Robert Herz's Books

Making the Case

Narrative Psychological Case Histories and the Invention of Individuality in Germany, 1750-1800

By: Robert Leventhal

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Making the Case

Narrative Psychological Case Histories and the Invention of Individuality in Germany, 1750-1800

By: Robert Leventhal

One hundred years before Freud’s striking psychoanalytic case-histories, the narrative psychological case-history emerged in the second half of the eighteenth century in Germany as an epistemic genre (Gianna Pomata) that cut across the disciplines of medicine, philosophy, law, psychology, anthropology and literature. It differed significantly from its predecessors in theology, jurisprudence, and medicine. Rather than subsuming the individual under an established classification, moral precept, category, or type, the narrative psychological case-history endeavored to articulate the individual in its very individuality, thereby constructing a ‘self’ in its irreducible singularity. The presentation and analysis of several significant psychological case-histories, their theory and practice, as well as the controversies surrounding their utility, validity, and function for an envisioned ‘science of the soul’ constitutes the core of the book. Close and ‘distant’ (F. Moretti) readings of key texts and figures in the discussion regarding ‘empirical psychology’ (psychologia empirica), experiential psychology (Erfahrungsseelenkunde) and ‘medical psychology’ (medizinische Psychologie) such as Christian Wolff, J.C. Krüger, J.C. Bolton, Ernst Nicolai, J.A. Unzer, J.G. Sulzer, J.G. Herder, Friedrich Schiller, Jacob Friedrich Abel, Marcus Herz, Karl Philipp Moritz, J.C. Reil, Ernst Platner and Immanuel Kant provide the disciplinary, historical-scientific context within which this genre comes to the fore. As the first systematic argument concerning the early history of this genre, my thesis is that the psychological case-history evolved as part of a pastoral apparatus of care, concern, guidance and direction for what it fashioned as the ‘unique’ individual, as the discursive medium in a process by which the soul became a ‘self’. The narrative psychological case-history was in fact a meta-genre that transcended traditional boundaries of history and fiction, medicine and philosophy, psychology and anthropology, and sought, for the first time, to explicitly link the experience, history, memory, fantasy, previous trauma or suffering of a unique individual to illness, deviance, aberration and crime. In a word, it demonstrated, as Freud later said of his own case-histories in Studies on Hysteria, “the intimate relation between the history of suffering and the symptoms of illness” (“die innige Beziehung zwischen Leidensgeschichte und Krankheitssymptome”). This genre not only had a profound and far-reaching effect on the evolution of German and European literature – one thinks of the rich traditions of the Novella and the Fallgeschichte from Goethe, Büchner, R. L Stevenson, Edgar Allen Poe and Chekhov to Kafka and beyond – but in shaping modern literature, the clinical sciences, and even popular culture. The book should therefore be of interest not merely to Germanists, modern European cultural historians, historians of science, and literary historians, but also those interested in the history of medicine and psychology, the origins of psychoanalysis, the history of anthropology, cultural studies, and, more generally, the history of ideas.

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472

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Walter de Gruyter GmbH & Co KG

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ISBN 10

3110642794

ISBN 13

9783110642797

From Vagabond to Journalist

Edgar Snow in Asia, 1928-1941

By: Robert M. Farnsworth

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From Vagabond to Journalist

Edgar Snow in Asia, 1928-1941

By: Robert M. Farnsworth

Beginning with Snow's youthful ambition to travel the globe and concluding with his notable, if unobtrusive, role in the reestablishment of diplomatic ties between America and China, Farnsworth weaves a spellbinding narrative. Snow's adventure in Asia began in Yokohama, where he landed as a stowaway from Hawaii. Then, just steps ahead of Japanese port police, he made his way to China, where he soon empathized with the suffering of the Chinese people and became curious about the role Communism might play in the rebellion against colonialism. As he traveled throughout the continent during the next thirteen years, Snow established contacts with many important people and won extraordinary personal access to the leaders of the Chinese Communist Party. In 1936 he became the first Western journalist to visit the Chinese Red forces and report on a detailed interview with Mao Tse-tung after the completion of the epic Long March.

