It has long been acknowledged that Richard Wagner was a virulent antisemite, yet the composer has also been characterized as an idealistic revolutionary, and historians have puzzled over the paradox of these conflicting elements in his character. In this fascinating book, Paul Lawrence Rose argues that Wagner did not suddenly change from a progressive revolutionary into a reactionary racist; for him, as for many other Germans, the idea of revolution always contained a racial and antisemtic core. Rose approaches Wagner on varying levels so as to see him as he really was: he places Wagner within the context of mid-nineteenth-century German revolutionary culture; he studies the composer's whole range of theoretical and artistic works, tracing his career and the evolution of his thought; and he considers Wagner's personality and his personal relationships (especially with those Jews who considered themselves his friends). Rose demonstrates that Wagner's conversion to antisemitism dates not from 1850--the year in which his infamous essay Judaism in Music was published--but from his conflict with the Jewish composer Giacomo Meyerbeer three years earlier over the Berlin production of Rienze. This affects our understanding of the genesis of the Ring operas. In addition, Rose offers fresh and stimulating interpretations of Tristan und Isolde, Die Meistersinger, and Parsifal, based on an analysis of their revolutionary and antisemitic elements.
While much attention has been lavished on Friedrich Nietzsche’s earlier and later works, those of his so-called middle period have been generally neglected, perhaps because of their aphoristic style or perhaps because they are perceived to be inconsistent with the rest of his thought. With Nietzsche’s Enlightenment, Paul Franco gives this crucial section of Nietzsche’s oeuvre its due, offering a thoughtful analysis of the three works that make up the philosopher’s middle period: Human, All too Human; Daybreak; and The Gay Science. It is Nietzsche himself who suggests that these works are connected, saying that their “common goal is to erect a new image and ideal of the free spirit.” Franco argues that in their more favorable attitude toward reason, science, and the Enlightenment, these works mark a sharp departure from Nietzsche’s earlier, more romantic writings and differ in important ways from his later, more prophetic writings, beginning with Thus Spoke Zarathustra. The Nietzsche these works reveal is radically different from the popular image of him and even from the Nietzsche depicted in much of the secondary literature; they reveal a rational Nietzsche, one who preaches moderation instead of passionate excess and Dionysian frenzy. Franco concludes with a wide-ranging examination of Nietzsche’s later works, tracking not only how his outlook changes from the middle period to the later but also how his commitment to reason and intellectual honesty in his middle works continues to inform his final writings.
Richard Wagner’s magnum opus meets the celebrated translator of Jules Verne novels in this colorful and original work. Frederick Paul Walter makes Twilight for the Gods accessible not only to scholars and opera buffs but also to fans of Tolkien, Star Wars, and Hogwarts through a dazzling new translation in lively modern English and annotations that spotlight the libretto, lyrics, and stage directions. The translation conveys Wagner’s humor, rhymes, alliterative effects, subliminal messages, and inventive tale spinning, plus it also gets the most basic ingredient right: the actual story! It highlights the motives, secrets, and plot twists—what’s really going on and what its narrative shows. Accompanying the translation and annotations are dozens of photos of classic artwork by Arthur Rackham, Howard Pyle, Aubrey Beardsley, the 1876 costume and set designs, and much more.
Frontcover -- Contents -- List of Figures -- Preface and Acknowledgements -- Chronology of Newman's Life and Works -- Abbreviations -- 1 Ernest Newman and the Challenge of Critical Biography -- PART I The Freethought Years -- 2 Formation of a Critical Sensibility: The 1880s and 1890s -- 3 Social, Literary and Musical Criticism: 1893-1897 -- 4 A Rationalist Manifesto: Pseudo-Philosophy at the end of the Nineteenth Century, 1897 -- 5 Music History and the Comparative Method: Gluck and the Opera, 1895 -- PART II The Mainstream Years -- 6 From Manchester to Moscow: Essays on Music, 1900-1920 -- 7 'The World of Music': Essays in the Sunday Times, 1920-1958 -- 8 Biographical and Musicological Tensions: The Man Liszt, 1934 -- 9 Sceptical and Transforming: Books on Wagner, 1899-1959 -- 10 Conclusion: Ernest Newman Remembered -- Appendix: Newman's Freethought Lectures, 1894-1896 -- Bibliography -- Index
Traditionally, Wagnerian scholarship has always treated the Ring and Parsifal as two separate works. The Redeemer Reborn: Parsifal as the Fifth Opera of Wagner's Ring shows how Parsifal is in fact actually the fifth opera of the Ring. Schofield explains in detail how these five musical dramas portray a single, unbroken story which begins at the start of Das Rheingold when Wotan breaks a branch from the World Ash-tree and Alberich steals the gold of the Rhine, thus separating Spear and Grail, and ends with the reunion of the Spear and Grail in the temple of Monsalvat at the end of Parsifal. Schofield explains how and why the four main characters of the Ring are reborn in the opera Parsifal, needing to complete in Parsifal the spiritual journey begun in the Ring. He also shows how the redemption that is not attained in the process of the Ring is finally realized in the events of Parsifal.
