Dante is unequalled among poets in conveying an extraordinary intensity of thought and experience, but this very power may make his work seem formidable to approach. Charles Williams's Figure of Beatriceis outstanding amongst Dante scholarship and criticism for the sympathetic enthusiasm and clarity with which he eases that approach without simplifying the achievement in a highly personal introduction to Dante's work. The first half of the book traces the way in which the central image of Beatrice, representing transcendent beauty in feminine form, animates Dante's earlier works. The second half richly expounds The Divine Comedy, meditating on its significance in Dantesque terms. Williams foreshadows the valuable modern emphasis on Dante as philosopher-poet; he also touches on many later concerns in Dante criticism, including ambiguities of language, the inherent self-contradiction of all powerful discourse, and the place of the feminine. The Figure of Beatrice is also a moving and poetic work in its own rightCHARLES WILLIAMS(1886-1945) is known to many as a prolific and unusual playwright, novelist and critic; his poetic works include Taliessin through Logres' and The Region of the Summer Stars'.
Based on primary sources, many of which have never been published or examined in detail, this book examines the music of the late seventeenth-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved in the extensive Moravian archives in Kromeriz. These works have never before been fully examined in the cultural and conceptual contexts of their time. Charles E. Brewer sets these composers and their music within a framework that first examines the basic Baroque concepts of instrumental style, and then provides a context for the specific works. The dances of Schmeltzer, for example, functioned both as incidental music in Viennese operas and as music for elaborate court pantomimes and balls. These same cultural practices also account for some of Biber's most programmatic music, which accompanied similar entertainments in Kromeriz and Salzburg. The many sonatas by these composers have also been misunderstood by not being placed in a context where it was normal to be entertained in church and edified in court. Many of the works discussed here remain unpublished but have, in recent years, been recorded. This book enhances our understanding and appreciation of these recordings by providing an analysis of the context in which the works were first performed.
Study of Brazilian poetry from 1950-90 examines its 'seven faces' (a pun on Drummond's poem of the same name), phases, and trends. Introductory chapter reviews movement's initial phases and sets the stage for what follows: the legacy of the Modernist movement. Chapters 2-6 cover Concrete poetry and other vanguard groups, the lyricism of popular music, and different types of 1970s youth poetry. Also examines social and esthetic tensions in contemporary Brazilian poetry"--Handbook of Latin American Studies, v. 58.
Authoritative full-score edition of the oratorio that is the best known, most beloved, most performed large-scale musical work in the English-speaking world. Perhaps the finest artistic expression of the deepest aspirations of the Anglican religious spirit. Edited by Alfred Mann. "An indispensable aid to our performances." — Robert Shaw.
Playing Piano for Pleasure is a minor classic of self-help . . . published in 1941 in the upbeat style of Dale Carnegie. Michael Kimmelman, The New York...
These impressionistic, difficult-to-find creations from an important American composer of the early 20th century include Three Tone-Pictures, Op. 5 ("The Lake at Evening," "The Vale of Dreams," and "The Night Winds"); Fantasy Pieces, Op. 6 ("Barcarolle," "Notturno," and "Scherzo"); Roman Sketches, Op. 7 ("The White Peacock," "Nightfall," "The Fountains of the Acqua Paolo," and "Clouds"); and Sonata. Reproduced from authoritative scores.
