The Total Work of Art provides a broad survey that incorporates many canonical artists into a single narrative. With particular attention to the influence of the Total Work of Art on modern theatre and performance, this brief introduction will also be of interest to students in such fields as film studies, music history, history of art, cultural studies, and modern European literatures.
Napoleon promoted and honored great men throughout his reign. In addition to comparing himself to various great men, he famously established a Legion of Honor on 19 May 1802 to honor both civilians and soldiers, including non-ethnically French men. Napoleon not only created an Irish Legion in 1803 and later awarded William Lawless and John Tennent the Legion of Honour; he also gave them an Eagle with the inscription “L’Indépendence d’Irlande.” He awarded twenty-six of his generals the marshal’s baton from 1804 to 1815, and in 1806, he further memorialized his soldiers by deciding to erect a Temple to the Glory of the Great Army, modeled on Ancient designs. From 1806 to 1815, Napoleon had more men interred in the Panthéon in Paris than any other French leader before or after him. In works of art depicting himself, Napoleon had his artists allude to Caesar, Charlemagne, and even Moses. Although the Romans had their legions, Pantheon, and temples in Ancient times and the French monarchy had their marshals since at least 1190, Napoleon blended both Roman and French traditions to compare himself to great men who lived in ancient and medieval times and to recognize the achievements of those who lived alongside him in the nineteenth century. Analyzing Napoleon’s ever-changing personal cult of “great men,” and his recognition of contemporary “great men” who contributed to European or even human civilization and not just French civilization, is original. While work does exist on the French cults of Greco-Roman antiquity and of “great men” prior to 1800, Napoleon appears only fleetingly in other discussions of the cult of great men. None of the bourgeoning historiography adequately takes Napoleon’s place in the story of this cult into perspective. This book serves as a further exploration of the cult of great men, including its place in Napoleonic and European history and the alleged efforts of its members to enlighten the earth.
This book provides a comprehensive exploration of ideological patterns of judicial behaviour in the Supreme Court of Canada. Relying on an expansive database of Canadian Supreme Court rulings between 1984 and 2003, the authors present the most systematic discussion of the attitudinal model of decision making ever conducted outside the setting of the US Supreme Court. The groundbreaking discussion of the viability of this model as a unifying theory of judicial behaviour in high courts around the world will be essential reading for a wide range of legal scholars and court watchers.
A free region deeply influenced by southern mores, the Lower Middle West represented a true cultural and political median in Civil War–era America. Here grew a Unionism steeped in the mythology of the Loyal West--a myth rooted in regional and racial animosities and the belief that westerners had won the war. Matthew E. Stanley's intimate study explores the Civil War, Reconstruction, and sectional reunion in this bellwether region. Using the lives of area soldiers and officers as a lens, Stanley reveals a place and a strain of collective memory that was anti-rebel, anti-eastern, and anti-black in its attitudes--one that came to be at the forefront of the northern retreat from Reconstruction and toward white reunion. The Lower Middle West's embrace of black exclusion laws, origination of the Copperhead movement, backlash against liberalizing war measures, and rejection of Reconstruction were all pivotal to broader American politics. And the region's legacies of white supremacy--from racialized labor violence to sundown towns to lynching--found malignant expression nationwide, intersecting with how Loyal Westerners remembered the war. A daring challenge to traditional narratives of section and commemoration, The Loyal West taps into a powerful and fascinating wellspring of Civil War identity and memory.
In the 1830s the abolitionist movement in the United States refashioned itself under new leadership which was determined to bring slavery to an immediate end. Too often written off by northern and southern opinion-makers alike as fanatics who threatened the social and economic order in America, they struggled in the face of both secular and religious defenders of the institution of slavery. Into this fray stepped Francis Wayland (1796–1865), a leading educator, noted author of textbooks on moral philosophy and economics, and longtime president of Brown University. Initially a moderate on slavery, Wayland with near equal fervor both denounced slavery as sinful and yet countenanced caution in respecting the laws that protected the institution. Like so many of his generation, the flow of events moved him toward Unionism and forced him to confront the logic of his own moral arguments. If slavery was indeed a violation of natural rights, how then could he not act on behalf of those who could not speak for themselves? This work explores his journey.
