Gunpowder, Masculinity, and Warfare in German Texts, 1400-1700
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How gunpowder technology exploded heroes, heroics, and war stories from 1400 to 1700, and how German writers tried to glue them back together
Guns have been linked with masculinity since their earliest days on European battlefields, and surviving treatises on gunpowder from the early fifteenth century describe in detail the kinds of strong, sober, and God-fearing men who could be trusted to use this new weapon. As the destructive capacity and military tactical value of gunpowder became more evident to European peoples over time, writers--especially German ones--expressed increasing anxiety aboutthe disruptive potential that gunpowder weapons held for warrior masculinity, martial ethics, and the aesthetic traditions of war stories.
Focused on early modern German texts of all kinds, including military manuals,poems, theological treatises, novels, and broadsheets, Gunpowder, Masculinity, and Warfare in German Texts, 1400-1700 traces the cultural and literary history of gunpowder in German-speaking lands from the Hussite Wars into the literary aftermath of the Thirty Years War. Taking a long view of this textual and material history, author Patrick Brugh reveals that early conversations about firearms resonate with those today, including debates on such topics as questions of masculine ethos and gun violence, the rights to self-defense and to bear arms, and the way new technologies change how we tell stories.
PATRICK BRUGH is an affiliate assistant professor of Genderand Sexuality Studies at Loyola University Maryland and an administrator at Johns Hopkins University.
Nils Hansson
Explorations in Baltic Medical History, 1850-2015
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Examines medical history in northern Europe from 1850 to 2015 and sheds new light on the circulation of medical knowledge in that region
The Baltic Sea region in northern Europe, with its history of multiple cultural and social transformations, as well as mixture of national and regional scientific styles, has lately attracted much attention from scholars of various disciplines. This book explores the history of medicine in the Baltic Sea region and provides different answers to one central question: How has the circulation of knowledge in the Baltic Sea region influenced medicine as a discipline, and illness as an experience, during the nineteenth and twentieth centuries? The anthology consists of ten chapters that shed new light on how medical ideas and devices were developed in different contexts. Illuminating currents of traditions, contact zones, and areas of conflict, essays in this collection discuss technological, social, and economic aspects relevant for the exchange of medical knowledge across the Baltic Sea. The contributing authors are historians, physicians, geographers, ethnologists, and scholars of literature.
CONTRIBUTORS: Katharina Beier, Motzi Eklöf, Frank Grüner, Martin Gunnarson, Nils Hansson, Axel C. Hüntelmann, Ken Kalling, Michaela Malmberg, Joanna Nieznanowska, Anders Ottosson, Maike Rotzoll, Erki Tammiksaar, Jonatan Wistrand
NILS HANSSON is Associate Professor in the Department of the History, Theory, and Ethics of Medicine at the University of Dusseldorf in Germany. JONATAN WISTRAND teaches in the Department of Medical History, Lund University, Sweden.
R. Allen Lott
Brahms's A German Requiem
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Examines in detail the contexts of Brahms's masterpiece and demonstrates that, contrary to recent consensus, it was performed and received as an inherently Christian work during the composer's life.
Despite its entirely biblical text, Brahms's long-beloved A German Requiem is now widely considered a work in which the composer espoused a theologically universal view. R. Allen Lott's comprehensive reconsideration of the work's various contexts challenges that prevailing interpretation and demonstrates that in its early years the Requiem was regarded as a traditional Christian work.
Brahms's "A German Requiem" systematically documents, for the first time, the early performance history and critical reception of this masterful work. A German Requiem was effortlessly incorporated into traditional Christian observances, and reviews of these performances and other appraisals by respected critics and scholars consistently deemed that the work possessed not only a Christian perspective, but a specifically Protestant one.
A discussion of the musical traditions used by Brahms demonstrates how the work is imbued with the language of Lutheran church music through references to chorales and through allusions to preceding masterworks by Schütz, Bach, Mendelssohn, and others.
