Johann Wolfgang von Goethe introduced the concept of Weltliteratur in 1827 to describe the growing availability of texts from other nations. Although the term "World Literature" is widely used today, there is little agreement on what it means and even less awareness of its evolution. In this wide-ranging work, John Pizer traces the concept of Weltliteratur in Germany beginning with Goethe and continuing through Heinrich Heine, Karl Marx, and Friedrich Engels to the present as he explores its importation into the United States in the 1830s and the teaching of World Literature in U.S. classrooms since the early twentieth century. Pizer demonstrates the concept's ongoing viability through an in-depth reading of the contemporary Syrian-German transnational novelist Rafik Schami. He also provides a clear methodology for World Literature courses in the twenty-first century. Pizer argues persuasively that Weltliteratur can provide cohesion to the study of World Literature today. In his view, traditional "World Lit" classes are limited by their focus on the universal elements of literature. A course based on Weltliteratur, however, promotes a more thorough understanding of literature as a dialectic between the universal and the particular. In a practical guide to teaching World Literature by employing Goethe's paradigm, he explains how to help students navigate between the extremes of homogenization on the one hand and exoticism on the other, learning both what cultures share and what distinguishes them. Everyone who teaches World Literature will want to read this stimulating book. In addition, anyone interested in the development of the concept from its German roots to its American fruition will find The Idea of World Literature immensely rewarding.
In the eighteenth and nineteenth centuries, as German Jews struggled for legal emancipation and social acceptance, they also embarked on a program of cultural renewal, two key dimensions of which were distancing themselves from their fellow Ashkenazim in Poland and giving a special place to the Sephardim of medieval Spain. Where they saw Ashkenazic Jewry as insular and backward, a result of Christian persecution, they depicted the Sephardim as worldly, morally and intellectually superior, and beautiful, products of the tolerant Muslim environment in which they lived. In this elegantly written book, John Efron looks in depth at the special allure Sephardic aesthetics held for German Jewry. Efron examines how German Jews idealized the sound of Sephardic Hebrew and the Sephardim's physical and moral beauty, and shows how the allure of the Sephardic found expression in neo-Moorish synagogue architecture, historical novels, and romanticized depictions of Sephardic history. He argues that the shapers of German-Jewish culture imagined medieval Iberian Jewry as an exemplary Jewish community, bound by tradition yet fully at home in the dominant culture of Muslim Spain. Efron argues that the myth of Sephardic superiority was actually an expression of withering self-critique by German Jews who, by seeking to transform Ashkenazic culture and win the acceptance of German society, hoped to enter their own golden age. Stimulating and provocative, this book demonstrates how the goal of this aesthetic self-refashioning was not assimilation but rather the creation of a new form of German-Jewish identity inspired by Sephardic beauty.
This volume presents reverse mathematics to a general mathematical audience for the first time. Stillwell gives a representative view of this field, emphasizing basic analysis--finding the "right axioms" to prove fundamental theorems--and giving a novel approach to logic. to logic.
Biblical texts have been used consistently in sermons throughout Christian history. Preachers have transformed the texts into an aural experience, using them to evangelize, educate, edify, exhort, or even terrify, their audiences. Sermons have enabled Scripture to be communicated to people from a wide range of social backgrounds. 'Delivering the Word' examines the power of preaching and its reception across two millennia of homilies: from St Paul, Origen, Chrysostom, Augustine and Hildegard of Bingen to Jonathan Edwards, Samuel Taylor Coleridge, Aimee Semple McPherson, and Chris Brain. In its exploration of the impact of the sermon on the interpretation of Scripture, 'Delivering the Word' will be of interest to students of biblical and religious studies.
This collection brings together the text of the monograph Art and Morality by the philosopher Richard Beardsmore along with fourteen other essays (both published and previously unpublished) in which he explores further some of the themes of his seminal book. With the revival of interest among philosophers and others in the relationships between art and morality the publication of this material is especially timely. Beardsmore's original contribution first introduced the principal terminology in which discussions have been expressed and many of the later essays showed the influence of Wittgenstein. The publication of this anthology of his writings on these themes has been welcomed by others writing on the same or related themes.
