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Adelina Patti was the most highly regarded singer in history. She earned nearly $5,000 a night and had her own railway carriage. Yet a minor comic singer would perform for the cost of his food and a pair of shoes to wear on stage. John Rosselli's wide-ranging study introduces all those singers, members of the chorus as well as stars, who have sung Italian opera from 1600 to the twentieth century. Singers are shown slowly emancipating themselves from dependence on great patrons and entering the dangerous freedom of the market. Rosselli also examines the sexist prejudices against the castrati of the eighteenth century and against women singers. Securely rooted in painstaking scholarship and sprinkled with amusing anecdote, this is a book to fascinate and inform opera fans at all levels.
Throughout history, prophetic voices have bolstered the struggle for social and political emancipation. Such voices have given meaning to suffering, spoken with pathos and anger to touch passions, and set into motion the moral imagination guiding efforts toward redemption. This book provides the visions of social emancipation we need.
Did the twentieth-century patristic renewal come from nowhere? Was all nineteenth-century theology neo-scholastic? Do theologians’ personal failings invalidate their theologies? These are the questions that guide the contributors to this volume as they reassess the legacy of the so-called Roman School, a nineteenth-century theological network centered in the Jesuit Roman College. Though not entirely uncritical, The Roman College represents a collective effort at sympathetic historical retrieval. It shows how various figures connected to the Roman School—Perrone, Passaglia, Schrader, Franzelin, Newman, Scheeben, and Kleutgen—engaged theologically the problems of their own day and set the stage for later theological renewal.
This volume presents a fresh picture of the historical development of “conservatism” from the late 17th to the early 20th century. The book explores the broader geographies and transnational dimensions of conservatism and counterrevolution. The contributions show how counterrevolutionary concepts did not emerge in isolation, but resulted from the interplay between ideas, media, networks, and institutions. Like 19th-century liberalism and socialism, conservatism was the product of traveling ideas and people. This study describes how exile, mobility, and international sociability shaped counterrevolutionary identities. The volume presents case studies on the intersection of political philo...
Images are not neutral conveyors of messages shipped around the globe to achieve globalized spectatorship. They are powerful forces that elicit very diverse responses and can resist new visual hegemonies of our global world. Bringing together case studies from the field of media, art, politics, religion, anthropology and science, this volume breaks new ground by reflecting on the very power of images beyond their medial exploitation. The contributions by Hans Belting, Susan Buck-Morss, Georges Didi-Huberman, W.J.T. Mitchell, and Ticio Escobar among others testify that globalization does not necessarily equal homogenization, and that images can open up alternative ways of picturing what is to come.
What is Italy without pasta? Come to think of it, where would the rest of us be without this staple of global cuisine? An acclaimed Italian food writer tells the colorful and often-surprising history of everyone’s favorite dish. In this hugely charming and entertaining chronicle of everyone’s favorite dish, acclaimed Italian food writer and historian Luca Cesari draws on literature, history, and many classic recipes in order to enlighten pasta lovers everywhere, both the gourmet and the gluten free. What is Italy without pasta? Come to think of it, where would the rest of us be without this staple of global cuisine? The wheat-based dough first appeared in the Mediterranean in ancient tim...
A collection of poems by the Romantic period author Lord Byron (1788-1824)
"Monteverdi in Venice also contains a discussion of performance practice, shedding light on the odd distortions of the composer's musical habits produced by today's fads and fashions. His vocal works, meant to be performed one or two voices to a part, are consistently given by massed choirs. His music is willfully transposed, although there is not a shred of evidence to prove that they were ever interfered with. Most of the instruments used in modern renderings are hopelessly wrong from a tonal point of view."--BOOK JACKET.