Nietzsche's philosophy - at once revolutionary, erudite and deep - reaches into all spheres of the arts. Well into a second century of influence, the profundity of his ideas and the complexity of his writings still determine Nietzsche's power to engage his readers. His first book, "The Birth of Tragedy", presents us with a lively inquiry into the existential meaning of Greek tragedy. We are confronted with the idea that the awful truth of our existence can be revealed through tragic art, whereby our relationship to the world transfigures from pessimistic despair into sublime elation and affirmation. It is a landmark text in his oeuvre and remains an important book both for newcomers to Nietzsche and those wishing to enrich their appreciation of his mature writings. "Nietzsche and The Birth of Tragedy" provides a clear account of the text and explores the philosophical, literary and historical influences bearing upon it. Each chapter examines part of the text, explaining the ideas presented and assessing relevant scholarly points of interpretation. The book will be an invaluable guide to readers in Philosophy, Literary Studies and Classics coming to "The Birth of Tragedy" for the first time.
Paul Lerner traces the intertwined histories of trauma and male hysteria in German society and psychiatry and shows how these concepts were swept up into debates about Germany's national health, economic productivity, and military strength in the years surrounding World War I. From a growing concern with industrial accidents in the 1880s through the shell shock "epidemic" of the war, male hysteria seemed to bespeak the failings of German masculinity. In response, psychiatrists struggled to turn male-hysterical bodies into fit workers and loyal political subjects. Medical approaches to trauma valorized work and productivity as standards of male health, and psychiatric treatment--whether through hypnosis, electric current, or suggestion--concentrated on turning debilitated soldiers into symptom-free workers. These concerns endured through the Weimar period, as "nervous veterans" competed for disability compensation amid the republic's political crises and economic upheavals. Hysterical Men shows how wartime psychiatry furthered the process of medical rationalization. Lerner views this not as a precursor to the brutalities of Nazi-era psychiatry, but rather as characteristic of a more general medicalized modernity. The author asserts, however, that psychiatry's continual skepticism toward trauma resonated powerfully with the radical right's celebration of war and violence and its supposedly salutary effects on men and nations.
This study of a hitherto neglected aspect of Liszt and his music aims to restore a balanced view of both man and artist. In contrast to the familiar portrayal of the virtuoso pianist, Liszt is considered here as a serious man of ideas: in tracing the composer's relationships and attitudes to the twin themes of revolution and religion, Paul Merrick finds much of Liszt's music, both secular and sacred, to be inspired by the same deeply felt religious conviction that also governed his private life from an early age. The first part of the book is primarily biographical and considers Liszt's reactions to the revolutions of 1830 and 1848, his relationship with the Abbe Lamennais, the Comtesse d' Agoult, Princess Wittgenstein and Wagner, and contains the first convincing explanation for the sudden cancellation of Liszt's marriage to Princess Wittgenstein. The remaining sections consider the church music and the programmatic music that is related to this.
This updated Second Edition covers current state-of-the-art technology and instrumentation The Second Edition of this well-respected publication provides updated coverage of basic nondestructive testing (NDT) principles for currently recognized NDT methods. The book provides information to help students and NDT personnel qualify for Levels I, II, and III certification in the NDT methods of their choice. It is organized in accordance with the American Society for Nondestructive Testing (ASNT) Recommended Practice No. SNT-TC-1A (2001 Edition). Following the author's logical organization and clear presentation, readers learn both the basic principles and applications for the latest techniques as they apply to a wide range of disciplines that employ NDT, including space shuttle engineering, digital technology, and process control systems. All chapters have been updated and expanded to reflect the development of more advanced NDT instruments and systems with improved monitors, sensors, and software analysis for instant viewing and real-time imaging. Keeping pace with the latest developments and innovations in the field, five new chapters have been added: * Vibration Analysis * Laser Testing Methods * Thermal/Infrared Testing * Holography and Shearography * Overview of Recommended Practice No. SNT-TC-1A, 2001 Each chapter covers recommended practice topics such as basic principles or theory of operation, method advantages and disadvantages, instrument description and use, brief operating and calibrating procedures, and typical examples of flaw detection and interpretation, where applicable.