Aspects of Integration: Novel Approaches to the Riemann and Lebesgue Integrals is comprised of two parts. The first part is devoted to the Riemann integral, and provides not only a novel approach, but also includes several neat examples that are rarely found in other treatments of Riemann integration. Historical remarks trace the development of integration from the method of exhaustion of Eudoxus and Archimedes, used to evaluate areas related to circles and parabolas, to Riemann’s careful definition of the definite integral, which is a powerful expansion of the method of exhaustion and makes it clear what a definite integral really is. The second part follows the approach of Riesz and Nagy in which the Lebesgue integral is developed without the need for any measure theory. Our approach is novel in part because it uses integrals of continuous functions rather than integrals of step functions as its starting point. This is natural because Riemann integrals of continuous functions occur much more frequently than do integrals of step functions as a precursor to Lebesgue integration. In addition, the approach used here is natural because step functions play no role in the novel development of the Riemann integral in the first part of the book. Our presentation of the Riesz-Nagy approach is significantly more accessible, especially in its discussion of the two key lemmas upon which the approach critically depends, and is more concise than other treatments. Features Presents novel approaches designed to be more accessible than classical presentations A welcome alternative approach to the Riemann integral in undergraduate analysis courses Makes the Lebesgue integral accessible to upper division undergraduate students How completion of the Riemann integral leads to the Lebesgue integral Contains a number of historical insights Gives added perspective to researchers and postgraduates interested in the Riemann and Lebesgue integrals
Over two decades this art historical tour de force has consistently proved the classic introduction to humanity's artistic heritage. From our paleolithic past to our digitised present, every continent and culture is covered in an articulate and well-balanced discussion. In this Seventh Edition, the text has been revised to embrace developments in archaeology and art historical research, while the renowned contemporary art historian Michael Archer has greatly expanded the discussion of the past twenty years, providing a new perspective on the latest developments. The insight, elegance and fluency that the authors bring to their text are complemented by 1458 superb illustrations, half of which are now in colour. These images, together with the numerous maps and architectural plans, have been chosen to represent the most significant chronological, regional and individual styles of artistic expression.
Review: "Written to stress the crosscurrent of ideas, this cultural encyclopedia provides clearly written and authoritative articles. Thoughts, themes, people, and nations that define the Romantic Era, as well as some frequently overlooked topics, receive their first encyclopedic treatments in 850 signed articles, with bibliographies and coverage of historical antecedents and lingering influences of romanticism. Even casual browsers will discover much to enjoy here."--"The Top 20 Reference Titles of the Year," American Libraries, May 2004.
In tracing Friedrich von Schelling's long philosophical development, John Laughland examines in particular his disentanglement from German idealism and his reaction, later in life, against Hegel. He argues that this story has relevance beyond the facts themselves and that it explains much about the direction philosophy took in the first century of the modern period.
In his new book, Walker offers a radical reassessment of the German realist novel in the nineteenth century. Especially in the English- speaking world, German narrative realism has persistently been interpreted as the literary expression of an ideology of the aesthetic. The German realist novel is alleged to reflect philosophical idealism: to reject the prose of modern society in favour of the poetry of the inner aesthetic life. This book challenges that received view. Walker argues that German narrative realism should be read not only in relation to, but in crucial respects against, the dominant philosophical idiom of nineteenth century Germany. German narrative realism often functions as a critique of the idea and ideology of inwardness in nineteenth century German culture. To understand this, the author argues, we must reread German realist novels above all as narratives, not as the supposed reflection of philosophical categories. The core of the book is therefore the close reading of eight of the best known realist novels in German by Keller, Raabe and Fontane. This reading shows how the German realist novel, far from transposing the assumptions of aesthetic idealism into narrative form, exposes the real consequences of those assumptions in the culture and society of its time. John Walker is Head of the School of Languages, Linguistics and Culture at Birkbeck, University of London.
