It is a work of unusual breadth and depth that will attract readers in religious studies, comparative literature, Sanskrit, Asian studies and humanities in general. The book is a thorough study of the great Indian hero, the Achilles of India, Arjuna, as portrayed in the epic poem Mahabharata, including its world-famous subsection, the Bhagavadgita. Different aspects of Arjuna's Character has been discussed.
American Gothic literature inherited many time-worn tropes from its English Gothic precursor, along with a core preoccupation: anxiety about power and property. Yet the transatlantic journey left its mark on the genre--the English ghostly setting becomes the wilderness haunted by spectral Indians. The aristocratic villain is replaced by the striving, independent young man. The dispossession of Native Americans and African Americans adds urgency to traditional Gothic anxieties about possession. The unchanging role of woman in early Gothic narratives parallels the status of American women, even after the Revolution. Twentieth-century Gothic works offer inclusion to previously silent voices, including immigrant writers with their own cultural traditions. The 21st century unleashes the zombie horde--the latest incarnation of the voracious American.
In this cultural history, Ruth Katz conceives of opera as a laboratory dedicated to exploration of the powers hidden in the interaction between words and music. Opera combines not only music and libretto, but the sensuality, acting out, and lyricism that characterize the popular culture of the Italians. The Powers of Music is thus a contribution to cultural studies, providing unique insight into the social meaning of opera in Italy. According to Katz, opera's origins in Renaissance Italy can be traced to numerous characteristics of life at that time. Among them are: the belief of the Humanists that the magical properties of music could be harnessed; the transition from polyphony to monody that gave musical expression to individualism; the melodramatic propensity of Italian culture reflected in its literary and theatrical arts; and the salons of Florentine aristocrats, scientists, and artists whose agenda included the challenge to rediscover how the ancient Greeks succeeded in heightening the rhetorical power of words by allying them with music. Katz discusses each of these factors in detail. In her new introduction, Katz reconsiders her original work by discussing three topics. The first has to do with the perception that there has been a major change in the academic climate for this kind of analysis. The second relates to her concern with the eighteenth-century expansion of the Florentine comparison of the attributes of the arts, from which music emerges as the purest of all, for being freest of external reference. Third, she reconsiders her initial impression that opera was on the wane. The Powers of Music is an intriguing study that will be of interest to sociologists, cultural historians, and scholars of communication and popular culture.
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