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484

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University of Missouri Press

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ISBN 10

0826210600

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9780826210609

The Romantic Conception of Life

Science and Philosophy in the Age of Goethe

By: Robert J. Richards

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The Romantic Conception of Life

Science and Philosophy in the Age of Goethe

By: Robert J. Richards

All art should become science and all science art; poetry and philosophy should be made one." Friedrich Schlegel's words perfectly capture the project of the German Romantics, who believed that the aesthetic approaches of art and literature could reveal patterns and meaning in nature that couldn't be uncovered through rationalistic philosophy and science alone. In this wide-ranging work, Robert J. Richards shows how the Romantic conception of the world influenced (and was influenced by) both the lives of the people who held it and the development of nineteenth-century science. Integrating Romantic literature, science, and philosophy with an intimate knowledge of the individuals involved—from Goethe and the brothers Schlegel to Humboldt and Friedrich and Caroline Schelling—Richards demonstrates how their tempestuous lives shaped their ideas as profoundly as their intellectual and cultural heritage. He focuses especially on how Romantic concepts of the self, as well as aesthetic and moral considerations—all tempered by personal relationships—altered scientific representations of nature. Although historians have long considered Romanticism at best a minor tributary to scientific thought, Richards moves it to the center of the main currents of nineteenth-century biology, culminating in the conception of nature that underlies Darwin's evolutionary theory. Uniting the personal and poetic aspects of philosophy and science in a way that the German Romantics themselves would have honored, The Romantic Conception of Life alters how we look at Romanticism and nineteenth-century biology.

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609

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University of Chicago Press

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ISBN 10

0226712184

ISBN 13

9780226712185

Emma di Resburgo

Melodramma eroico in due atti; Poesìa di Gaetano Rossi Musica di Giacomo Meyerbeer

By: Robert Ignatius Letellier

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Emma di Resburgo

Melodramma eroico in due atti; Poesìa di Gaetano Rossi Musica di Giacomo Meyerbeer

By: Robert Ignatius Letellier

Meyerbeer’s third Italian opera, Emma di Resburgo (Emma of Roxburgh) was premiered at the Teatro San Benedetto in Venice on 26 June 1819 only three months after Semiramide had appeared at Turin, and scored a success that far surpassed that of both of its predecessors. It was indeed the work that established Meyerbeer's reputation in Italy, and extended it even beyond the Alps into Germany. It was also the opera that brought him into close contact with Rossini, the most important figure of the second decade of the century, whose work was a major influence on all his contemporaries, Meyerbeer included. Rossini’s Eduardo e Cristina was given on 24 April and Emma on 26 June. Both operas triumphed, and the two composers became very good friends, a relationship that was to continue later in Paris. Meyerbeer’s opera went on to be staged in Venice, Milan, Genoa, Florence and Padua. Translated into German, it was given in Vienna, Dresden, Frankfurt, Berlin and Stuttgart, and even reached Warsaw in 1821. The story of Emma di Resburgo concerns dynastic rivalry in Lowland Scotland at the time of the Norman conquest; its libretto was the third written for Meyerbeer by Gaetano Rossi. The text covers the same material as that of one of Méhul's operas Héléna (1803). Mayr had also set this plot as Elena as recently as 1814, as an opera-semiseria, re-adapted for La Scala in the autumn of 1816, where Meyerbeer may well have heard it. The action of Emma, transferred from Provence to Scotland, takes place in the Castle of Tura and in Glasgow, and predates by three months Rossini's Walter Scott opera, La donna del lago (Naples, San Carlo, 24 September 1819), which is set in the Scottish Highlands. With its focus on a wild and violent Scotland, and with its themes of kidnap and usurpation, disguise and impersonation, lost relationships and restored fortunes, condemnation and rescue, Emma makes its own contribution to Italian Romantic opera. Meyerbeer’s fluent and beautiful appropriation of the Rossinian idiom is given a further dimension by the composer’s technical mastery and richness of invention, particularly evident in relation to the treatment of the Romantic subject. The new musical colours, appearing here even before similar developments in Rossini’s La donna del lago, are not used in the depiction of nature, but in the realistic situational transposition of the drama. This is particularly forward-looking in the big tableaux: the Chorus of Judges, rightly admired in its day, through-composed as an integral part of the action, and the graduated act 1 finale, dramatic in its contrasts. The sombre Death March in the act 2 finale, with its writing for the bassoons, looks forward to Meyerbeer’s French operas. The lieto fine, or happy ending of the opera, looking back to the eighteenth century, is still infused with the old ideals of the Enlightenment, typified in the clemency shown in the end by the tyrant. However, Meyerbeer had learned to infuse this Utopian spirit, so characteristic of a past epoch, with the vibrant new sensibility so characteristic of Romanticism. Emma di Resburgo marked a milestone in Meyerbeer’s career and brought him the greatest honour any composer could aspire to in Italy—a commission from La Scala Milan that would result in his next work, Margherita d’Anjou (1820).

