In Italy during the late cinquecento, printed music could be found not only in the homes of the wealthy or the music professional, but also in lay homes, courts, and academies. No longer confined to the salons of the elite, music took on the role of social play and recreation. Paul Schleuse examines these new musical forms through a study of the music books of Italian priest, poet, and composer, Orazio Vecchi. Composed for minor patrons and the wider music-buying public, Vecchi's madrigals took as their subjects game-playing, drinking, hunting, battles, and the life of the street. Schleuse looks at how music and game-playing allowed singers and performers to play the roles of exemplary pastoral characters and also comic, foreign, and "rustic" others in ways that defined and ultimately reinforced social norms of the times. His findings reposition Orazio Vecchi as one of the most innovative composers of the late 16th century.
In Italy during the late cinquecento, printed music could be found not only in the homes of the wealthy or the music professional, but also in lay homes, courts, and academies. No longer confined to the salons of the elite, music took on the role of social play and recreation. Paul Schleuse examines these new musical forms through a study of the music books of Italian priest, poet, and composer, Orazio Vecchi. Composed for minor patrons and the wider music-buying public, Vecchi's madrigals took as their subjects game-playing, drinking, hunting, battles, and the life of the street. Schleuse looks at how music and game-playing allowed singers and performers to play the roles of exemplary pastoral characters and also comic, foreign, and "rustic" others in ways that defined and ultimately reinforced social norms of the times. His findings reposition Orazio Vecchi as one of the most innovative composers of the late 16th century.
Memory Rose into Threshold Speech gathers the poet Paul Celan's first four books, written between 1952 and 1963, which established his reputation as the major post-World War II German-language poet. Celan, a Bukovinian Jew who lived through the Holocaust, created work that displays both great lyric power and an uncanny ability to pinpoint totalitarian cultural and political tendencies. His quest, however, is not only reflective: there is in Celan's writing a profound need and desire to create a new, inhabitable world and a new language for it. In Memory Rose into Threshold Speech, Celan’s reader witnesses his poetry, which starts lush with surrealistic imagery, become gradually pared down; its syntax tightens and his trademark neologisms and word formations increase toward a polysemic language of great accuracy that tries, in the poet's own words, "to measure the area of the given and the possible." Translated by the prize-winning poet and translator Pierre Joris, this bilingual edition follows the 2014 publication of Breathturn into Timestead, Celan's collected later poetry. All nine volumes of Celan's poetry are now available in Joris's carefully crafted translations, accompanied here by a new introduction and extensive commentary. The four volumes in this edition show the flowering of one of the major literary figures of the last century. This volume collects Celan’s first four books: Mohn und Gedächtnis (Poppy and Memory), Von Schwelle zu Schwelle (Threshold to Threshold), Sprachgitter (Speechgrille), and Die Niemandsrose (NoOnesRose).
A groundbreaking insight into Gustave Courbet and his bold experiments in landscape painting Between 1862 and 1866 Gustave Courbet embarked on a series of sensuous landscape paintings that would later inspire the likes of Monet, Pissarro, and Cézanne. This series has long been neglected in favor of Courbet's paintings of rural French life. Courbet's Landscapes: The Origins of Modern Painting explores these astonishing paintings, staking a claim for their importance to Courbet's work and later developments in French modernism. Ranging from the grottoes of Courbet's native Franche-Comté to the beaches of Normandy, Paul Galvez follows the artist on his travels as he uses a palette-knife to transform the Romantic landscape of voyage into a direct, visceral confrontation with the material world. The Courbet he discovers is not the celebrated history painter of provincial life, but a committed landscapist whose view of nature aligns him with contemporary developments in geology, history, linguistics, and literature.
Der vorliegende Doppelband VI der Reihe Topographie und Repertoire des Theaters bietet ein Verzeichnis der Abbildungen von Personen, Rollenportraits, Szenenbildern, Theatergebäuden und Sitzplänen in den universalen Theater-Almanachen und lokalen Theater-Journalen, die in den Bibliographien der Journale (Band I) und der Almanache (Band IV) verzeichnet sind. In Almanachen gab es bereits am Ende des 18. Jahrhunderts gelegentlich Abbildungen – Holzschnitte und Kupferstiche unterschiedlichsten Inhalts. Sie blieben weitgehend auf die Almanache beschränkt, da die Kosten für diese Abbildungen hoch waren und sich eine Produktion nur bei einer höheren Auflage rentierte. In den Journalen sind sie bis zur allgemeinen Verbreitung der Fotografie und der Entwicklung entsprechender Reproduktionsverfahren gegen Ende des 19. Jahrhunderts nur vereinzelt zu finden. Neben der Etablierung dieser technischen Innovationen vollzog sich zu dieser Zeit eine entscheidende Wende bei der Herausgabe dieser Drucke: Ursprünglich hatten – meist – Souffleure und Souffleusen die Finanzierung der Journale allein getragen, doch dann wurde die Möglichkeit genutzt, dass ortsansässige Geschäftsleute Werbung in den Journalen veröffentlichten. Dadurch änderte sich nicht nur deren Inhalt, sondern es wurde auch notwendig, die Drucke ansprechender zu gestalten: mit Abbildungen wurde die Attraktivität der Journale erhöht. Die im vorliegenden Doppelband erschlossenen Abbildungen von Mitgliedern einer Gesellschaft vermitteln wichtige Einblicke in den Umgang mit dem Medium Bild resp. Portrait im Rahmen des Marketings. Einerseits fehlen viele bis heute berühmte Personen, andererseits sind sehr viele inzwischen längst vergessene Personen durch Abbildungen dokumentiert. Generell gibt es nicht sonderlich viele Abbildungen pro Person. Bei einer genaueren Betrachtung, an welchem Theater die Darsteller und Darstellerinnen engagiert waren, erkennt man, wie mobil die am Theater Beschäftigten waren. In anderen Fällen, z. B. bei Direktoren oder Direktorinnen, werden auch längere Tätigkeiten an einem Theater durch Abbildungen dokumentiert. Einen Sonderfall stellen die Veröffentlichungen der Bayreuther Festspiele dar. Diese wurden vor der Saison zusammengestellt und dem wohlhabenden Publikum als Souvenir verkauft. Sowohl Umfang als auch Auflagenzahl dieser Publikationen war deutlich größer als diejenigen von durchschnittlichen Theater-Journalen. Daraus erklärt sich die große Zahl der darin abgedruckten Abbildungen.
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