In Moral Leadership>, Paul J. Olscamp shows how college presidents and trustees can use basic ethical principles to help make moral decisions. Olscamp describes the nature of the college presidency and provides a summary view of western ethical theory, outlining a series of principles relating to morality and obligation.
Today Sigmund Freud's legacy seems as hotly contested as ever. He continues to attract fanaticism of one kind or another. If Freud might be disappointed at the failure of his successors to confirm many of his so-called discoveries he would be gratified by the transforming impact of his ideas in contemporary moral and ethical thinking. To move from the history of psychoanalysis onto the more neutral ground of scholarly inquiry is not a simple task. There is still little effort to study Freud and his followers within the context of intellectual history. Yet in an era when psychiatry appears to be going in a different direction from that charted by Freud, his basic point of view still attracts newcomers in areas of the world relatively untouched by psychoanalytic influence in the past. It is all the more important to clarify the strengths and the limitations of Freud's approach. Roazen begins by delving into the personality of Freud, and reassesses his own earlier volume, Freud and His Followers. He then examines "Freud Studies" in the nature of Freudian appraisals and patients. He examines a succession of letters between Freud and Silberstein; Freud and Jones; Anna Freud and Eva Rosenfeld; James Strachey and Rupert Brooke. Roazen includes a series of interviews with such personages as Michael Balint, Philip Sarasin, Donald W. Winnicott, and Franz Jung. He explores curious relationships concerning Lou Andreas-Salome, Tola Rank, and Felix Deutsch, and deals with biographies of Freud's predecessors, Charcot and Breuer, and contemporaries including Menninger, Erikson, Helene Deutsch, and a number of followers. Freud's national reception in such countries as Russia, America, France, among others is examined, and Roazen surveys the literature relating to the history of psychoanalysis. Finally, he brings to light new documents offering fresh interpretations and valuable bits of new historical evidence. This brilliantly constructed book explores the vagaries of Freud's impact over the twentieth century, including current controversial issues related to placing Freud and his theories within the historiography of psychoanalysis. It will be of interest to psychoanalysts, intellectual historians, and those interested in the history of ideas.
Johann Sebastian Bach – celebrated pipe organist, court composer and master of sacred music – was also a technical pioneer. Working in Germany in the early eighteenth century, he invented new instruments and carried out experiments in tuning, the effects of which are still with us today. Two hundred years later, a number of extraordinary musicians have utilised the music of Bach to thrilling effect through the art of recording, furthering their own virtuosity and reinventing the composer for our time. In Reinventing Bach, Paul Elie brilliantly blends the stories of modern musicians with a polyphonic account of our most celebrated composer’ s life to create a spellbinding narrative of the changing place of music in our lives. We see the sainted organist Albert Schweitzer playing to a mobile recording unit set up at London’ s Church of All Hallows in order to spread Bach’ s organ works to the world beyond the churches, and Pablo Casals’ s Abbey Road recordings of Bach’ s cello suites transform the middle-class sitting room into a hotbed of existentialism; we watch Leopold Stokowski persuade Walt Disney to feature his own grand orchestrations of Bach in the animated classical-music movie Fantasia – which made Bach the sound of children’ s playtime and Hollywood grandeur alike – and we witness how Glenn Gould’ s Goldberg Variations made Bach the byword for postwar cool. Through the Beatles and Switched-on Bach and Gö del, Escher, Bach – through film, rock music, the Walkman, the CD and up to Yo-Yo Ma and the iPod – Elie shows us how dozens of gifted musicians searched, experimented and collaborated with one another in the service of a composer who emerged as the prototype of the spiritualised, technically savvy artist.