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195

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Cambridge Scholars Publishing

Published Date

ISBN 10

1443801011

ISBN 13

9781443801010

Schumann on Music

A Selection from the Writings

By: Robert Schumann

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Schumann on Music

A Selection from the Writings

By: Robert Schumann

Includes 61 important critical pieces Schumann wrote for the Neue Zeitschrift fur Musik, 1834–1844. Perceptive evaluations of Beethoven, Chopin, Schubert, other giants; also Spohr, Moscheles, Field, other minor masters. Annotated.

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226

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Courier Corporation

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ISBN 10

0486143090

ISBN 13

9780486143095

Pyramid Quest

Secrets of the Great Pyramid and the Dawn of Civilization

By: Robert M. Schoch,Robert Aquinas McNally

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Pyramid Quest

Secrets of the Great Pyramid and the Dawn of Civilization

By: Robert M. Schoch,Robert Aquinas McNally

The Egyptologist acclaimed for re-dating the Great Sphinx at Giza sets his sights on one of the true mysteries of antiquity: the Great Pyramid of Giza. What is the Great Pyramid of Giza? Ask that basic question of a traditional Egyptologist, and you get the basic, traditional answer: a fancy tombstone for a self-important pharaoh of the Old Kingdom. This, Egyptologists argue, is the sole finding based on the data, and the only deduction supported by science. By implication, anyone who dissents from this point of view is unscientific and woolly-minded-a believer in magic and ghosts. Indeed, some of the unconventional ideas about the Great Pyramid do have a spectacularly fabulous ring to them. Yet from beneath the obvious terms of this controversy, a deeper, more significant question arises: how is it that the Great Pyramid exercises such a gripping hold on the human psyche- adding cryptic grace to the back of the one-dollar bill and framing myriad claims of New Age "pyramid power"? In Pyramid Quest, Robert M. Schoch and Robert Aquinas McNally use the rigorous intellectual analysis of scientific inquiry to investigate what we know about the Great Pyramid, and develop a stunning hypothesis: This ancient monument is the strongest proof yet that civilization began thousands of years earlier than is generally thought, extending far back into a little-known time. In tracing that story, we come to understand not only the Great Pyramid but also our own origins as civilized beings.

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405

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Penguin

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ISBN 10

1101143665

ISBN 13

9781101143667

Wilson, Clemenceau, Lloyd George and the Roads to Paris

By: Robert F. Klueger

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Wilson, Clemenceau, Lloyd George and the Roads to Paris

By: Robert F. Klueger

...an immense and highly impressive work of historical/political scholarship. [An] admirably detailed yet still eminently readable account of the lives of three of the twentieth century's most influential politicians..." —Manhattan Book Review "...impressively researched, with...fresh insights that will appeal to even seasoned diplomatic historians. Readers will be introduced to myriad rich details about the lives of the early-20th-century's most important world leaders." —Kirkus The three men who met in Paris for the most consequential summit conference of the twentieth century were very different men: Georges Clemenceau, 77, “The Tiger” who had spent five decades fighting for the ideals of the French Republic; David Lloyd George, who grew up in poverty in rural Wales, had entered the House of Commons at twenty-seven, had stood alone in his opposition to the South African War, and who rose to become prime minister and become the face of Britain’s defiance to the kaiser; and Woodrow Wilson, the lifelong academic who went from president of Princeton University to the president of the United States in the span of two years. They were, in many ways, much alike: They were three of the most brilliant men of their age. Each had the ability to charm and sway an audience, whether in the House of Commons, the French Chamber of Deputies or in a Princeton classroom. Yet, the document they produced, the Treaty of Versailles, was the “Carthaginian” peace that sowed the seeds of the Second World War. How did these brilliant men—who knew better—let it happen? For the first time, Robert F. Klueger traces their tumultuous histories until they reach Paris in 1919, Wilson determined to remake international law based upon the ideals of his Fourteen Points, Clemenceau every bit as determined to make France secure against another German invasion, and Lloyd George, leading a coalition government and a people determined to “make Germany pay,” until, at the very last, he tried and failed to reverse what he saw would be a tragic result.