Lott also offers an insightful exegesis of the Bible verses that Brahms selected. Altogether, this richly detailed study leads to a thorough reappraisal of Brahms's masterpiece.
Farooq A. Kperogi
Nigeria's Digital Diaspora
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2021 CHOICE Outstanding Academic Title Winner
In a disruptive media landscape characterized by the relentless death of legacy newspapers, Nigeria's Digital Diaspora shows that a country's transnational elite can shake its media ecosystem through distant online citizen journalism.
Over a decade ago, when Nigeria's migratory digital elite in the United States pioneered a new fangled form of online citizen journalism that disrupted the certainties of legacy journalism, the country's professional journalists assumed that this amateur insurgency would be transitory. Instead, it was transformative. Diasporic online citizen journalism is now not only an integral part of Nigeria's media ecosystem, it has also inspired successful homeland emulators and is challenging, even in some cases supplanting, traditional media in the nation's democratic discourse. Within the frenetic and deeply engaged social media scene, diasporic citizen journalism, homeland news, and social media activism are merging to create the most energetic moment in Nigeria's media history. Nigeria's Digital Diaspora chronicles the emergence and transformation of this diasporic citizen journalism from the margins to the mainstream of the country's journalistic landscape.
Thuy Linh Nguyen
Childbirth, Maternity, and Medical Pluralism in French Colonial Vietnam, 1880-1945
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Explores the complex interactions between French medicine and Vietnamese childbirth traditions, documenting the emergence of a plural system of maternity services that incorporated both biomedical knowledge and local birthing traditions.
This book explores the interactions between French medicine and Vietnamese childbirth traditions, examining how these interactions shaped maternal and infant health care in Vietnam. Armed with the language and expertise of modernmedicine, French physicians and administrators set out on a mission to relocate Vietnamese childbirth to a clinical setting. But as the French ventured into indigenous communities, they found themselves negotiating with a myriad of Vietnamese cultural practices relating to childbirth and infant care.
Thwarted by local resistance, cultural misunderstanding, and ambiguous policy, the Western model of hospital birth neither displaced nor transformedindigenous birthing traditions in the ways the French had envisioned. Instead, as author Thuy Linh Nguyen demonstrates, the emergence of a plural system of maternity services, many of which were based on local practices and beliefs, served as a testimony to the compromises and adaptations made by both the French and Vietnamese populations.
Thuy Linh Nguyen is assistant professor of history at Mount Saint Mary College in Newburgh, NY.
Emily H Green
Consuming Music
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This collection of nine essays investigates the consumption of music during the long eighteenth century, providing insights into the activities of composers, performers, patrons, publishers, theorists, impresarios, and critics.
The successful sale and distribution of music has always depended on a physical and social infrastructure. Though the existence of that infrastructure may be clear, its organization and participants are among the least preserved and thus least understood elements of historical musical culture. Who bought music and how did those consumers know what music was available? Where was it sold and by whom? How did the consumption of music affect its composition? How was consumers' musical taste shaped and by whom?
Focusing on the long eighteenth century, this collection of nine essays investigates such questions from a variety of perspectives, each informed by parallels betweenthe consumption of music and that of dance, visual art, literature, and philosophy in France, the Austro-German lands, and the United States. Chapters relate the activities of composers, performers, patrons, publishers, theorists,impresarios, and critics, exploring consumers' tastes, publishers' promotional strategies, celebrity culture, and the wider communities that were fundamental to these and many more aspects of musical culture.
CONTRIBUTORS: Glenda Goodman; Roger Mathew Grant; Emily H. Green; Marie Sumner Lott; Catherine Mayes; Peter Mondelli, Rupert Ridgewell, Patrick Wood Uribe, Steven Zohn
Emily H. Green is assistant professor of music at George Mason University. Catherine Mayes is assistant professor of musicology at the University of Utah.
Zdeněk Skoumal
The Music of Leos Janácek
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The first thorough theoretical study of Janácek's compositions, focusing on motivic and rhythmic structure and identifying elements that give the music coherence, character, and interest.