The ancient Greek myth of Prometheus, the primordial Titan who defied the Olympian gods by stealing fire from the heavens as a gift for humanity, enjoyed unprecedented popularity during the Romantic era. An international coterie of writers such as Goethe, Monti, Byron, the Shelleys, Sainte-H ne, Coleridge, Browning, and Bridges engaged with the legend, while composers such as Beethoven, Reichardt, Schubert, Wolf, Liszt, Hal Saint-Sa Holm Faur Parry, Goldmark, and Bargiel based works of diverse genres on the fable. Romantic authors and composers developed a unique perspective on the myth, emphasizing its themes of rebellion, punishment for transgression and creative autonomy, in great contrast to artists of the preceding era, who more characteristically ignored the tribulations of Prometheus and depicted him as the animator of a na Arcadian mankind who, when awakened from their spiritual dormancy, expressed astonishment at the wonders of nature and paid homage to the Titan as a new god. Paul Bertagnolli charts the progress of the myth during the nineteenth century, as it articulates an extraordinary variety of issues pertaining to culture, society, aesthetics, and philosophy. Drawing on archival research, dance history, sketch studies, literary theory, linear analysis, topos theory, and reception history, individual chapters demonstrate that the legend served as a vehicle to express opinions on subjects as diverse as aristocratic patronage, movements of the body on the public stage, rebellion against political and religious authority, outright atheism, humanitarianism of the German Enlightenment, interest in the music of Greek antiquity, industrialization, nationalism inflamed by war, populism, and the aesthetics of musical form. Composers often resorted to varied and unorthodox musical techniques in order to reflect such remarkable subjects: Beethoven outraged critics by implying a key other than the tonic at the outset of the overture to
A formidable challenge to the study of Roma (Gypsy) music is the muddle of fact and fiction in determining identity. This book investigates "Gypsy music" as a marked and marketable exotic substance, and as a site of active cultural negotiation and appropriation between the real Roma and the idealized Gypsies of the Western imagination. David Malvinni studies specific composers-including Liszt, Brahms, Rachmaninov, Janacek, and Bartók-whose work takes up contested and varied configurations of Gypsy music. The music of these composers is considered alongside contemporary debates over popular music and film, as Malvinni argues that Gypsiness remains impervious to empirical revelations about the "real" Roma.
Leslie Thiele presents an original and accessible essay on the great thinker's attempt to lead a heroic life as a philosopher, artist, saint, educator, and solitary. He takes as his point of departure Nietzsche's conception of the soul as a multiplicity of conflicting drives and personae, and focuses on the task Nietzsche allotted himself "to make a cosmos out of his chaotic inheritance." This struggle to "become what you are" by way of a spiritual politics is demonstrated to be Nietzsche's foremost concern, which fused his philosophy with his life.
In the 1930s, fewer than one in one hundred U.S. labor union members were African American. By 1980, the figure was more than one in five. Black and Blue explores the politics and history that led to this dramatic integration of organized labor. In the process, the book tells a broader story about how the Democratic Party unintentionally sowed the seeds of labor's decline. The labor and civil rights movements are the cornerstones of the Democratic Party, but for much of the twentieth century these movements worked independently of one another. Paul Frymer argues that as Democrats passed separate legislation to promote labor rights and racial equality they split the issues of class and race into two sets of institutions, neither of which had enough authority to integrate the labor movement. From this division, the courts became the leading enforcers of workplace civil rights, threatening unions with bankruptcy if they resisted integration. The courts' previously unappreciated power, however, was also a problem: in diversifying unions, judges and lawyers enfeebled them financially, thus democratizing through destruction. Sharply delineating the double-edged sword of state and legal power, Black and Blue chronicles an achievement that was as problematic as it was remarkable, and that demonstrates the deficiencies of race- and class-based understandings of labor, equality, and power in America.
The present volume meets a frequently expressed demand as it is the first collection of all the relevant essays and articles which Steven Paul Scher has written on Literature and Music over a period of almost forty years in the field of Word and Music Studies. Scher, The Daniel Webster Professor of German and Comparative Literature at Dartmouth College, Hanover, NH, USA, is one of the founding fathers of Word and Music Studies and a leading authority in what is in the meantime a well-established intermedial field. He has published very widely in a variety of journals and collections of essays, which until now have not always been easy to lay one's hands on. His work covers a wide range of subjects and comprises theoretical, methodological and historical studies, which include discussions of Ferruccio Busoni, Thomas Mann, Bertolt Brecht, Judith Weir, the Talking Heads and many others and which pay special attention to E. T. A. Hoffmann and German Romanticism. The range and depth of these studies have made him the 'mastermind' of Word and Music Studies who has defined the basic aims and objectives of the discipline. This volume is of interest to literary scholars and musicologists as well as comparatists and all those concerned about the rapidly expanding field of Intermedia Studies.