The Ghosts of Langley offers a detail-rich, often relentless litany of CIA scandals and mini-scandals. . . [and a] prayer that the CIA learn from and publicly admit its mistakes, rather than perpetuate them in an atmosphere of denial and impunity." —The Washington Post From the writer Kai Bird calls a "wonderfully accessible historian," the first major history of the CIA in a decade, published to tie in with the seventieth anniversary of the agency's founding During his first visit to Langley, the CIA's Virginia headquarters, President Donald Trump told those gathered, "I am so behind you . . . there's nobody I respect more, " hinting that he was going to put more CIA operations officers into the field so the CIA could smite its enemies ever more forcefully. But while Trump was making these promises, behind the scenes the CIA was still reeling from blowback from the very tactics that Trump touted—including secret overseas prisons and torture—that it had resorted to a decade earlier during President George W. Bush's war on terror. Under the latest regime it seemed that the CIA was doomed to repeat its past failures rather than put its house in order. The Ghosts of Langley is a provocative and panoramic new history of the Central Intelligence Agency that relates the agency's current predicament to its founding and earlier years, telling the story of the agency through the eyes of key figures in CIA history, including some of its most troubling covert actions around the world. It reveals how the agency, over seven decades, has resisted government accountability, going rogue in a series of highly questionable ventures that reach their apotheosis with the secret overseas prisons and torture programs of the war on terror. Drawing on mountains of newly declassified documents, the celebrated historian of national intelligence John Prados throws fresh light on classic agency operations from Poland to Hungary, from Indonesia to Iran-Contra, and from the Bay of Pigs to Guantánamo Bay. The halls of Langley, Prados persuasively argues, echo with the footsteps of past spymasters, to the extent that it resembles a haunted house. Indeed, every day that the militarization of the CIA increases, the agency drifts further away from classic arts of espionage and intelligence analysis—and its original mission, while pushing dangerously beyond accountability. The Ghosts of Langley will be essential reading for anyone who cares about the next phase of American history—and the CIA's evolution—as its past informs its future and a president of impulsive character prods the agency toward new scandals and failures.
Ideophones have been recognized in modern linguistics at least since 1935, but they still lie far outside the concerns of mainstream (Western) linguistic debate, in part because they are most richly attested in relatively unstudied (often unwritten) languages. The evolution of language, on the other hand, has recently become a fashionable topic, but all speculations so far have been almost totally data-free. Without disputing the tenet that there are no primitive languages, this book argues that ideophones may be an atavistic throwback to an earlier stage of communication, where sounds and gestures were paired in what can justifiably be called a 'prelinguistic' fashion. The structure of ideophones may also provide answers to deeper questions, among them how communicative gestures may themselves have emerged from practical actions. Moreover, their current distribution and behaviour provide hints as to how they may have become conventional words in languages with conventional rules.
Forced by a hand injury to abandon a career as a pianist, Robert Schumann went on to become one of the world's great composers. Among many works, his Spring Symphony (1841), Piano Concerto in A Minor (1841/1845), and the Third, or Rhenish, Symphony (1850) exemplify his infusion of classical forms with intense, personal emotion. His musical influence continues today and has inspired many other famous composers in the century since his death. Indeed Brahms, in a letter of January 1873, wrote: "The remembrance of Schumann is sacred to me. I will always take this noble pure artist as my model." Now, in Robert Schumann: Herald of a "New Poetic Age," John Daverio presents the first comprehensive study of the composer's life and works to appear in nearly a century. Long regarded as a quintessentially romantic figure, Schumann also has been portrayed as a profoundly tragic one: a composer who began his career as a genius and ended it as a mere talent. Daverio takes issue with this Schumann myth, arguing instead that the composer's entire creative life was guided by the desire to imbue music with the intellectual substance of literature. A close analysis of the interdependence among Schumann's activities as reader, diarist, critic, and musician reveals the depth of his literary sensibility. Drawing on documents only recently brought to light, the author also provides a fresh outlook on the relationship between Schumann's mental illness--which brought on an extended sanitarium stay and eventual death in 1856--and his musical creativity. Schumann's character as man and artist thus emerges in all its complexity. The book concludes with an analysis of the late works and a postlude on Schumann's influence on successors from Brahms to Berg. This well-researched study of Schumann interprets the composer's creative legacy in the context of his life and times, combining nineteenth-century cultural and intellectual history with a fascinating analysis of the works themselves.