The works of Leos Janácek, including Jenufa and several of his other operas, have been widely performed in recent years. But they have rarely been investigated closely from a theoretical perspective, and their musical language remains only partially understood. Zdenek Skoumal here offers a chronological exploration of Janácek's compositions that focuses on musical structure, identifying elements and processes that give the music coherence, character, and interest.
Skoumal demonstrates how the music combines and blends traditional tonal elements, folk-influenced features, and techniques that were forward-looking at the time. In particular, the music is shown to employ highly sophisticated and continually transforming motivic and rhythmic components.
The book's numerous musical analyses are motivically centered and employ various analytical approaches, including ones that involve reduction, structural levels, basic set theory, and rhythmic theory. Discussions of Janácek's works with a libretto or other type of text consider relationships between word and music, revealing their connection to deeper structural issues. The companion website https://zdenekskoumal.wixsite.com/janacek features audio versions of most musical examples, as well as material not included in the book.
James Porter
Beyond Fingal's Cave
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Demonstrates the profound impact of The Poems of Ossian on composers of the Romantic Era and later: Beethoven, Schubert, Mendelssohn, Brahms, Massenet, and many others.
Beyond Fingal's Cave: Ossian in the Musical Imagination is the first study in English of musical compositions inspired by the poems published in the 1760s and attributed to a purported ancient Scottish bard named Ossian. From around 1780 onwards, the poems stimulated poets, artists, and composers in Europe as well as North America to break away from the formality of the Enlightenment. The admiration for Ossian's poems -shared by Napoleon, Goethe, and Thomas Jefferson - was an important stimulus in the development of Romanticism and the music that was a central part of it. More important still was the view of the German cultural philosopher Johann Gottfried Herder, who saw past the controversy over the poems' authenticity to the traditional elements in these heroic poems and their mood of lament.
James Porter's long-awaited book traces the traditional sources used by James Macpherson for his epoch-making prose poems and examines crucial works by composers such as Beethoven, Schubert, Mendelssohn, Brahms, and Massenet. Many other relatively unknown composers were also moved to write operas, cantatas, songs, and instrumental pieces, some of which have proven to be powerfully evocative and well worth performing and recording.
Simon Szreter
The Hidden Affliction
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Multidisciplinary collection of essays on the relationship of infertility and the "historic" STIs--gonorrhea, chlamydia, and syphilis--producing surprising new insights in studies from across the globe and spanning millennia.
A multidisciplinary group of prominent scholars investigates the historical relationship between sexually transmitted infections and infertility. Untreated gonorrhea and chlamydia cause infertility in a proportion of women and men. Unlike the much-feared venereal disease of syphilis--"the pox"--gonorrhea and chlamydia are often symptomless, leaving victims unaware of the threat to their fertility. Science did not unmask the causal microorganisms until thelate nineteenth and twentieth centuries. Their effects on fertility in human history remain mysterious. This is the first volume to address the subject across more than two thousand years of human history.
Following asynoptic editorial introduction, part 1 explores the enigmas of evidence from ancient and early modern medical sources. Part 2 addresses fundamental questions about when exactly these diseases first became human afflictions, withnew contributions from bioarcheology, genomics, and the history of medicine, producing surprising new insights. Part 3 presents studies of infertility and its sociocultural consequences in nineteenth- and twentieth-century Africa, Oceania, and Australia. Part 4 examines the quite different ways the infertility threat from STIs was perceived--by scientists, the public, and government--in late nineteenth- and early twentieth-century Germany, France, and Britain, concluding with a pioneering empirical estimate of the infertility impact in Britain.
Simon Szreter is Professor of History and Public Policy, University of Cambridge, and Fellow of St. John's College, Cambridge.
Thomas R. Hilder
Music, Indigeneity, Digital Media
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Investigates the significance of a range of digital technologies in contemporary Indigenous musical performance, exploring interdisciplinary issues of music production, representation, and transmission.