On Wieland; or the Transformation: "An impressive edition . . . the most thoroughly satisfying historical and literary contextualization for the novel that I've ever encountered. Shapiro and Barnard offer a rich transatlantic artistic and ideological context that helps pull the whole novel into coherent focus. The footnotes to the novel are incredibly thorough, helpful, and interesting. . . . This Hackett edition of Wieland [is] the freshest and most topical of those now available." --Dana D. Nelson, Vanderbilt University On Ormond; or, the Secret Witness: "Philip Barnard and Stephen Shapiro have produced an awesome edition of Brown's Ormond by providing copious explanatory notes and helpful documentation of the essential historical context of feminist, radical, egalitarian, and abolitionist expression. Oh, ye patriots, read it and learn!" --Peter Linebaugh, University of Toledo On Arthur Mervyn; or, Memoirs of the Year 1793: "This new edition of Arthur Mervyn far exceeds any previous version of this remarkable American novel. Through exhaustive archival research, the editors have produced a reliable text constructed within the intellectual, cultural, political, and religious contexts of a society informing Brown's efforts to capture and preserve the formation of the early republic for generations of readers and cultural historians. This vital text is essential reading for anyone interested in the origins of the United States." --Emory Elliott, University Professor, University of California-Riverside On Edgar Huntly; or, Memoirs of a Sleep-Walker: "This is now the edition of choice for those of us who teach Brown's fascinating Edgar Huntly. Barnard and Shapiro explore the relevant historical, cultural, and literary backgrounds in their illuminating Introduction; they skillfully annotate the text; they provide useful and up-to-date bibliographies; and they append a number of revealing primary texts for further cultural contextualization. This edition will help to stimulate new thinking about race, empire, and sexuality in Brown's prescient novel of the American frontier." --Robert S. Levine, University of Maryland
The Tennessee Tech Tuba Ensemble (TTTE) is one of the most successful performing collegiate ensembles in history, with an enviable record of 25 recording projects, seven Carnegie Hall appearances, two World's Fairs performances, numerous national and international conference engagements, and a performance history in venues like Preservation Hall in New Orleans, the Spoleto Festival in Charleston, and the Kennedy Center in Washington. The Tennessee Tech Tuba Ensemble and R. Winston Morris: A 40th Anniversary Retrospective lists all of these events and more. It tells how Morris founded an ensemble comprised only of tubas and euphoniums (the "underdogs" of the orchestra) and catapulted it to international recognition, establishing and defining the standards for tuba ensemble performance practices and creating a monumental influence on both the tuba and music education throughout the world. The book provides a biography of Morris that includes the influences that led to the development of the TTTE, and it describes the early years of the ensemble and its development as one of the most recognizable groups of its kind. Several lists of reference information specific to Morris and the group—and general to tuba and euphonium music—are offered. Details about concerts, performances, activities, and recordings of the ensemble are presented, as well as recordings, awards, honors, and publications by Morris. Former members of the group are listed and pictured in more than 85 photos comprising a photographic history. Winston and the TTTE are responsible for the composition and arrangement of more music for the tuba than any other single source, and a comprehensive list of those works is supplied here.
THIS book is the outcome of a collection of material that has been slowly accumulating over the past thirty years or so, since the time when, under the guidance of the late Dr. Frank H. Vizetelly, I began to work as his associate in the editorial department of the Funk & Wagnalls New Standard Dictionary. The ancestry of most of the words that we now use glibly or find in books or other current literature, is prosaic. We can trace their lines of descent back to Old English, or Old French, or Latin, or Greek, or other ancient source, but beyond the bare bones supplied by etymologists, which indicate those sources, and the steps by which they became English words, the dictionaries tell us little—for there is little more that can be told. The ancient Roman or Greek, say, who may have been the first to use a word that has strayed on to us, perhaps could have told the story of its origin. It may have been picturesque, based upon some historic episode, like the word anecdote; it may have come from a tale in some older language, for the languages that we consider ancient were themselves based upon still more ancient sources, but that story, if any, cannot now be determined. Thus what we know about the origins of the great majority of the words in our present language can be found in an unabridged dictionary or in a work dealing with etymologies, such as that compiled by W. W. Skeat about seventy years ago, or the one more recently prepared by Ernest Weekley.
In a magical collection of ancient Italian folklore, tradition, and belief, Aradia, Queen of Witchcraft is a profound gospel, foundational in modern Wicca and neopaganism. This folkloric tome invites you to explore the ancient lore and magical practices of the streghe, the wise women of Italy. Offering a glimpse into the traditions and secrets of Italian witchcraft, this classic book reveals the rituals, spells, and stories that form the heart of this rich spiritual tradition, centred around the Goddess Aradia, the Queen of Witches. Aradia, Queen of Witchcraft presents Charles Godfrey Leland's 1899 translation of an original Italian gospel alongside his curated collection of authentic poetry, charms, and folk tales from Tuscany. Exploring the history of witchcraft, this treasure trove of age-old practise embraces the powerful rituals and enduring beliefs of ancient practitioners.
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