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Examines how Nietzschean ideas influenced the composition of Mahler's first four, so-called Wunderhorn, symphonies. Gustav Mahler and Friedrich Nietzsche both exercised a tremendous influence over the twentieth century. All the more fascinating, then, is Mahler's intellectual engagement with the writings of Nietzsche. Given the limited and frequently cryptic nature of the composer's own comments on Nietzsche, Mahler's specific understanding of the elusive thinker is achieved through the examination of Nietzsche's reception amongst the people who introduced composer to philosopher: members of the Pernerstorfer Circle at the University of Vienna. Mahler's Nietzsche draws on a variety of primar...
These three works exemplify the Roman historian Sallust's condemnation of the excesses of the late Republic. In the conspiracy of Catiline and the war against Jugurtha he sees moral and political corruption and the tragedy of civil strife. This new translation captures Sallust's distinctive style and considers his work as history and literature.
Ukraine’s abundant heritage of singing includes thousands of carols. This anthology introduces an ancient culture that is nevertheless new to world audiences. In this book, the carols become a prism through which all of Ukraine’s history, culture, and vibrant spirit are brought to light. It includes the internationally celebrated “Carol of the Bells”—in its original version as a winter song of gratitude and resilience, and it covers sacred and secular pieces for the Christmas to New Year’s season: from early chant to elaborate new choral fantasies. Transliterations and translations make the carols accessible to a broad audience. Along with music scores, it shares the stories behind each carol: historical context, biographies of composers, explanations of winter rituals. Written during Russia’s war on Ukraine, the book is also journalistic. These carols often carry gripping narratives of a unique choral activism that has helped Ukraine, its language, and its people to survive.
A unique insight into the relationship between Brahms's music and his philosophical and literary context from a modernist perspective.
We seem to be losing the ability to talk to each other about – and despite – our political differences. The liberal tradition, with its emphasis on open-mindedness, toleration, and inclusion, is ideally suited to respond to this challenge. Yet liberalism is often seen today as a barrier to constructive dialogue: narrowly focused on individual rights, indifferent to the communal sources of human well-being, and deeply implicated in structures of economic and social domination. This book provides a novel defense of liberalism that weaves together a commitment to republican self-government, an emphasis on the value of unregulated choice, and an appreciation of how hard it is to strike a balance between them. By treating freedom rather than justice as the central liberal value this important book, critical to the times, provides an indispensable resource for constructive dialogue in a time of political polarization.
Is post-punk a genre? Where did it come from? And what does it mean?
Musical representations of wildness in an era of revolution Recipient of the 2020 Lewis Lockwood Award from the American Musicological Society What are the uses of musical exoticism? In Wild Music, Maria Sonevytsky tracks vernacular Ukrainian discourses of "wildness" as they manifested in popular music during a volatile decade of Ukrainian political history bracketed by two revolutions. From the Eurovision Song Contest to reality TV, from Indigenous radio to the revolution stage, Sonevytsky assesses how these practices exhibit and re-imagine Ukrainian tradition and culture. As the rise of global populism forces us to confront the category of state sovereignty anew, Sonevytsky proposes innovative paradigms for thinking through the creative practices that constitute sovereignty, citizenship, and nationalism.
This book explores how Horace's poems construct the literary and social authority of their author. Bridging the traditional distinction between 'persona' and 'author', Ellen Oliensis considers Horace's poetry as one dimension of his 'face' - the projected self-image that is the basic currency of social interactions. She reads Horace's poems not only as works of art but also as social acts of face-saving, face-making and self-effacement. These acts are responsive, she suggests, to the pressure of several audiences: Horace shapes his poetry to promote his authority and to pay deference to his patrons while taking account of the envy of contemporaries and the judgement of posterity. Drawing on the insights of sociolinguistics, deconstruction and new historicism Dr Oliensis charts the poet's shifting strategies of authority and deference across his entire literary career.
In this book Professor Kronenberg shows that Xenophon's Oeconomicus, Varro's De Re Rustica and Virgil's Georgics are not simply works on farming but belong to a tradition of philosophical satire which uses allegory and irony to question the meaning of morality. These works metaphorically connect farming and its related arts to political life; but instead of presenting farming in its traditional guise as a positive symbol, they use it to model the deficiencies of the active life, which in turn is juxtaposed to a preferred contemplative way of life. Although these three texts are not usually treated together, this book convincingly connects them with an original and provocative interpretation of their allegorical use of farming. It also fills an important gap in our understanding of the literary influences on the Georgics by showing that it is shaped not just by its poetic predecessors but by philosophical dialogue.