The essays in this volume offer rich and diverse perspectives on the encounter between Indigenous music and digital technologies. They explore how digital media -- whether on CD, VCD, the Internet, mobile technology, or in the studio -- have transformed and become part of the fabric of Indigenous cultural expression across the globe. Communication technologies have long been tools for nation building and imperial expansion, but these studies reveal how over recent decades digital media have become a creative and political resource for Indigenous peoples, often nurturing cultural revival, assisting activism, and complicating earlier hegemonic power structures. Bringing together thework of scholars and musicians across five continents, the volume addresses timely issues of transnationalism and sovereignty, production and consumption, archives and transmission, subjectivity and ownership, and virtuality and the posthuman. Music, Indigeneity, Digital Media is essential reading for scholars working on topics in ethnomusicology, Indigeneity, and media studies while also offering useful resources for Indigenous musicians and activists. The volume provides new perspectives on Indigenous music, refreshes and extends debates about digital culture, and points to how digital media shape what it means to be Indigenous in the twenty-first century.
Contributors: Linda Barwick, Beverley Diamond, Thomas R. Hilder, Fiorella Montero-Diaz, John-Carlos Perea, Henry Stobart, Shzr Ee Tan, Russell Wallace
Thomas R. Hilder is postdoctoral fellow in musicology at the University of Bergen. Henry Stobart is reader in music at Royal Holloway, University of London. Shzr Ee Tan is senior lecturer at Royal Holloway, University of London.
Scott Murphy
Brahms and the Shaping of Time
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Combines fresh approaches to the life and music of the beloved nineteenth-century composer with the latest and most significant ways of thinking about rhythm, meter, and musical time.
WINNER: 2019 Outstanding Multi-Author Collection Award from the Society for Music Theory
Brahms and the Shaping of Time brings together essays by leading music scholars, each of which analyzes the music of Brahms with a particular focus on the music's temporality. The volume reveals numerous ways in which Brahms manipulates such basic elements as rhythm and phrase structure in pieces ranging from the Third Piano Sonata and the Double Concerto to a number of his most important and beloved songs.
The first two essays examine aspects of rhythm and meter in Brahms's lieder, recognizing his meaningful deviations from temporal norms. The second two pick up the mantle from William Rothstein's landmark text Phrase Rhythm in Tonal Music. Rothstein's study focused on the music of other composers, but suggested how a future study might explore the music of Brahms; these essays contribute to such a study while also pivoting the book's focus from vocal to instrumental music. Each of the chapters of the third pair cross-examines and expands our understanding of the hemiola. The concluding trio of essays promotes, through further analysis of individual works, ways of hearing that encourage the reader to breach the confines of the score's metric notation.
Together, the essays in this volume offer fresh approaches to the life and music of the beloved nineteenth-century composer and incorporate significant new ways of thinking about rhythm, meter, and musical time.
CONTRIBUTORS: Eytan Agmon, Richard Cohn, Harald Krebs, Ryan McClelland, Jan Miyake, Scott Murphy, Samuel Ng, Heather Platt, Frank Samarotto
Scott Murphy is professorof music theory at the University of Kansas.
Conal Condren
Political Vocabularies
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Considers how political language has changed through time, looking at concrete examples from English and other languages.
Conal Condren's fifth and final volume in a decades-long examination of political language, Political Vocabularies: Word Change and the Nature of Politics is a study of the mechanisms of change in political vocabularies over time. Though the main focus of the study is on English political vocabulary, Condren also compares political terms in other languages, such as French, German, Latin, Greek, Italian, and Japanese, and discusses how some of theseterms are imported into English. Considering concrete examples of extension and intension of meaning, neologism, euphemism, translation, loan words, and metaphor as used in political discourse, Condren constructs a theoretical model of the political that describes what precisely goes on when political words are used or when words are used politically. Thus Condren's analysis in this study is not merely linguistic but it bears on perennial questions about the nature of politics.The book will thus appeal not only to linguists and political scientists but to a broad readership of those interested in history, politics, and philosophy.
