No-one doubts that Gustav Mahler's tenure at the Vienna Court Opera from 1897-1907 was made extremely unpleasant by the antisemitic press. The great biographer, Henry-Louis de La Grange, acknowledges that 'it must be said that antisemitism was a permanent feature of Viennese life'. Unfortunately, the focus on blatant references to Jewishness has obscured the extent to which 'ordinary' attitudes about Jewish difference were prevalent and pervasive, yet subtle and covert. The context has been lost wherein such coded references to Jewishness would have been immediately recognized and understood. By painstakingly reconstructing 'the language of antisemitism', Knittel recreates what Mahler's audiences expected, saw, and heard, given the biases and beliefs of turn-of-the-century Vienna. Using newspaper reviews, cartoons and memoirs, Knittel eschews focusing on hostile discussions and overt attacks in themselves, rather revealing how and to what extent authors call attention to Mahler's Jewishness with more subtle language. She specifically examines the reviews of Mahler's Viennese symphonic premieres for their resonance with that language as codified by Richard Wagner, though not invented by him. An entire chapter is also devoted to the Viennese premieres of Richard Strauss's tone poems, as a proof text against which the reviews of Mahler can also be read and understood. Accepting how deeply embedded this way of thinking was, not just for critics but for the general population, certainly does not imply that one can find antisemitism under every stone. What Knittel suggests, ultimately, is that much of early criticism was unease rather than 'objective' reactions to Mahler's music - a new perspective that allows for a re-evaluation of what makes his music unique, thought-provoking and valuable.
No-one doubts that Gustav Mahler's tenure at the Vienna Court Opera from 1897-1907 was made extremely unpleasant by the antisemitic press. The great biographer, Henry-Louis de La Grange, acknowledges that 'it must be said that antisemitism was a permanent feature of Viennese life'. Unfortunately, the focus on blatant references to Jewishness has obscured the extent to which 'ordinary' attitudes about Jewish difference were prevalent and pervasive, yet subtle and covert. The context has been lost wherein such coded references to Jewishness would have been immediately recognized and understood. By painstakingly reconstructing 'the language of antisemitism', Knittel recreates what Mahler's audiences expected, saw, and heard, given the biases and beliefs of turn-of-the-century Vienna. Using newspaper reviews, cartoons and memoirs, Knittel eschews focusing on hostile discussions and overt attacks in themselves, rather revealing how and to what extent authors call attention to Mahler's Jewishness with more subtle language. She specifically examines the reviews of Mahler's Viennese symphonic premieres for their resonance with that language as codified by Richard Wagner, though not invented by him. An entire chapter is also devoted to the Viennese premieres of Richard Strauss's tone poems, as a proof text against which the reviews of Mahler can also be read and understood. Accepting how deeply embedded this way of thinking was, not just for critics but for the general population, certainly does not imply that one can find antisemitism under every stone. What Knittel suggests, ultimately, is that much of early criticism was unease rather than 'objective' reactions to Mahler's music - a new perspective that allows for a re-evaluation of what makes his music unique, thought-provoking and valuable.
Music has been used as a cure for disease since as far back as King David's lyre, but the notion that it might be a serious cause of mental and physical illness was rare until the late eighteenth century. At that time, physicians started to argue that excessive music, or the wrong kind of music, could over-stimulate a vulnerable nervous system, leading to illness, immorality and even death. Since then there have been successive waves of moral panics about supposed epidemics of musical nervousness, caused by everything from Wagner to jazz and rock 'n' roll. It was this medical and critical debate that provided the psychiatric rhetoric of "degenerate music" that was the rationale for the persecution of musicians in Nazi Germany and the Soviet Union. By the 1950s, the focus of medical anxiety about music shifted to the idea that "musical brainwashing" and "subliminal messages" could strain the nerves and lead to mind control, mental illness and suicide. More recently, the prevalence of sonic weapons and the use of music in torture in the so-called War on Terror have both made the subject of music that is bad for the health worryingly topical. This book outlines and explains the development of this idea of pathological music from the Enlightenment until the present day, providing an original contribution to the history of medicine, music and the body.