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766

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Bridge & Knight Publishers, Ltd.

Published Date

ISBN 10

1736387324

ISBN 13

9781736387320

Giacomo Meyerbeer

A Critical Life and Iconography

By: Robert Ignatius Letellier

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Giacomo Meyerbeer

A Critical Life and Iconography

By: Robert Ignatius Letellier

Giacomo Meyerbeer was once one of the most famous of all opera composers, enjoying into the twentieth century the same universal admiration and performance as a composer like Puccini does today. Through a series of adverse factors, his reputation was seriously damaged with the resurgence of nationalism and the growing ant-Semitism in France and Germany at the end of the nineteenth century, the propagation of a Wagnerian operatic aesthetic, the decline of the bel canto vocal tradition, and the disfavour manifested towards the heroism of French grand opera. All these factors, and especially the ban on his music in Nazi Germany, meant that Meyerbeer’s reputation was seriously overshadowed in the years after the Second World War. During the 1960s and 1970s, a tentative interest began to manifest itself, and with the advent of the new millennium, a growing rediscovery of his operas has been apparent. Not least in this process has been the recovery of all the composer’s private papers and their scholarly editing. His life and work have been the subject of a growing number of informed studies which have enabled radical reassessment. This volume takes a fresh look at this process of rediscovery by considering the composer in terms of the primary sources (diaries and letters) now available for forming a more complete and detailed biography unclouded by prejudicial or uninformed opinions. The extraordinary nature of Meyerbeer’s Jewish background and the role of this family in Prussian emancipation are also considered. Most importantly, however, his life and works are presented in a critical chronology that is fundamentally based on his own private papers, with testimony (both positive and negative) from many contemporary sources. A detailed iconography is integral to this process, and helps to bring Meyerbeer's story and music more vividly to life.

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732

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Cambridge Scholars Publishing

Published Date

ISBN 10

1527527581

ISBN 13

9781527527584

Selected Songs for Solo Voice and Piano

By: Robert Schumann

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Selected Songs for Solo Voice and Piano

By: Robert Schumann

Authoritative compilation of more than 100 Lieder features well-beloved melodies set to the poetry of Heine, Goethe, Burns, Byron, and others. Reprinted from the Breitkopf and Härtel edition. New translations of lyrics.

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258

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Courier Corporation

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ISBN 10

0486171353

ISBN 13

9780486171357

Daniel-François-Esprit Auber

The Man and His Music

By: Robert Ignatius Letellier

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Daniel-François-Esprit Auber