Conal Condren is Emeritus Scientia Professor at the University of New South Wales and honorary professor at the Institute for Advanced Studies in the Humanities at the University of Queensland, Australia.
Susan Farrell
Imagining Home
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The first study to bring Hemingway, Vonnegut, O'Brien, and 9/11 literature together in order to examine views about war, gender, and domesticity over a hundred-year period.
War has often been seen as the domain of men and thus irrelevant to gender analysis, and American writers have frequently examined war according to traditional gender expectations: that boys become men by going to war and girls become women by building a home. Yet the writers discussed in this book complicate these expectations, since their female characters often take part directly in war and especially since their male characters repeatedly imagine domestic spaces for themselves in the midst of war. Chapters on Hemingway and the First World War, Kurt Vonnegut and the Second World War, and Tim O'Brien and the Vietnam War place these writers in their particular historical and cultural contexts while tracing similarities in their depiction of gender relationships, imagined domestic spaces, and the representability of trauma. The book concludes by examining post-9/11 American literature, probing what happenswhen the front lines actually come home to Americans. While much has been written about Hemingway, Vonnegut, O'Brien, and even 9/11 literature separately, this study is the first to bring them together in order to examine views about war, gender, and domesticity over a hundred-year period. It argues that 9/11 literature follows a long tradition of American writing about war in which the domestic and public realms are inextricably intertwined and in which imagined domestic spaces can provide a window into representing wartime trauma, an experience often thought to be unrepresentable or incomprehensible to those who were not actually there.
Susan Farrell is Professor of English at the College of Charleston.
Emily H. Green
Dedicating Music, 1785-1850
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A synchronic study that highlights the importance of printed packaging, rather than notes on the page, to the complex relationship between composers, publishers, and consumers of music.
Why dedicate music? What did dedications mean to their readers and writers, especially after 1785, when more works were offered to fellow composers as well as to patrons? Borrowing from book history and sociological theory, Dedicating Music, 1785-1850 is a large-scale study of patterns of dedications. Emily H. Green argues that the kinds of offerings printed in the late eighteenth through mid-nineteenth centuries reflect a changing financial and aesthetic landscape in which patronage was waning and independent artistry surging. Dedications labeled written music as a gift while presenting composers with an opportunity for self-promotion. They also contributed to a new kind ofbranding of music by communicating composers' friendships and artistic allegiances..
Dedicating Music considers dedications issued in print between 1785 and 1850 in sets of overlapping corpuses: offerings to peers (as in Mozart's string quartets dedicated to Haydn); to patrons (as in Ignaz Pleyel's string quartets for Count Erdödy); to friends (as in Ferdinand Ries's offerings for Beethoven); and dedications issued by publishers (as in Beethoven's song "In questa tomba oscura," included in publisher Tranquillo Mollo's collection offered to Prince Lobkowitz). The result is a synchronic study that highlights the importance of printed packaging, rather than notes onthe page, to the complex relationship between composers, publishers, and consumers of music.
EMILY H. GREEN is Assistant Professor of Music at George Mason University.
The University of Rochester Press gratefully acknowledges generous support from the Claire and Barry Brook Endowment of the American Musicological Society and the AMS 75 PAYS Endowment of the American Musicological Society, both funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
Brian J. Yates
The Other Abyssinians
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Reframes the story of modern Ethiopia around the contributions of the Oromo people and the culturally fluid union of communities that shaped the nation's politics and society.
Although the Oromo are the largest ethnic group in Ethiopia, their history has been distorted in order to buttress twentieth-century notions of a homogeneous Ethiopian state. The Other Abyssinians tells the story of the Oromo people's contribution to modern Ethiopia, tracing their experiences from the early nineteenth century onward and detailing the varied interactions of Oromo groups throughout the Ethiopian highlands. Focusing on the historic provinces of Wällo and Shäwa, this well-researched work elucidates the importance of these territories in the creation of Ethiopia and the history of the Oromo. It casts the Oromo as Abyssinians and central in all aspects of modernEthiopian life, while making a case for Ethiopia, a nation without a colonial legacy, as an example of indigenous African identity formation that challenges notions of "tribal" or ethnic identities.