What does it mean to think of Western Art music - and the Austro-German contribution to that repertory - as a tradition? How are men and masculinities implicated in the shaping of that tradition? And how is the writing of the history (or histories) of that tradition shaped by men and masculinities? This book seeks to answer these and other questions by drawing both on a wide range of German-language writings on music, sound and listening from the so-called long nineteenth century (circa 1800-1918), and a range of critical-theoretical texts from the post-war continental philosophical and psychoanalytic traditions, including Lacan, Žižek, Serres, Derrida and Kittler. The book is focussed in particular on bringing the object of historical writing itself into scrutiny by engaging in what Žižek has called a 'historicity' or a way of writing about the past that not merely acknowledges the ahistorical kernel of historical writing, but brings that kernel into the light of day, takes account of it and puts it into play. The book is thus committed to a kind of historical writing that is open-ended - though not ideologically naïve - and that does not fix or stabilize the nature of the relationship between so-called 'primary' and 'secondary' texts. The book consists of an introduction, which places the study of classical music and the Austro-German tradition within broader debates about the value of that tradition, and four extensive case studies: an analysis of the cultural-historical category of listening around 1800; a close reading of A. B. Marx's Beethoven monograph of 1859; a consideration of Heinrich Schenker's attitudes to the mob and the vernacular more broadly and an examination, through Franz Kafka, of the figure of Mahler's body.
Astronomy and Astrophysics Abstracts, which has appeared in semi-annual volumes since 1969, is devoted to the recording, summarizing and indexing of astronomical publications throughout the world. According to a resolution adopted at the 14th General Assembly in 1970 it is prepared under the aus pices of the International Astronomical Union. Astronomy and Astrophysics Abstracts aims to present a comprehensive doc umentation in all fields of astronomy and astrophysics. It is due to the ever lasting increase of the bulk of material that the information content of our regular volumes is growing seriously. Therefore, the need for detailed index informations allowing the performance of retrospective literature searches be comes more and more important. Volume 23/24-the second General Index of Astronomy and Astrophysics Abstracts - contains author and subject indexes to volumes II -14 and, respectively, 17-22. Thus, the astronomical and astrophysical literature of the whole five-year period 197 4 -1978 is cov ered by this volume. It is a pleasure to express our gratitude to Ms. Helga Ballmann, Ms. Monika Betz, Mr. Gernot Burkhardt, Ms. Lore Kiefert, Ms. Dagmar Roeder, Ms. Dimitra Roussou, and Mr. Werner Sanns for their kind support during the detailed preparation steps of the indexes.
This book is suggested to be a manual for any individual who is hurting, has a habit or any hang-up. You may wondering why He is allowing you to go through this situation or circumstance (because it does not feel good). I know that you have imagined your life to be different than what it is; and truthfully you believe that God does not really even care. But I want you to know that He actually put you in that situation or circumstance because He wants other individuals to know who may be going through the same issues or problems that you are that He can and He definitely will deliver. For He is still God - no matter what!!! Just know as Marvin Winans sings He has His hands on you. All you have to do is give Him the praise for your deliverance right now. Never - ever give up and let Him have His way!!!
Astronomy and Astrophysics Abstracts, which has appeared in semi-annual volumes since 1969, is de voted to the recording, summarizing and indexing of astronomical publications throughout the world. It is prepared under the auspices of the International Astronomical Union (according to a resolution adopted at the 14th General Assembly in 1970). Astronomy and Astrophysics Abstracts aims to present a comprehensive documentation of literature in all fields of astronomy and astrophysics. Every effort will be made to ensure that the average time interval between the date of receipt of the original literature and publication of the abstracts will not exceed eight months. This time interval is near to that achieved by monthly abstracting journals, com pared to which our system of accumulating abstracts for about six months offers the advantage of greater convenience for the user. Volume 18 contains literature published in 1976 and received before March 1, 1977; some older liter ature which was received late and which is not recorded in earlier volumes is also included.
A revolutionary new path to optimize your health, balance hormones, and revitalize skin, including more than 80 food and DIY skincare recipes Natural Beauty Reset is the essential guide for women to restore radiance and hormonal harmony from the inside out. In this book, USA Today bestselling author of Clean Skin from Within, Dr. Trevor Cates guides readers toward revitalized health with a root cause and seasonal approach. In Part 1, Dr. Cates dives into the root causes of women’s health concerns, including hormonal fluctuations and skin issues—like those experienced with pregnancy, menstrual irregularities, perimenopause, and more—the foods we eat, the health of our microbiome, environmental toxin exposures, and other lifestyle elements like sleep and stress. In Part 2, she presents her practical, customizable 7-Day Reset for each season, designed to address root causes and support optimal nutrition, gut health, and mindfulness, focusing on four aspects crucial for lasting beauty that glows from the inside out: Food Movement Mindset Skin Care Combining traditional wisdom with credible scientific research, Natural Beauty Reset is the ultimate holistic resource to help women feel empowered—physically, mentally, and emotionally—and to step fully into the dazzling beauty they have possessed all along.
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