Jean-Jacques Rousseau the writer-philosopher was a practicing musician and theorist for years before publication of his first Discourse, but scholars have neglected these fertile, inexhaustible ideas because they were either unavailable in a critical edition or viewed as standing outside the aegis of his system of thought. This graceful translation remedies both those failings by bringing together the Essay with a comprehensive selection of the musical writings. Many of the latter are responses to authors like Rameau, Grimm, and Raynal, and a unique feature of this edition is the inclusion of writings by these authors to help establish the historical and ideological context of Rousseau's writings and the intellectual exchanges of which they are a part.
Here translated for the first time, Jean-Jacques Nattiez's widely hailed comparative guide to the techniques of music analysis focuses on a single vivid passage from Wagner's Tristan and Isolde.
No one can write a man's life except himself.' In his Confessions Jean-Jacques Rousseau tells the story of his life, from the formative experience of his humble childhood in Geneva, through the achievement of international fame as novelist and philosopher in Paris, to his wanderings as an exile, persecuted by governments and alienated from the world of modern civilization. In trying to explain who he was and how he came to be the object of others' admiration and abuse, Rousseau analyses with unique insight the relationship between an elusive but essential inner self and the variety of social identities he was led to adopt. The book vividly illustrates the mixture of moods and motives that underlie the writing of autobiography: defiance and vulnerability, self-exploration and denial, passion, puzzlement, and detachment. Above all, Confessions is Rousseau's search, through every resource of language, to convey what he despairs of putting into words: the personal quality of one's own existence. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Published between 1762 and 1765, these writings are the last works Rousseau wrote for publication during his lifetime. Responding in each to the censorship and burning of Emile and Social Contract, Rousseau airs his views on censorship, religion, and the relation between theory and practice in politics. The Letter to Beaumont is a response to a Pastoral Letter by Christophe de Beaumont, Archbishop of Paris (also included in this volume), which attacks the religious teaching in Emile. Rousseau's response concerns the general theme of the relation between reason and revelation and contains his most explicit and boldest discussions of the Christian doctrines of creation, miracles, and original sin. In Letters Written from the Mountain, a response to the political crisis in Rousseau's homeland of Geneva caused by a dispute over the burning of his works, Rousseau extends his discussion of Christianity and shows how the political principles of the Social Contract can be applied to a concrete constitutional crisis. One of his most important statements on the relation between political philosophy and political practice, it is accompanied by a fragmentary "History of the Government of Geneva." Finally, "Vision of Peter of the Mountain, Called the Seer" is a humorous response to a resident of Motiers who had been inciting attacks on Rousseau during his exile there. Taking the form of a scriptural account of a vision, it is one of the rare examples of satire from Rousseau's pen and the only work he published anonymously after his decision in the early 1750s to put his name on all his published works. Within its satirical form, the "Vision" contains Rousseau's last public reflections on religious issues. Neither the Letter to Beaumont nor the Letters Written from the Mountain has been translated into English since defective translations that appeared shortly after their appearance in French. These are the first translations of both the "History" and the "Vision.
After a period of forced exile and solitary wandering brought about by his radical views on religion and politics, Rousseau returned to Paris in 1770. Here, in the last two years of his life, he wrote this, his final work.
It is the task of art, he contends, to make the most of these conventions, to use the very disguises of civilization to counter the barbarism they mask. Tracing this idea through seventeenth- and eighteenth-century French literature, Starobinski charts the historical and intellectual limits of criticism itself.".