Author Brian J. Yates details the cultural practices that integrated the populations of the highlands into the Abyssinian group; in addition, he analyzes the political structures that evolved concurrently. The book, notably, utilizes a community-based framework to underscore the fluidity of modern national identity. All in all, the work offers a close study of Ethiopian modernization policies and illuminates how Africans might have crafted their nations without the legaciesof colonialism.
Christian Bonah
Health Education Films in the Twentieth Century
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Examines the impact and importance of the health education film in Europe and North America in the first half of the twentieth century.
During the twentieth century, film came to be seen as a revolutionary technology that could entertain, document, instruct, and transform a mass audience. In the fields of medicine and public health, doctors, educators, health advocates, and politicians were especially enthusiastic about the potential of the motion picture for communicating about health-related topics, including sexually transmitted diseases, cancer, tuberculosis, smoking, alcoholism, and contraception.
Focusing on the period from the 1910s to the 1960s, this book is the first collection to examine the history of the public health education film in Europe and North America. It explores how a variety of commercial, governmental, medical, and public health organizations in Europe and North America turned to movies to educate the public, reform their health behaviors, and manage their anxieties and hopes about health, illness, and medical and public health interventions. Moreover, by looking at categories of movies as well as individual examples, the book tackles questions of the representativeness of individual films and the relationship between the publichealth film and other forms of motion picture.
CONTRIBUTORS: Christian Bonah, Tim Boon, David Cantor, Ursula von Keitz, Anja Laukötter, Elizabeth Lebas, Vincent Lowy, Kirsten Ostherr, Miriam Posner, Alexandre Sumpf
Christian Bonah is a professor of the history of health and life sciences at the University of Strasbourg. David Cantor is a historian at the National Institutes of Health and the School of Public Health, University of Maryland, College Park. Anja Laukötter is a historian at the Center for the History of Emotions at the Max Planck Institute for Human Development, Berlin.
Meredith Kirkpatrick
Reflections of an American Harpsichordist
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Presents previously unpublished memoirs (1933-77), lectures, and essays by the eminent harpsichordist and scholar Ralph Kirkpatrick.
This collection of unpublished writings by the eminent harpsichordist and scholar Ralph Kirkpatrick contains his memoirs for the period 1933-77 as well as essays on a variety of topics, including his preparation for the first performance of Elliott Carter's Double Concerto, thoughts on editing Bach's Goldberg Variations, and reflections on recording, chamber music, performance, and harpsichords and their transport. The volume also contains five lectures from a Yale University lecture series presented between 1969 and 1971, a bibliography of publications by and about Kirkpatrick, a discography of his recordings, and a foreword by former Kirkpatrick student and renowned organist William Porter.
Meredith Kirkpatrick, the niece of Ralph Kirkpatrick, is a librarian and bibliographer at Boston University and the editor of Ralph Kirkpatrick: Letters of the American Harpsichordist and Scholar (University of Rochester Press, 2014).
Ralph Callebert
On Durban's Docks
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Offers a new approach to the study of labor on the subcontinent and globally, questioning the relevance of the predominant wage labor paradigm for Africa and the Global South.
On Durban's Docks focuses on dock labor in early apartheid Durban, South Africa's main port city and a crucial node in the trade and communication networks of the Indian Ocean and the British Empire. Although the labor of Zulu migrant dock workers made global trade possible, they lived their lives largely in isolation, both socially and economically, from these global networks.
Using seventy-seven oral histories and extensive archival research, Ralph Callebert examines the working and living conditions of Durban's dock workers and the livelihoods of their rural households. These households relied on a combination of wage labor, pilferage, informal trade, and the rural economy. Dock workers' experiences were thus more intricate than a focus on wage labor alone could capture. Foregrounding such multifaceted livelihoods, Callebert considers the dynamics of gender within dock workers' householdsas well as their complicated political identities, including their economic nationalism and fervent anti-Indian sentiments. On Durban's Docks thus offers a new approach to the study of labor on the subcontinent and globally, questioning the relevance of the predominant wage labor paradigm for Africa and for the Global South.