In this volume that is as big and as varied as the nation it portrays are over 1,400 entries written by some 900 historians and other scholars, illuminating not only America's political, diplomatic, and military history, but also social, cultural, and intellectual trends; science, technology, and medicine; the arts; and religion.
Based on solid research, "Jingji Xue" presents how Economics, as a thought as well as an intellectual discipline, had been introduced to China. It identifies the Chinese who studied Economics in the West and evaluates their roles in teaching, research, and publication in China. Particularly, it describes and examines the activities of Kang Youwei, Liang Qichao, Sun Yat-sen, and Yan Fu et al in transmitting and interpreting Western Economics. The evolution of Economics programme in leading universities in China is also discussed
Nietzsche's works are replete with discussions of moral psychology, but to date there has been no systematic analysis of his account. How does Nietzsche understand human motivation, deliberation, agency, and selfhood? How does his account of the unconscious inform these topics? What is Nietzsche's conception of freedom, and how do we become free? Should freedom be a goal for all of us? How does--and how should--the individual relate to his social context? The Nietzschean Self offers a clear, comprehensive analysis of these central topics in Nietzsche's moral psychology. It analyzes his distinction between conscious and unconscious mental events, explains the nature of a type of motivational state that Nietzsche calls the 'drive', and examines the connection between drives, desires, affects, and values. It explores Nietzsche's account of willing unity of the self, freedom, and the relation of the self to its social and historical context. The Nietzschean Self argues that Nietzsche's account enjoys a number of advantages over the currently dominant models of moral psychology--especially those indebted to the work of Aristotle, Hume, and Kant--and considers the ways in which Nietzsche's arguments can reconfigure and improve upon debates in the contemporary literature on moral psychology and philosophy of action.
This book explores why there is a major war again in Europe. Putin’s actions need to be understood if not forgiven. With the Ukraine conflict increasingly seen as a proxy war of NATO versus Russia, how likely is the fighting to spread? The author, a highly respected journalist and political commentator, explains why Russia invaded a sovereign neighbor. To what extent did NATO’s expansion to Russia’s borders in the aftermath of the Cold War provoke Putin? Did the West’s recent humiliating defeats in the Middle East and South Asia encourage Putin to exploit what he saw as its decadent strategic weakness and lack of resolve? What were the reasons for Russia’s savage behavior in Ukraine? How might the Ukraine war end and what will the post-bellum world look like? The war in Ukraine has had worldwide impact with cost of living, food and energy crises and raised the risk of nuclear Armageddon by accident or intent so this book has universal appeal; not just to military buffs. It examines the complex military and political issues in layman’s language while the story is told as a compelling historical narrative. Professor Moorcraft, who has worked in Ukraine and has witnessed Russian troops in action in Afghanistan and other theatres, is superbly qualified to write this work.
Georges Seurat, one of the most popular and admired of post-Impressionist painters, has been the focus of much attention in recent years. This book by Paul Smith views the artist in a new context and explodes some of the myths that have grown up about him. Challenging the assumption that Seurat's work was scientific or that it expressed a serious commitment to anarchism, Smith instead traces the painters involvement with the various factions of the avant-garde and shows that he was perhaps the earliest exponent of Idealism in modern art. Smith studies contemporary interpretations of Impressionism and analyzes how the groups surrounding Seurat constructed meaning from his art. From this investigation he creates a portrait of Seurat as one who was willing to accept, even encourage, interpretations of his art that he may not have intended. Smith shows, for example, that the "scientific" account of Seurat's color first developed by Félix Fénéon actually represents the theory and practice of Pissaro. He examines Seurat's involvement with anarchist critics and concludes that he merely posed as a painter with left-wing sympathies in order to benefit from the publicity these writers gave him. He explains that Seurat was sympathetic to Symbolism from its very inception and that he and his early Symbolist critics developed a theory of his art that was founded on Schopenhauer and Wagner's ideas on art. And he explores the ways that Seurat focused on the musicality of art and on incorporating certain "musical" features in his work. Beautifully illustrated and engagingly written, this book presents a convincing new interpretation of the work of a major artist.