From the Mendelssohn archive in Berlin come these sixteen never-before-published Romantic lieder by Fannie Mendelssohn Hensel. These inspired compositions have the balanced legato of the classical composers and the sensitive feeling and colorful harmonies of the dawning Romantic era. Includes historical background , idiomatic and word-by-word translation of foreign texts and transcriptions into the International Phonetic Alphabet.
Anyone who pays attention to the popular press knows that the new media will soon make books obsolete. But predicting the imminent demise of the book is nothing new. At the beginning of the twentieth century, for example, some critics predicted that the electro-mechanical phonograph would soon make books obsolete. Still, despite the challenges of a century and a half of new media, books remain popular, with Americans purchasing more than eight million books each day. In How Books Came to America, John Hruschka traces the development of the American book trade from the moment of European contact with the Americas, through the growth of regional book trades in the early English colonial cities, to the more or less unified national book trade that emerged after the American Civil War and flourished in the twentieth century. He examines the variety of technological, historical, cultural, political, and personal forces that shaped the American book trade, paying particular attention to the contributions of the German bookseller Frederick Leypoldt and his journal, Publishers Weekly. Unlike many studies of the book business, How Books Came to America is more concerned with business than it is with books. Its focus is on how books are manufactured and sold, rather than how they are written and read. It is, nevertheless, the story of the people who created and influenced the book business in the colonies and the United States. Famous names in the American book trade—Benjamin Franklin, Robert Hoe, the Harpers, Henry Holt, and Melvil Dewey—are joined by more obscure names like Joseph Glover, Conrad Beissel, and the aforementioned Frederick Leypoldt. Together, they made the American book trade the unique commercial institution it is today.
Library Journal praises the book as "an excellent one-volume ready reference resource for students, researchers, and others interested in music history." Historical Dictionary of Romantic Music, Second Edition covers the persons, ideas, practices, and works that made up the worlds of Western music during the long 19th century (ca. 1780–1918). It’s the first book to recognize that Romantic music was very nearly a global phenomenon. It includes more women, more Black musicians and other musicians of color, and more exponents of musical Romanticism from Central and South America as well as Central and Eastern Europe than any other single-volume study of Romantic music—thus challenging the conventional hegemony of musical Romanticisms by men and by Western European nations. This book includes entries on topics including anti-Semitism, sexism, and racism that were pervasive and defining to the worlds of musical Romanticism but are rarely addressed in general studies of that subject. It includes Romantic musicians who were not primarily composers, as well as topics such as the Haitian Revolution, spirituals, and ragtime that were more important for music in the long 19th century than is generally acknowledged. The result is an expansive, inclusive, diverse, and more richly textured portrayal of Romantic music than is elsewhere available. Historical Dictionary of Romantic Music, Second Edition contains a chronology, an introduction, an extensive bibliography, and a dictionary section with more than 600 cross-referenced entries on traditions, famous pieces, persons, places, technical terms, and institutions of Romantic music. This book is an excellent resource for students, researchers, and anyone wanting to know more about Romantic music.