Ralph Callebert teaches history at the University of Toronto.
Jason Bruner
Living Salvation in the East African Revival in Uganda
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Reexamines the first twenty years of the East African revival movement in Uganda, 1935-1955, arguing that through the movement African Christians articulated and developed a unique spiritual lifestyle.
Starting in the mid-1930s, East African revivalists (or, Balokole: "the saved ones") proclaimed a message of salvation, hoping to revive the mission churches of colonial East Africa. Frustrated by what they believed to be the tepid spiritual state of missionary Christianity, they preached that in order to be saved, converts had to confess publicly the specific sins they had committed, putting them "in the light." By "walking in the light" with other revival brethren, converts reoriented their lives, articulating this reorientation in the stark terms of light and darkness: they had left their dark past and now lived in the light of salvation.
This book uses missionary and Colonial Office archives, contemporary newspapers, archival collections in Uganda, anthropologists' field notes, oral histories, and interviews by the author in order to reexamine the first twenty years of the East African revivalmovement (roughly, 1935-1955). Focusing upon the creative, controversial, and remarkable efforts of the ordinary African Christians who comprised the vast majority of the movement, it challenges previous historical analyses that have seen in the revival the replication of British evangelical holiness spirituality or, alternatively, a manifestation of late colonial dissent. Instead, this study argues, the Balokole revival was a movement through which African Christians articulated and developed a unique spiritual lifestyle, one that responded creatively to the sociopolitical contexts of late colonial East Africa.
Jason Bruner is Assistant Professor of Global Christianityat Arizona State University.
Kimberly A. Francis
Nadia Boulanger and the Stravinskys
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Published for the first time: a rich epistolary dialogue revealing one master teacher's power to shape the cultural canon and one great composer's desire to embed himself within historical narratives.
Nadia Boulanger and Igor Stravinsky began corresponding in 1929 when Stravinsky sought someone to supervise the musical education of his younger son, Soulima. Boulanger accepted the position and began what would prove to be a warmand lasting dialogue with the Stravinsky family. For fifty years, Boulanger exchanged letters with Igor Stravinsky. An additional 140 letters exist written to Boulanger from Stravinsky's immediate family: his wife Catherine, hismother Anna, and his sons Théodore and Soulima.
Nadia Boulanger and the Stravinskys: A Selected Correspondence makes available a rich selection from this many-sided dialogue. The letters are published here in English translation (most for the first time in their entirety or at all). The little-known French originals are available on the book's companion website. The letters allow us to follow the conversation shared between Boulanger andthe Stravinskys from 1929 until 1972, the year following Igor Stravinsky's death. Through the words they exchanged, we see Boulanger and Stravinsky transition from respectful colleagues to close friends to, finally, distant icons, with music serving always as a central topic. These letters are a testament to one master teacher's power to shape the cultural canon and one composer's desire to embed himself within historical narratives. Their words touch upon matters professional and personal, musical and social, with the overall narrative reflecting the turmoil of life during the twentieth century and the fragility of artists hoping to leave their mark on the modernist period.
Kimberly A. Francis is Associate Professor of Music at the University of Guelph, Canada.
Muey C. Saeteurn
Cultivating Their Own
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Traces the consequences of agricultural development in western Kenya in the 1950s and 1960s
After more than fifty years of development, why have interventions and aid failed to yield greater poverty alleviation in Sub-Saharan Africa? Why did the agricultural development projects that were transpiring in places like Kenyaduring the "development era" of the 1950s and 1960s not take-off? Cultivating Their Own: Agriculture in Western Kenya during the "Development" Era explores these questions and others that continue to drive the research agendas of international aid agencies and development scholars in the twenty-first century. The book centers on four agricultural development projects unfolding in a densely populated rural area of western Kenya during the country'stransition to independence and its first few years under de facto one-party rule. Drawing on an array of primary sources and oral interviews, Saeteurn argues that the project of agrarianism failed to germinate in places like western Kenya because of competing interests, conflicting agendas, and structural problems inherent in the process of development at the international, national, and local level. Cultivating Their Own is a timely reminder of theimportance of paying attention not only to local people's aspirations but also to the realities of rural life when creating projects that mobilize agriculture for poverty reduction.