For the span of one hundred years, Peter, Theodore, and J. Fred. Wolle formed an American musical dynasty. While each musician was rooted in the Moravian musical tradition, particularly through the innovations of The Bach Choir of Bethlehem, their influence extended beyond the Moravian Church and became a major force in Bach performance in America. The early characterization of Bethlehem, Pennsylvania as the American Bayreuth remains an apt one to this day." "The musical tradition that shaped these musicians was centered in Nazareth (1740) and Bethlehem (1742), the first Moravian communities founded in Pennsylvania. In addition to schools for young children, the Moravians established academies for young men in Nazareth and for young women in Bethlehem. These academies became well known for their excellence. Music was central in both schools, and each had faculties of fine musicians trained in Europe who transplanted European musical excellence to American soil. As a result, during the late eighteenth and early nineteenth centuries, each academy provided a music education unsurpassed in America. In addition, each institution was closely attached to the vital music-making that pervaded all Moravian communities. Thus, this deep reverence for music in Nazareth and Bethlehem nourished and trained many fine musicians. For generations members of the same families sang, played musical instruments, and composed sacred music together." "This book is also about Moravian cultural patterns that produced so many musically productive men, women, and children who still shape life in the city of Bethlehem."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
For millennia people have held folk beliefs about the existence of the doppelganger--"double walker" in German--a look-alike second self that is often the antithesis of one's identity and is usually considered an omen of misfortune or death. The theme of the double has inspired works by E.T.A. Hoffmann, Poe, de Maupassant, Dostoevsky and others, and has been the basis for many classic mystery, horror and science fiction movies. This critical survey examines the double in more than 100 films by such acclaimed directors as Alfred Hitchcock, Mario Bava, Roger Corman, David Cronenberg, George Romero, Fritz Lang, James Cameron, Robert Siodmak, Don Siegel, John Frankenheimer, Terry Gilliam, Brian De Palma and Roman Polanski.
A rich and varied collection of essays. Pugnacious and savage, eloquent and unpredictable, Paul Johnson sets out to entertain and to inform and to shake the complacency of his readers. These essays selected from the best of his weekly pieces in The Spectator over the last five years, range widely. All his essays are liberally peppered with his astonishing knowledge of the highways and byways of the last thousand years of English history.
Johann and Marta Weber are two Prussians in the 1850s, frustrated by the lack of opportunity and poor living conditions in their home country. They decide to seek their family's fortune in the New World, leaving everything behind-including an infant son too fragile to make the rigorous passage overseas-in order to seek a better life for themselves and future generations of the Weber clan. Upon their arrival in America, they find their way to a growing community of Germans and Swedes living along the Ohio River in Indiana. As they begin to settle in to their harsh and unfamiliar circumstances, the Civil War breaks out. Johann joins the Union side, desperate to defend what he now considers to be his home. Tragically, Johann is disabled in battle, which adds to the ever-present difficulty of finding a way to support his family. That Far Land We Dream About tells the tale of immigrants searching for a better way of life. Johann and Marta have much in common with the ancestors of all Americans. It is a story of great adversity, as the Weber family assimilates to a new culture and seeks a happier life within the borders of the land of their dreams.
