This study treats ecotourism in National Protected Areas of Lao PDR as a “recreational frontier” which instrumentalizes the recreation of human natures in capitalism’s centers for that of nonhuman natures at capitalism’s (closing) frontiers. This world-ecological practice of ecorational instrumentality – i.e. of nature domination in the name of “Nature” – presents a remedy for capitalism’s crisis that is itself crisis-ridden, enacting a central tension of ecocapitalism: that between “conservation” and “development”. This epistemic-institutional tension is traced through the preconditions, modes and effects of ecotourism in Laos by gradually zooming from the most general scale of societal nature relations into the most detailed intricacies of ecotouristic practice. The combination of Bourdieu, Marx and Critical Theory enables a systematic analysis of the recreational frontier as enactment of various contradictions deriving from the “false-and-real” Nature/Society dualism.
This study treats ecotourism in National Protected Areas of Lao PDR as a “recreational frontier” which instrumentalizes the recreation of human natures in capitalism’s centers for that of nonhuman natures at capitalism’s (closing) frontiers. This world-ecological practice of ecorational instrumentality – i.e. of nature domination in the name of “Nature” – presents a remedy for capitalism’s crisis that is itself crisis-ridden, enacting a central tension of ecocapitalism: that between “conservation” and “development”. This epistemic-institutional tension is traced through the preconditions, modes and effects of ecotourism in Laos by gradually zooming from the most general scale of societal nature relations into the most detailed intricacies of ecotouristic practice. The combination of Bourdieu, Marx and Critical Theory enables a systematic analysis of the recreational frontier as enactment of various contradictions deriving from the “false-and-real” Nature/Society dualism.
Bach & God explores the religious character of the music of Johann Sebastian Bach. Noted musicologist Michael Marissen offers wide-ranging insights from detailed investigations of both words and music. Bach is inexhaustible, and Bach & God suggests that through close contextual study there is always more to discover and learn.
Heinrich Heshusius (1556-97) became a leading church superintendent and polemicist during the early age of Lutheran orthodoxy, and played a major role in the reform and administration of several German cities during the late Reformation. As well as offering an introduction to Heshusius's writings and ideas, this volume explores the wider world of late-sixteenth-century German Lutheranism in which he lived and worked. In particular, it looks at the important but inadequately understood network of Lutheran clergymen in North Germany centred around universities such as Rostock, Jena, Königsberg, and Helmstedt, and territories such as Braunschweig-Wolfenbüttel, in the years after the promulgation of the Formula of Concord (1577). In 1579, Heshusius followed his father Tilemann to the newly founded University of Helmstedt, where Heinrich served as a professor on the philosophy faculty and established lasting connections within the Gnesio-Lutheran party. In the 1590s, Heshusius completed his doctoral degree in theology and worked as a pastor and superintendent in Tonna and Hildesheim, publishing over seventy sermons as well as a popular catechism based on the Psalms and Luther's Small Catechism. As confessional tensions mounted in Hildesheim, Heshusius worked as a polemicist for the Lutheran cause, pressing for the conversion or expulsion of local Jews. At the same time, Heshusius began to argue aggressively for the expulsion of Jesuits, who had been increasing in number due to the activities of the local bishop and administrator, Ernst II of Bavaria. By discussing the connection between these two expulsion efforts, and the practical activities Heshusius undertook as a preacher, catechist, and administrator, this study portrays Heshusius as a zealous protector of Lutheran traditions in the face of confessional rivals. Understanding this zeal, and the policies, piety, and propaganda that came as a result, is an important factor in relating how Lutheran orthodoxy gained momentum within Germany in the last decades of the sixteenth century. In all this book will reveal the complex characteristics of an important (but virtually unknown) Lutheran superintendent and theologian active during the era of confessionalization, providing a useful resource for the ongoing efforts of scholars hoping to understand the nature of orthodoxy and its importance for early modern Europeans.f
Despite Heidegger's identifying his own thought with 'ethics' in the most original sense, his understanding of ethics has been criticised both for its supposed ignorance of the role of the other human being and for its relation to politics. This book contends that, in fact, it is Heidegger's own notion of 'being-with' -his rethinking of intersubjectivity- which demonstrates precisely what is wrong with his early work and demands that the place of ethics be rethought. Heidegger and the Place of Ethics shows how this rethinking occurs in Heidegger's own laterwork. In particular, the crossing out of the earlier work in the turn to the later allows us to think 'being-with' as essential to a Heideggerian ethics and to rethink the relationship between ethics and politics which previously issued in Heidegger's engagement with Nazism. This rethinking of ethics and politics in light of the originality of 'being-with' brings us before a hitherto unnoticed proximity between Heidegger's later work and the Lacanian political thought of Slavoj Žižek among others; it thereby opens up the possibility of a politically progressive Heideggerianism, and many unexpected encounters with thinkers generally considered to be separated from Heidegger by an abyss.