A vital, engaging, and hugely enjoyable guide to poetry, from ancient times to the present, by one of our greatest champions of literature The Times and Sunday Times, Best Books of 2020 “[A] fizzing, exhilarating book.”—Sebastian Faulks, Sunday Times What is poetry? If music is sound organized in a particular way, poetry is a way of organizing language. It is language made special so that it will be remembered and valued. It does not always work—over the centuries countless thousands of poems have been forgotten. But this Little History is about some that have not. John Carey tells the stories behind the world’s greatest poems, from the oldest surviving one written nearly four thousand years ago to those being written today. Carey looks at poets whose works shape our views of the world, such as Dante, Chaucer, Shakespeare, Whitman, and Yeats. He also looks at more recent poets, like Derek Walcott, Marianne Moore, and Maya Angelou, who have started to question what makes a poem “great” in the first place. For readers both young and old, this little history shines a light for readers on the richness of the world’s poems—and the elusive quality that makes them all the more enticing.
This is the key publication for professionals and students in the metallurgy and foundry field. Fully revised and expanded, Castings Second Edition covers the latest developments in the understanding of the role of the liquid metal in controlling the properties of cast materials, and indeed, of all metallic materials that have started in the cast form. Practising foundry engineers, designers, and students will find the revealing insights into the behaviour of castings essential in developing their inderstanding and practice. John Campbell OBE is a leading international figure in the castings industry, with over four decades of experience. He is the originator of the Cosworth Casting Process, the pre-eminent production process for automobile cylinder heads and blocks. He is also co-inventor of both the Baxi Casting Process (now owned by Alcoa) developed in the UK, and the newly emerging Alotech Casting Process in the USA. He is Professor of Casting Technology at the University of Birmingham, UK. - New edition of this internationally respected reference and textbook for engineers and students - Develops understanding of the concepts and practice of casting operations - Castings' is the key work on castings technology and process metallurgy, and an essential resource on contemporary developments and thinking on the new metallurgy of cast alloys - Revised and updated throughout, with new material on subjects including surface turbulence, the new theory of entrainment defects including folded film defects, plus the latest concepts of alloy theory
Originally published in 1987, this volume charts the development of German song across a century and a half, relating it both to poetry and to the cultural scene in Germany. By emphasising genre rather than individual composers and while paying heed to acknowledged masterpieces – by quoting extensively from forgotten composers, the book avoids historical over simplification and arrives at a fuller picture of this rich tradition. In so doing, it uncovers much neglected material. The book investigates the relationship between German poets and composers and their native folk tradition. It further explores the interaction between convention and innovation and demonstrates how one poem can be interpreted quite differently by different composers. The book is accessible both to students of literature and music.
Paul Celan, Europe's most compelling postwar poet, was a German-speaking, East European Jew. His writing exposes and illumines the wounds that Nazi destructiveness left on language. John Felstiner's sensitive and accessible book is the first critical biography of Celan in any language. It offers new translations of well-known and little-known poems--including a chapter on Celan's famous "Deathfugue"--plus his speeches, prose fiction, and letters. The book also presents hitherto unpublished photos of the poet and his circle. Drawing on interviews with Celan's family and friends and his personal library in Normandy and Paris, as well as voluminous German commentary, Felstiner tells the poet's gripping story: his birth in 1920 in Romania, the overnight loss of his parents in a Nazi deportation, his experience of forced labor and Soviet occupation during the war, and then his difficult exile in Paris. The life's work of Paul Celan emerges through readings of his poems within their personal and historical matrix. At the same time, Felstiner finds fresh insights by opening up the very process of translating Celan's poems. To present this poetry and the strain of Jewishness it displays, Felstiner uncovers Celan's sources in the Bible and Judaic mysticism, his affinities with Kafka, Heine, Hölderlin, Rilke, and Nelly Sachs, his fascination with Heidegger and Buber, his piercing translations of Shakespeare, Dickinson, Mandelshtam, Apollinaire. First and last, Felstiner explores the achievement of a poet surviving in his mother tongue, the German language that had passed, Celan said, "through the thousand darknesses of deathbringing speech.
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