Antie, Grassy and Skippy: The Adventures into the Woods. Characters will come to life in these ant-ics and adventures.* Backyard Blue Jay Birdy. Birdy's bird land kingdom was a backyard. Birdy ruled the backyard as his very own territory. Meet Birdy and his bride Birdella, and see how Birdy learns to live with his backyard buddy's.* The Perils of Pets. This is a story, a story it be, of pets in a house, the pets numbered three. The perils of pets, Hamey the Hamsters, a cat named Bernie-Burnice, and a cat Scramble too.* That's a Story of the Past. Magdalena could fire a rifle, clear timber, keep house, raise kids. Andrew could farm, haul timber, and keep his nine offspring in line. Texas family experiences in the early 1900's. This story chronicles a glimpse into the eleven Bronfel family members unique survival experience. * Next Door and Around the Block. St. Boniface's Sister Santa Maria de Poppa could still hurl a soccer ball at 87. Come along with Karl Eingut Junior, the new Austrian student, and see how he learns to adjust to student life with new friends at St. Boniface's. ** Camp Poc-Pocono . There are summer camps all across America, from the Atlantic to the Pacific, from the Canadian border to the Mexican border. There are camps east and west and north and south across America. Take a glimpse into a random summer camp; one of dozens in the Pocono's where camp counselors and campers learn to adjust to camp life on Lake Wallenpaupack. ** Directed at small children - general audience* Directed at young teens - general audience**
Dyadic (Walsh) analysis emerged as a new research area in applied mathematics and engineering in early seventies within attempts to provide answers to demands from practice related to application of spectral analysis of different classes of signals, including audio, video, sonar, and radar signals. In the meantime, it evolved in a mature mathematical discipline with fundamental results and important features providing basis for various applications. The book will provide fundamentals of the area through reprinting carefully selected earlier publications followed by overview of recent results concerning particular subjects in the area written by experts, most of them being founders of the field, and some of their followers. In this way, this first volume of the two volume book offers a rather complete coverage of the development of dyadic Walsh analysis, and provides a deep insight into its mathematical foundations necessary for consideration of generalizations and applications that are the subject of the second volume. The presented theory is quite sufficient to be a basis for further research in the subject area as well as to be applied in solving certain new problems or improving existing solutions for tasks in the areas which motivated development of the dyadic analysis.
Sociologists have always been fascinated with music. In one way or another they have encountered music as an important social force in its own right, as an accompaniment or byproduct of phenomena they studied (such as youth culture or the drug scene), or as a means for obtaining social compliance (as in religious ceremonies or in the military). This book goes one step toward remedying this situation by culling the existing literature for building blocks toward introducing sociological synthesis and by presenting the English version of the extensive writings on music and society by Paul Honigsheim.
This critical study traces the common origins of film noir and science fiction films, identifying the many instances in which the two have merged to form a distinctive subgenre known as Tech-Noir. From the German Expressionist cinema of the late 1920s to the present-day cyberpunk movement, the book examines more than 100 films in which the common noir elements of crime, mystery, surrealism, and human perversity intersect with the high technology of science fiction. The author also details the hybrid subgenre's considerable influences on contemporary music, fashion, and culture.
In film history, director-cinematographer collaborations were on a labor spectrum, with the model of the contracted camera operator in the silent era and that of the cinematographer in the sound era. But in Weimar era German filmmaking, 1919-33, a short period of intense artistic activity and political and economic instability, these models existed side by side due to the emergence of camera operators as independent visual artists and collaborators with directors. Berlin in the 1920s was the chief site of the interdisciplinary avant-garde of the Modernist movement in the visual, literary, architectural, design, typographical, sartorial, and performance arts in Europe. The Weimar Revolution that arose in the aftermath of the November 1918 Armistice and that established the Weimar Republic informed and agitated all of the art movements, such as Expressionism, Dada, the Bauhaus, Minimalism, Objectivism, Verism, and Neue Sachlichkeit (“New Objectivity”). Among the avant-garde forms of these new stylistically and culturally negotiated arts, the cinema was foremost and since its inception had been a radical experimental practice in new visual technologies that proved instrumental in changing how human beings perceived movement, structure, perspective, light exposure, temporal duration, continuity, spatial orientation, human postural, facial, vocal, and gestural displays, and their own spectatorship, as well as conventions of storytelling like narrative, setting, theme, character, and structure. Whereas most of the arts mobilized into schools, movements, institutions, and other structures, cinema, a collaborative art, tended to organize around its ensembles of practitioners. Historically, the silent film era, 1895-1927, is associated with auteurs, the precursors of François Truffaut and other filmmakers in the 1960s: actuality filmmakers and pioneers like R. W. Paul and Fred and Joe Evans in England, Auguste and Luis Lumière and Georges Méliès in France, and Charles Chaplin and Buster Keaton in America, who, by managing all the compositional, executional, and editorial facets of film production—scripting, directing, acting, photographing, set, costume, and lighting design, editing, and marketing—imposed their personal vision or authorship on the film. The dichotomy of the auteur and the production ensemble established a production hierarchy in most filmmaking. In formative German silent film, however, this hierarchy was less rank or class driven, because collaborative partnerships took precedence over single authorship. Whereas in silent film production in most countries the terms filmmaker and director were synonymous, in German silent film the plural term filmemacherin connoted both directors and cinematographers, along with the rest of the filmmaking crew. Thus, German silent filmmakers’ principle contribution to the new medium and art of film was less the representational iconographies of Expressionist, New Objective, and Naturalist styles than the executional practice of co-authorship and co-production, in distinctive cinematographer-director partnerships such as those of cinematographer Theodor Sparkuhl and director Ernst Lubitsch; Fritz Arno Wagner with F. W. Murnau, Fritz Lang, and G. W. Pabst; Rudolf Maté with Carl Theodor Dreyer; Guido Seeber with Lang and Pabst; and Carl Hoffmann with Lang and Murnau.