The Man and His Music

By: Robert Ignatius Letellier

Daniel-François-Esprit Auber (1782-1871), the composer of La Muette de Portici (1828) and Fra Diavolo (1830), was once regarded as one of the great figures of music, a staple of the operatic repertoire in France, and indeed around the world. It is now almost impossible to understand the extent of his once universal fame, his influence on contemporary composers. His operas were in the theatre repertories of the world until the 1920s, and innumerable arrangements of them were published and sold everywhere. The ubiquity of his overtures—Masaniello, Fra Diavolo, The Bronze Horse, The Black Domino, The Crown Diamonds—once as popular as those of Rossini and Suppé, and the influence of his melodies and dance rhythms on piano and instrumental music, and on Romantic comic opera, was overwhelming. In his operas Auber avoided any excess in dramatic expression; all emotion and expressiveness, any vivid depiction of local milieu, were realized within his discreetly nuanced tones, always stamped with a Parisian elegance. His operas were loved in his native France until the years before the First World War, with Fra Diavolo and Le Domino noir last performed at the Opéra-Comique in 1909. Auber’s career was a record of this success and appreciation. His appointment to the Institute (1829) was followed by other prestigious posts: as Director of Concerts at Court (1839), director of the Paris Conservatoire (1842), Musical Director of the Imperial Chapel (1852), and Grand Officer of the Légion d’Honneur (1861). During his lifetime, six biographies appeared contemporaneously, with another six appearing posthumously in the period up to 1914. In the late nineteenth and early twentieth centuries, however, reactions to Wagner, Impressionism and the Neo-Classicism of the Ballet Russe resulted in a growing lack of interest in the ancient traditions of opéra-comique, with its charming plots, melodic directness and rhythmic élan. Boieldieu, Hérold, Adam and Auber were relegated to the dustbin of history. Only in Germany did the genre continue to flourish; Auber’s most enduring work is still performed there. His death in pitiful conditions during the Siege of Paris (1871), in the city he always loved, marked the end of an era. Auber now occupies a shadowy niche in the general consciousness as the name of the metro station nearest the Palais Garnier, and remains unknown and neglected (apart of course from Fra Diavolo), although his impact on the nineteenth-century operatic theatre was just as great as Rossini’s. The time has surely come for Auber’s life and work, especially in association with his life-long collaborator Eugène Scribe (1791-1861)—master dramatist and supreme librettist, a determining force in the history of opera—to be reassessed. Perhaps then the world will begin to hear more of Auber’s elegant gracious, life-affirming music, written to Scribe’s words. The aim of the present study is to offer an overview of the life and work of Auber by close examination of his forty operas, with consideration of origins, casting, plot, analysis of dramaturgy and musical style, and reception history. This is presented in the context of Auber's relationship to the dominant genres of early nineteenth century French culture, opéra comique and grand opéra. The three evolving periods of Auber's unique involvement with opéra comique are of principal concern. This analysis of the operas is made in the context of Auber's crucial working relationship with Scribe, who provided 38 of his libretti. Their cooperation is unique and of great importance on several literary, musical and cultural levels. The nature of their interaction and personal friendship is assessed by a translation of the extant correspondence between them, some 80 letters that have not appeared in English before. The presentation of each opera is illustrated by musical examples from all the scores, prints from the complete works of Scribe and other theatrical memorabilia. The study also contains bibliographies of Auber’s works and their contemporary arrangements, studies of Auber’s and Scribe’s life and work, their artistic and historical milieux, and a discography.

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420

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Cambridge Scholars Publishing

Published Date

ISBN 10

1443825972

ISBN 13

9781443825979

Jason Biggs

Hollywood's Newest Cutie-Pie!

By: James Robert Parish

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Jason Biggs

Hollywood's Newest Cutie-Pie!

By: James Robert Parish

Jason Biggs started doing commercials at age five, and made appearances on Broadway and TV. But it was his role in the movie "American Pie" that made him hot property in Hollywood. Readers learn where Biggs' career is headed, what he does with his spare time, what kinds of girls he digs, and more. 8 pages of color photos.

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178

Publisher

St. Martin's Paperbacks

Published Date

ISBN 10

1466876611

ISBN 13

9781466876613

The Jewish Confederates

By: Robert N. Rosen

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The Jewish Confederates

By: Robert N. Rosen

Details Jewish participation on the Civil War battlefield and throughout the Southern home front In The Jewish Confederates, Robert N. Rosen introduces readers to the community of Southern Jews of the 1860s, revealing the remarkable breadth of Southern Jewry's participation in the war and their commitment to the Confederacy. Intrigued by the apparent irony of their story, Rosen weaves a complex chronicle that outlines how Southern Jews—many of them recently arrived immigrants from Bavaria, Prussia, Hungary, and Russia who had fled European revolutions and anti-Semitic governments—attempted to navigate the fraught landscape of the American Civil War. This chronicle relates the experiences of officers, enlisted men, businessmen, politicians, nurses, rabbis, and doctors. Rosen recounts the careers of important Jewish Confederates; namely, Judah P. Benjamin, a member of Jefferson Davis's cabinet; Col. Abraham C. Myers, quartermaster general of the Confederacy; Maj. Adolph Proskauer of the 125th Alabama; Maj. Alexander Hart of the Louisiana 5th; and Phoebe Levy Pember, the matron of Richmond's Chimborazo Hospital. He narrates the adventures and careers of Jewish officers and profiles the many Jewish soldiers who fought in infantry, cavalry, and artillery units in every major campaign.

