sigmund Freud to supplement their Marxist analyses of ideological subjectification. Since the collapse of their proposed "marriage of Marx and Freud," psychology and social theory have grown apart to the impoverishment of both. Returning to this union, Benjamin Y. Fong reconstructs the psychoanalytic "foundation stone" of critical theory in an effort to once again think together the possibility of psychic and social transformation. Drawing on the work of Hans Loewald and Jacques Lacan, Fong complicates the famous antagonism between Eros and the death drive in reference to a third term: the woefully undertheorized drive to mastery. Rejuvenating Freudian metapsychology through the lens of this pivotal concept, he then provides fresh perspective on Theodor Adorno, Max Horkheimer, and Herbert Marcuse's critiques of psychic life under the influence of modern cultural and technological change. The result is a novel vision of critical theory that rearticulates the nature of subjection in late capitalism and renews an old project of resistance.
Sing, Stranger is a comprehensive historical anthology of a century of American poetry written in Yiddish and now translated into English for the first time. This anthology reveals both an amazing achievement of Jewish creative work and an important body of American poetry.
In Music from the Hilltop, Benjamin A. Kolodziej studies three significant academic musical figures to weave a narrative that not only details the role musical studies played in the development of Southern Methodist University but also relates a history of church music and pipe organs in Dallas, Texas. Bertha Stevens Cassidy (1876–1959), the first organ professor and the only woman on the faculty of the new university, established herself as a leader and veritable dean of the church music community, managing a career of significant performances and teaching. Her student and protégé, Dora Poteet Barclay (1903–1961), a Waco native, exhibited such musical potential that she was hired by SMU the day after her graduation. Taking over the organ program upon Cassidy’s retirement, Barclay broadened the pedagogical horizons for her students. The great French composer Marcel Dupré, with whom she briefly studied, extolled Barclay’s talents: “She is my best American student!” Many of her own students achieved great professional heights as performers and church musicians. With the hiring of Robert Theodore Anderson (1934–2009), SMU solidified its reputation as a school able to provide excellence not only in performance training but also in scholarship. A Chicago native who studied in New York and in Germany, Anderson represented a new, modern outlook to teaching and performance. He was intellectually able to bridge the gap between the theologians of the Methodist seminary and the performers at the Meadows School of the Arts. Through his example and guidance, organists were taught to think critically, whether about music or any other subject, and to attain excellence in the craft of organ performance. During the 1980s Anderson consulted with the Dallas Symphony to prepare for the installation of an organ in the new Meyerson Symphony Center, an organ that would influence concert hall instruments in subsequent decades. These three pedagogues played important roles in the development of the musical curriculum as well as the building of important organs on the SMU campus and around the city, each in their own ways nurturing the practice of sacred music in North Texas.
The award-winning memoir of one tumultuous year of boyhood in Fort Worth, Texas, opening with a handshake with JFK, and recalling the changes and revelations of the months that followed. Winner of the LA Times Christopher Isherwood Prize for Autobiographical Prose, and a New York Times Editor's Choice. “A marvel of a book—elegant, touching, singular.” —Mary Karr “Brief and moving . . . An elegantly written book, erudite, perceptive and at times painfully candid.”—Moira Hodgson, Wall Street Journal After John F. Kennedy’s speech in front of the Hotel Texas in Fort Worth on November 22, 1963, he was greeted by, among others, an 11-year-old Benjamin Taylor and his mother waiting to shake his hand. Only a few hours later, Taylor’s teacher called the class in from recess and, through tears, told them of the president’s assassination. From there Taylor traces a path through the next twelve months, recalling the tumult as he saw everything he had once considered stable begin to grow more complex. Looking back on the love and tension within his family, the childhood friendships that lasted and those that didn’t, his memories of summer camp and family trips, he reflects upon the outsized impact our larger American story had on his own. Benjamin Taylor is one of the most talented writers working today. In lyrical, translucent prose, he thoughtfully extends the story of twelve months into the years before and after, painting a portrait of the artist not simply as a young man, but across his whole life. As he writes, “[A]ny twelve months could stand for the whole. Our years are so implicated in one another that the least important is important enough . . . Any year I chose would show the same mettle, the same frailties stamping me at eleven and twelve.”
