The centrality of fantasy to French literary culture has long been accepted by critics, but the sonorous dimensions of the mode and its wider implications for musical production have gone largely unexplored. In this book, Francesca Brittan invites us to listen to fantasy, attending both to literary descriptions of sound in otherworldly narratives, and to the wave of 'fantastique' musical works published in France through the middle decades of the nineteenth century, including Berlioz's 1830 Symphonie fantastique, and pieces by Liszt, Adam, Meyerbeer, and others. Following the musico-literary aesthetics of E. T. A. Hoffmann, they allowed waking and dreaming, reality and unreality to converge, yoking fairy sound to insect song, demonic noise to colonial 'babbling', and divine music to the strains of water and wind. Fantastic soundworlds disrupted France's native tradition of marvellous illusion, replacing it with a magical materialism inextricable from republican activism, theological heterodoxy, and the advent of 'radical' romanticism.
The Magna Carta, sealed in 1215, has come to stand for the rule of law, curbs on executive power and the freedom to enjoy basic liberties. When the Universal Declaration of Human Rights was adopted by the United Nations in 1948, it was heralded as 'a Magna Carta for all human kind'. Yet in the year in which this medieval Charter’s 800th anniversary is widely celebrated, the future of the UK’s commitment to international human rights standards is in doubt. Are ‘universal values’ commendable as a benchmark by which to judge the rest of the world, but unacceptable when applied ‘at home’? Francesca Klug takes us on a journey through time, exploring such topics as ‘British values,’ ‘natural rights,’ ‘enlightenment values’ and ‘legal rights,’ to convey what is both distinctive and challenging about the ethic and practice of universal human rights. It is only through this prism, she argues, that the current debate on human rights protection in the UK can be understood. This book will be of interest to students of British Politics, Law, Human Rights and International Relations.
The centrality of fantasy to French literary culture has long been accepted by critics, but the sonorous dimensions of the mode and its wider implications for musical production have gone largely unexplored. In this book, Francesca Brittan invites us to listen to fantasy, attending both to literary descriptions of sound in otherworldly narratives, and to the wave of 'fantastique' musical works published in France through the middle decades of the nineteenth century, including Berlioz's 1830 Symphonie fantastique, and pieces by Liszt, Adam, Meyerbeer, and others. Following the musico-literary aesthetics of E. T. A. Hoffmann, they allowed waking and dreaming, reality and unreality to converge, yoking fairy sound to insect song, demonic noise to colonial 'babbling', and divine music to the strains of water and wind. Fantastic soundworlds disrupted France's native tradition of marvellous illusion, replacing it with a magical materialism inextricable from republican activism, theological heterodoxy, and the advent of 'radical' romanticism.
“They did not mean to hurt the boy, much less kill him. They only wanted to teach him a lesson.” A stunning family saga set in Ireland and Italy, Lucina’s Letters is a gripping character study that explores the deep, dark repercussions of one long-ago deed. Family has always been of the utmost importance to Lucina, but when she learns the truth about an event that almost ripped the family apart, she sets about mending the familial bond even if her efforts are from beyond the grave. One well-timed letter allows her to bring the family together and drag not just one secret but many into the light. But what will the consequences be; will the now-grown-up girls come to terms with their actions on that fateful day and subsequently their own struggles in life? Were the messenger’s intentions just honourable and will the truth set them free and restore the family unit once again?
In the last twenty-five years, Americans have gained considerable freedom in thier personal lives. Relationships are now more flexible, and self-development has become a primary goal for both men and women. Most scholars have criticized this trend to greater freedom, arguing that it undermines family bonds and promotes selfishness and extreme independence, Francesca Cancian is more optimistic. In this book she shows that many American couples succeed in combining self-development with commitment, and that interdependence, not independence, is their ideal. In interdependent relationships, love and self-development do not conflict, but reinforce each other. Love in America compares 'traditional' forms of marriage with these newer forms of close relationships. Starting with the nineteenth century, Cancian shows how gender roles became polarized, with love, which was identified with emotional expression, no practical help, being the responsibility of women, while self-development was regarded as a masculine concern. These traditional images of love and relationships are still held by many Americans today, even though, as Cancian points out, this can lead to marital conflict and individual stress and illness. By contrast, new images of love, emphasizing self-development for men and women and flexible, androgynous roles, began to emerge around 1900, accelerating in the 1960s. She concludes that this trend to self-development and androgyny will continue, but that whether it will lead to more interdependent relationships, or to more independence and isolation, depends partly on economic and political changes in the wider society. The evidence for Cancian's argument comes from sociological, historical, and psychological sources. Her book will interest readers in these disciplines, as well s appeal to a wide general audience.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.