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548

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Univ of South Carolina Press

Published Date

ISBN 10

1643362488

ISBN 13

9781643362489

Operetta

A Sourcebook, Volume II

By: Robert Ignatius Letellier

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Operetta

A Sourcebook, Volume II

By: Robert Ignatius Letellier

Operetta developed in the second half of the 19th century from the French opéra-comique and the more lighthearted German Singspiel. As the century progressed, the serious concerns of mainstream opera were sustained and intensified, leaving a gap between opéra-comique and vaudeville that necessitated a new type of stage work. Jacques Offenbach, son of a Cologne synagogue cantor, established himself in Paris with his series of opéras-bouffes. The popular success of this individual new form of entertainment light, humorous, satirical and also sentimental led to the emergence of operetta as a separate genre, an art form with its own special flavour and concerns, and no longer simply a "little opera". Attempts to emulate Offenbach's success in France and abroad generated other national schools of operetta and helped to establish the genre internationally, in Spain, in England, and especially in Austria Hungary. Here it inspired works by Franz von Suppé and Johann Strauss II (the Golden Age), and later Franz Lehár and Emmerich Kálmán (the Silver Age). Viennese operetta flourished conterminously with the Habsburg Empire and the mystique of Vienna, but, after the First World War, an artistically vibrant Berlin assumed this leading position (with Paul Lincke, Leon Jessel and Edouard Künnecke). As popular musical tastes diverged more and more during the interwar years, with the advent of new influences—like those of cabaret, the revue, jazz, modern dance music and the cinema, as well as changing social mores—the operetta genre took on new guises. This was especially manifested in the musical comedy of London's West End and New York's Broadway, with their imitators generating a success that opened a new golden age for the reinvented genre, especially after the Second World War. This source book presents an overview of the operetta genre in all its forms. The second volume provides a survey of the national schools of Germany, Spain, England, America, the Slavonic countries (especially Russia), Hungary, Italy and Greece. The principal composers are considered in chronological sequence, with biographical material and a list of stage works, selected synopses and some commentary. This volume also contains a discography and an index covering both volumes (general entries, singers and theatres).

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500

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Cambridge Scholars Publishing

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ISBN 10

1443885088

ISBN 13

9781443885089

Life of Alexander Von Humboldt

Vol. 1

By: J. Löwenberg,Robert Ave-Lallemant,Alfred Dove

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Life of Alexander Von Humboldt

Vol. 1

By: J. Löwenberg,Robert Ave-Lallemant,Alfred Dove

Reprint of the original, first published in 1873.

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442

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BoD – Books on Demand

Published Date

ISBN 10

3368194976

ISBN 13

9783368194970

The Works of Robert Louis Stevenson - Swanston Edition Vol. 23

Volume 23

By: Robert Louis Stevenson

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The Works of Robert Louis Stevenson - Swanston Edition Vol. 23

Volume 23

By: Robert Louis Stevenson

Reproduction of the original: The Works of Robert Louis Stevenson - Swanston Edition Vol. 23 by Robert Louis Stevenson

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334

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BoD – Books on Demand

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3752424958

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9783752424959

Book's by Robert Herz

Making the Case

Making the Case

From Vagabond to Journalist

From Vagabond to Journalist

The Romantic Conception of Life

The Romantic Conception of Life

Emma di Resburgo

Emma di Resburgo

Schumann on Music

Schumann on Music

Pyramid Quest

Pyramid Quest

Wilson, Clemenceau, Lloyd George and the Roads to Paris

Wilson, Clemenceau, Lloyd George and the Roads to Paris

Giacomo Meyerbeer

Giacomo Meyerbeer

Selected Songs for Solo Voice and Piano

Selected Songs for Solo Voice and Piano

Daniel-François-Esprit Auber

Daniel-François-Esprit Auber

Jason Biggs

Jason Biggs

The Jewish Confederates

The Jewish Confederates

Operetta

Operetta

Life of Alexander Von Humboldt

Life of Alexander Von Humboldt

The Works of Robert Louis Stevenson - Swanston Edition Vol. 23

The Works of Robert Louis Stevenson - Swanston Edition Vol. 23

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