Keyboard Skills for Music Educators: Score Reading is the first textbook equip future educators with the ability to play from an open score at the keyboard. Score reading can be a daunting prospect for even the most accomplished pianist, but it is a skill required of all choral and instrumental music instructors. Although most music education curricula include requirements to achieve a certain level of proficiency in open score reading, standard textbooks contain very little material devoted to developing this skill. This textbook provides a gradual and graded approach, progressing from two-part reading to four or more parts in a variety of clefs. Each chapter focuses on one grouping of voices and provides many musical examples from a broad sampling of choral and instrumental repertoire ranging from Renaissance to contemporary works.
This remarkable volume introduces what is probably the most coherent segment of twentieth-century American literature not written in English. Includes a bilingual facing-page format, notes and biographies of poets, and selections from Yiddish theory and criticism.
Bravo. There are many people writing, but you are truly an artist!!! Very much enjoyed the story, the style and the artistic expression. Havent seen this kind of writing in our circles. Thanks. S.S. (London, England) Whenever I see your name, Im there. It is the first article I read in the Hamodia. The depth, style and writing truly mesmerizes me. A.B. (Bnei Brak, Israel) Just a note to let you now how much I have been enjoying your articles in the Hamodia. They are humorous, thought provoking and always leave me with some mussar haskel. It is a pleasure to read articles with such depth and toichen. E.F. (Monsey) Hi, Im a huge fan of your stories. Its the first thing I check out when I buy the Hamodia. You are a huge inspiration to me, both in Judaism and in your outlook on life. I love the nostalgia and your prolific writing. Im a Chasidic boy. Yiddishkait has a huge influence on me. I would like to know if there is any other place where I could enjoy your writings. S.M. (Brooklyn, NY) Words cannot express the great appreciation I have for the beautiful story you wrote in Hamodia. Being married to a Ben Torah for ten years, the story really gave me a new rejuvenated feeling, how many of us take it for granted and do not realize the true value of Torah learning. I dont know how I can thank you enough. R.B. (Lakewood, NJ) I look forward to your articles in the Hamodia. I wish that they would appear more often. In addition to the good subjects, I love your writing. The stories are impossible to put down once begun. S.T. (New York) We are avid readers of your articles. We find them captivating, witty and extremely well written. M.A. (Brooklyn, NY)
Beethoven's Ninth Symphony, a masterpiece that has influenced virtually every Western composer since its premiere, has become associated with the marking of momentous public occasions. In 1989, Chinese students played its finale through loudspeakers in Tiananmen Square, and Leonard Bernstein led a performance in Berlin to celebrate the razing of the Berlin Wall. This lively and up-to-date book focuses on Beethoven's Ninth, exploring the cultural and musical meanings that surround this powerful work of genius. David B. Levy sets the scene with a brief survey of nineteenth-century Germanic culture and society, then analyzes the Ninth symphony in detail with special emphasis on the famous choral finale. He discusses the initial performances in 1824 under Beethoven's direction and traces the symphony's critical reception and legacy. In the final chapter of the book, Levy examines interpretations of the work by prominent conductors, including Wagner, Mahler, and Weingartner. A fully annotated discography of selected recordings completes this comprehensive volume.
Examines US foreign and domestic policy through the narratives of post-9/11 US military veterans and the activism they are engaged in. While veterans are often cast as a “problem” for society, Fight to Live, Live to Fight challenges this view by focusing on the progressive, positive, and productive activism that veterans engage in. Benjamin Schrader weaves his own experiences as a former member of the American military and then as a member of the activist community with the stories of other veteran activists he has encountered across the United States. An accessible blend of political theory, international relations, and American politics, this book critically examines US foreign and domestic policy through the narratives of post-9/11 military veterans who have turned to activism after having exited the military. Veterans are involved in a wide array of activism, including but not limited to antiwar, economic justice, sexual violence prevention, immigration issues, and veteran healing through art. This is an accessible, captivating, and engaging work that may be read and appreciated not just by scholars, but also students and the wider public. Benjamin Schrader is Visiting Professor for Central European University and Bard College’s joint Globalization and International Affairs Program in New York City.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1986.
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