This book offers a concise explanation of the history and meaning of American academic freedom, and it attempts to intervene in contemporary debates by clarifying the fundamental functions and purposes of academic freedom in America.--From publisher description.
Firearms policy has periodically dominated Canadian politics since the late 1960s. Compared to the United States, however, there is little scholarship on firearms policy to the neighbouring north. Using Canadian firearms policy, Aiming to Explain examines five prominent policy process theories employed during the period from the 1989 Montreal Massacre to the 2012 cancellation of the universal firearms registry. Throughout, B. Timothy Heinmiller and Matthew A. Hennigar present rigorous applications of rational choice institutionalism, social constructivism, the advocacy coalition framework, the multiple streams framework, and punctuated equilibrium. The investigations draw on method-based best practices, while also making use of a wide range of data collection and analysis techniques, including inferential statistics, descriptive statistics, process tracing, congruence analysis, and qualitative content analysis. The goal of Aiming to Explain is not to select a single best theory, but to compare their relative strengths and weaknesses in an effort to direct future research and theoretical development efforts in the study of Canadian public policy.
Now a major motion picture! Fifty years ago, the town of Gouldens Falls was evacuated, flooded, and submerged under two hundred feet of water. Along with its secrets. Just as well it was buried. There was always something not quite right about that town. Today, on the anniversary of its watery fate, the man-made lake that was once Gouldens Falls is the source of fascination for a visiting journalist. And a cause for alarm. Because something else is down there. Something evil. And on this special anniversary, it’s going to surface.
Explores how modernist films use classical music in ways that restore the music’s original subversive energy. Classical music masterworks have long played a key supporting role in the movies—silent films were often accompanied by a pianist or even a full orchestra playing classical or theatrical repertory music—yet the complexity of this role has thus far been underappreciated. Sounds Like Helicopters corrects this oversight through close interpretations of classical music works in key modernist films by Francis Ford Coppola, Werner Herzog, Luis Buñuel, Stanley Kubrick, Jean-Luc Godard, Michael Haneke, and Terrence Malick. Beginning with the famous example of Wagner’s “Ride of the Valkyries” in Apocalypse Now, Matthew Lau demonstrates that there is a significant continuity between classical music and modernist cinema that belies their seemingly ironic juxtaposition. Though often regarded as a stuffy, conservative art form, classical music has a venerable avant-garde tradition, and key films by important directors show that modernist cinema restores the original subversive energy of these classical masterworks. These films, Lau argues, remind us of what this music sounded like when it was still new and difficult; they remind us that great music remains new music. The pattern of reliance on classical music by modernist directors suggests it is not enough to watch modernist cinema: one must listen to its music to sense its prehistory, its history, and its obscure, prophetic future. “To learn how classical music and modernist cinema were destined to be lovers, long before Adorno learned to talk, read Matthew Lau’s inventive book, which shows us how to see music, and how to hear cinema. After taking a spin with Isabelle Huppert, Franz Schubert will never be the same again, thanks to the meticulous Lau, who shows us how some of classical music’s not-yet-kindled radicalism required modernist cinema’s perversely revivifying touch. What’s more, Lau manages to offer, in his conclusion, a subtle, stirring plea for a society—a politics—that makes room for difficult cinema and complex music. For such a society’s emergence, Lau’s book may be the instruction manual, teaching salvific, insurrectional solfège.” — Wayne Koestenbaum, author of The Anatomy of Harpo Marx
This is the first book-length study of one of the most talented and exciting American playwrights working today. Stephen Adly Guirgis has said that "God is the starting point and the finish line" of his work, and this book identifies him as a playwright with a distinctly Christian sensibility who uses the technique of "inculturation" to translate the gospel for a secular audience. Critics have noted that his plays are peopled with poor, suffering minority figures, but few have also noted that these figures bear a remarkable similarity to the dispossessed with whom Jesus identifies in Matthew 25. Beginning with his early play Den of Thieves and proceeding through each of his dramas, this work examines Guirgis's plays within a biblical context. While noting that Guirgis is a writer of the "post-Christian age" who staunchly resists identification as a "Christian playwright," the book situates him within the tradition of the "drama of ideas" as a powerful writer employing a dialectical method to inculcate the New Testament ethos and transform the theater space into a place of sacrament.
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.