In turn-of-the-century Vienna, Karl Kraus created a bold new style of media criticism, penning incisive satires that elicited both admiration and outrage. Kraus’s spectacularly hostile critiques often focused on his fellow Jewish journalists, which brought him a reputation as the quintessential self-hating Jew. The Anti-Journalist overturns this view with unprecedented force and sophistication, showing how Kraus’s criticisms form the center of a radical model of German-Jewish self-fashioning, and how that model developed in concert with Kraus’s modernist journalistic style. Paul Reitter’s study of Kraus’s writings situates them in the context of fin-de-siècle German-Jewish intellectual society. He argues that rather than stemming from anti-Semitism, Kraus’s attacks constituted an innovative critique of mainstream German-Jewish strategies for assimilation. Marshalling three of the most daring German-Jewish authors—Kafka, Scholem, and Benjamin—Reitter explains their admiration for Kraus’s project and demonstrates his influence on their own notions of cultural authenticity. The Anti-Journalist is at once a new interpretation of a fascinating modernist oeuvre and a heady exploration of an important stage in the history of German-Jewish thinking about identity.
In Opera as Art: Philosophical Sketches, Paul Thom argues for opera as an art, standing alongside other artforms that employ visual and sonic media to embody the great themes of human life. Thom contends that in great operatic art, the narrative and expressive content collaborate with the work's aesthetic qualities towards achieving this aim. This argument can be extended to modern operatic productions. At their best, these stagings are works of art in themselves, whether they give faithful renditions of the operas they stage and whether their aims go beyond interpretation to commentary and critique. This book is a philosophical introduction to the key practices that comprise the world of opera: the making of the work; its interpretation by directors, critics, and spectators; and the making of an operatic production. Opera has always existed in a context of philosophical ideas, and this book is written for opera-lovers who would like to learn something about that philosophical context.
Sylvia Plath es una de las poetas más conocidas y controvertidas del siglo XX. Desde su muerte en 1963, el debate crítico sobre su obra ha sido animado y, en ocasiones, incluso hostil. Esta obra ilustra cómo leer a Plath desde una perspectiva alternativa, utilizando la teoría de Julia Kristeva sobre el lenguaje político, y que permite una apreciación de los poemas que va más allá de lo biográfico al hacer énfasis, en cambio, en los textos; de ese modo, se engrana con la primera persona como una herramienta heurística compleja e inestable. Al explorar los poemas en términos de su trascendencia en lugar de centrarse exclusivamente en su significado explora la manera en la que la obra de Plath produce una crisis de subjetividad oratoria y, a partir de ahí, emerge la naturaleza «revolucionaria» de la voz poética.
Life is an adventure, full of surprises day in and day out, month in and month out, year after year. Life brings joy, faith, pain, hope, despair, laughter, suffering, love, and hope. In Time, and Time Again, author Paul Brown shares a collection of stories from his life growing up during the 1950s to the 1970s. Culled from Brown's four earlier books in the Time series, the stories recapture his memories from childhood, through the teen years, to adulthood. The colorful narratives describe everything from his own adventures and emotions coming of age, to traveling to his grandmother's house for family events, to incidents and tragedies that shaped his memories. Time, and Time Again provides personal insights into the life and times of his extended family, including some eccentric relatives. With humor and an eye for details about people, places, and events, Brown writes about a plethora of topics including the daily struggles of the previous generation-from church, school, and social activities to battles with weather, insects, and crops to accidental deaths, disease, debt, alcohol, and cultural identifiers from Model T Fords to Jack Benny to Ozzie and Harriett. Time, and Time Again reminds us that time is a treasure that must be dearly held and cannot be replaced.
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.