. . . a major contribution to cornett research and belongs in the library of every cornettist." —Historic Brass Society ". . . scrupulously detailed. . . The first successful attempt to provide a comprehensive reference book on the cornett and its music. Recommended for both upper-division undergraduate libraries and collections serving music scholars and performers." —Choice " . . . it will likely stand as the definitive bibliography of cornett music for many years." —Notes ". . . this is a groundbreaking study of the subject . . . likely to remain the only major study of the instrument and the music composed for it." —American Reference Books Annual ". . . every cornett player owes an immense debt of gratitude to [the authors and their assistants] for revealing such a wealth of performing opportunities . . ." —European Journal of Early Music The cornett is made of wood but has a brass cup mouthpiece and uses woodwind finger technique. Here the authors have compiled a bibliography of all extant sources of instrumental and vocal music which specify the cornett.
This is the first book on Royal Wills since 1780 and aims to take over where the previous ones (in 1775 and 1780) left off. Therefore the period 1509 to 2008 is covered. It aims to uncover the many dilemmas and conundrums they have had to deal with, against a backdrop of Imperial splendor and political strife, society scandals and in later instances, a disintegrating infrastructure. This period covers the wills of Henry VIII, Edward VI and George I, which all sought to divert the accepted rules of succession; the wills of Queen Charlotte and George III, which brought into sharp focus the differences between State and Personal property; and the wills from Prince Albert to the present day (with a few exceptions) which sought to exclude the public from seeing their contents, in devices known as ‘closing’ and ‘sealing up’ the wills. The authority by which the latter was done has been seriously questioned in signal cases in 2007 and 2008. Sources drawn upon include not only the Royal Archives, but the Kilmorey Papers in the Public Record Office of Northern Ireland, and the Teck Letters in Wellington College, where Prince Frank received much of his early education. The sealed will of Prince Frank of Teck, the brother of Queen Mary and great-uncle of the present Queen, is the seminal chapter in this study.
Giving deserved attention to nearly 150 neglected films, this book covers early sound era features, serials and documentaries with genre elements of horror, science fiction and fantasy, from major and minor studios and independents. Full credits, synopses, critical analyses and contemporary reviews are provided for The Blue Light, The Cat Creeps, College Scandal, Cosmic Voyage, The Dragon Murder Case, The Haunted Barn, Lost Gods, Murder in the Red Barn, The New Gulliver, Return of the Terror, Seven Footprints to Satan, S.O.S. Iceberg, While the Patient Slept, The White Hell of Pitz Palu and many others.
Many scholars and music lovers hold that J.S. Bach is a modern figure, as his music seems to speak directly to the aesthetic, spiritual, or emotional concerns of today's listeners. But, by eighteenth-century standards, Bach and his music in fact reflected and forcefully promoted a premodern world and life view. In Bach against Modernity, author Michael Marissen offers a new look at Bach that considers problems of inattentiveness to historical considerations in academic and popular writing about Bach's relation to the present. He also puts forward interpretive reassessments of key individual works by Bach and examines problems in modern comprehension of the partly archaic German texts that Bach set to music. Lastly, he explores Bach's music in relation to premodern versus enlightened attitudes toward Jews and Judaism and enquires into the theological character of Bach's secular instrumental music. Throughout, the book provides overlooked or misunderstood evidence of Bach's private engagement with religious and social issues that he also addressed in his public vocal compositions. Marissen ultimately argues that, while we are free to make use of Bach and his music in whatever ways we find fitting, we ought also to guard against miscasting Bach in our own ideological image and proclaiming the authenticity of that image, and hence its prestige value, in support of our own agendas.
Shortly after Wolfgang Amadeus Mozart's death, his widow Constanze sent a manuscript copy of one of his most beloved operas, Die Zauberflste, to the court of the Elector of Cologne. It was eventually published by Nicolaus Simrock in 1814 as the first full-score edition. However, the question still remains as to why this early copy in her possession diverges from Mozart's autograph in so many libretto details. The Authentic Magic Flute Libretto: Mozart's Autograph or the First Full-Score Edition? investigates the origin and claim to authenticity of the first full-score edition of Die Zauberflste, drawing attention to the close bond between words and music. Michael Freyhan brings the subtlety of the first edition word setting to the attention of scholars, musicians, and opera-lovers, setting out the evidence for its authenticity and detailing the quest, pursued in 15 countries, for the earliest possible historical sources. Freyhan examines the differences between the first edition and the autograph, discussing the quality of the word-setting_supported by 32 musical examples_and evaluating the relationship of the two texts in terms of language and literature. The following chapters discuss the early history of the autograph, focusing on four alleged owners, its market value, and the misleading catalogue numbering systems seen on the first page. Details of the performance and publication history of the first edition text are followed by a new perspective on the disputed authorship of the libretto, in light of the possible existence of two authentic texts. A concluding chapter discusses Mozart's sketches and working methods, while an appendix traces the character and career of Karl Ludwig Giesecke, one of the writers who claimed ownership of the opera's libretto. The book also includes several photos and the complete first edition libretto, in German and with literal English translation, providing a side-by-side text comparison with the autograph text.
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