The acclaimed series The Collected Writings of Jean-Jacques Rousseau concludes with a volume centering on Emile (1762), which Rousseau called his “greatest and best book.” Here Rousseau enters into critical engagement with thinkers such as Locke and Plato, giving his most comprehensive account of the relation between happiness and citizenship, teachers and students, and men and women. In this volume Christopher Kelly presents Allan Bloom’s translation, newly edited and cross-referenced to match the series. The volume also contains the first-ever translation of the first draft of Emile, the “Favre Manuscript,” and a new translation of Emile and Sophie, or the Solitaries. The Collected Writings of Rousseau Roger D. Masters and Christopher Kelly, series editors 1. Rousseau, Judge of Jean-Jacques: Dialogues 2. Discourse on the Sciences and Arts (First Discourse) and Polemics 3. Discourse on the Origins of Inequality (Second Discourse) Polemics, and Political Economy 4. Social Contract, Discourse on the Virtue Most Necessary for a Hero, Political Fragments, and Geneva Manuscript 5. The Confessions and Correspondence, Including the Letters to Malesherbes 6. Julie, or the New Heloise: Letters of Two Lovers Who Live in a Small Town at the Foot of the Alps 7. Essay on the Origin of Languages and Writings Related to Music 8. The Reveries of the Solitary Walker, Botanical Writings, and Letter to Franquières 9. Letter to Beaumont, Letters Written from the Mountain 10. Letter to D’Alembert and Writings for the Theater 11. The Plan for Perpetual Peace, On the Government of Poland, and Other Writings on History and Politics 12. Autobiographical, Scientific, Religious, Moral, and Literary Writings 13. Emile or On Education (Includes Emile and Sophie; or The Solitaries)
In 1990 the Department of Graphic Arts at the Louvre made their holdings available to guest curators for a program called Parti Pris, or "Taking Sides". In this program, major cultural figures outside of the discipline of art history organized exhibitions based on the department's collection. Within its first several years, this novel collaboration produced exhibitions curated by philosopher Jacques Derrida and filmmaker Peter Greenaway. Jean Starobinski, noted literary critic and intellectual historian from the University of Geneva, was selected as the third curator in the program. In his exhibition and accompanying essay, Starobinski explores the theme of largesse in its broadest sense. Arguing that gift giving and receiving are fundamental human gestures, he examines graphic and textual representations from the offering of the apple to Eve to Salome's gift of the head of John the Baptist, from the giving of laws to the gift of death. Charity, the poetic gift, and the benefits of Fortune all play a role in Starobinski's extended meditation on the act of donation. Lavishly illustrated and dazzling in its scope and imagination, Largesse is an exemplar of the rich intellectual work that can result from crossing disciplinary boundaries and considering history as a dense network of themes and allusions.
Gabriel Fauré (1845–1924) ist vor allem als Liedkomponist, durch sein Requiem, einige Kammermusikwerke oder die Pavane gegenwärtig. Die seit 2010 im Bärenreiter-Verlag erscheinenden "Œuvres complètes de Gabriel Fauré" machen es sich zur Aufgabe, sein Werk in seiner ganzen Vielfalt einer neuen Rezeption zuzuführen. Als deren achter Band ist nun das Werkverzeichnis von Jean-Michel Nectoux erschienen. Das thematische Verzeichnis listet mit 201 Einträgen in chronologischer Folge alle bekannten Werke des Franzosen auf. Die Einträge führen in der neuen Zählung nach N-Nummern Informationen zu Opuszahl (nach der Zählung zu Faurés Lebzeiten), Besetzung, Tonart, Incipit, Text-Incipit und Textquelle, Quellenbeschreibungen der handschriftlichen Quellen, Datierung, Widmungsträgern, Datum der ersten Aufführung, Hinweise zu Verlagsbindungen, erschienenen Ausgaben, ggf. eigenen und fremden Bearbeitungen, Kommentare und bibliographische Hinweise. Nicht weniger als sechs Register ermöglichen eine schnelle Suche. Das Werkverzeichnis ("Catalogue Nectoux") wird sich schnell für alle, die sich mit Fauré und der Musik seiner Zeit beschäftigen, als unverzichtbares Nachschlagewerk erweisen. Es ist das Konzentrat von Nectoux' Arbeit der letzten 50 Jahre, Ergebnis seiner Reisen zu allen Bibliotheken, die Manuskripte Faurés verwahren – und eine Wegmarke musikalischer Forschung in Frankreich.
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.