Matthew Mugmon
Aaron Copland and the American Legacy of Gustav Mahler
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Reveals how Aaron Copland's complex relationship with the music of Gustav Mahler shaped his vision for American music in the twentieth century.
The iconic American composer Aaron Copland (1900-1990) is often credited with creating an unmistakably American musical style, a style free from the powerful sway of the European classics that long dominated the art-music scene inthe United States. Yet Copland was strongly attracted to the music of the late-romantic Austrian composer Gustav Mahler (1860-1911), whose monumental symphonies and powerful songs have captivated and challenged American audiencesfor more than a century.
Drawing extensively on archival and musical materials, Aaron Copland and the American Legacy of Gustav Mahler offers the first detailed exploration of Copland's multifaceted relationshipwith Mahler's music and its lasting consequences for music in America. Matthew Mugmon demonstrates that Copland, inspired by Mahler's example, blended modernism and romanticism in shaping a vision for American music in the twentieth century, and that he did so through his multiple roles as composer, teacher, critic, and orchestral tastemaker. Copland's career-long engagement with Mahler's music, as Mugmon compellingly illustrates, intersected with Copland's own Jewish identity and with his links to such towering figures in American music as Nadia Boulanger, Serge Koussevitzky, and Leonard Bernstein.
MATTHEW MUGMON is Associate Professor of Music at the University of Arizona.
Edmund J. Goehring
Coming to Terms with Our Musical Past
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A bold, restorative vision of Mozart's works, and Western art music generally, as manifestations of an idealism rooted in the sociable nature of humans.
WINNER: 2019 Marjorie Weston Emerson Award from the Mozart Society of America
For over a generation now, many leading performers, critics, and scholars of Mozart's music have taken a rejection of transcendence as axiomatic. This essentially modernist, antiromantic orientation attempts to neutralize the sorts of aesthetic experiences that presuppose an enchantment with Mozart's art, an engagement traditionally articulated by such terms as intention, mimesis, author, and genius. And what is true of much recent Mozart interpretation isoften manifest in the interpretation of Western art music more generally.
Edmund Goehring's Coming to Terms with Our Musical Past explores what gets lost when the vocabulary of enchantment is abandoned. The bookthen proceeds to offer an alternative vision of Mozart's works and of the wider canon of Western art music. A modernized poetics, Goehring argues, reduces art to mechanism or process. It sees less because it excludes a necessaryand enlarging human presence: the generative, and receiving, "I."
This fascinating new book-length essay is addressed to any reader interested in the performing arts, visual arts, and literature and their relationship to the broader culture. Goehring draws on seminal thinkers in art criticism and philosophy to propose that such works as Mozart's radiate an idealism that has human sociability both as its source and its object.
This book is available as an Open Access eBook under the Creative Commons license: CC BY-NC.
Maria S. Guarino
Listen with the Ear of the Heart
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A "contemplative" ethnographic study of a Benedictine monastery in Vermont known for its folk-inspired music.
Far from being a long-silent echo of medieval religion, modern monastery music is instead a resounding, living illustration of the role of music in religious life. Benedictine monks gather for communal prayer upwards of five timesper day, every day. Their prayers, called the Divine Office, are almost entirely sung.
Benedictines are famous for Gregorian Chant, but the original folk-inspired music of the monks of Weston Priory in Vermont is amongthe most familiar in post-Vatican II American Catholicism. Using the ethnomusicological methods of fieldwork and taking inspiration from the monks' own way of encountering the world, this book offers a contemplative engagement with music, prayer, and everyday life. The rich narrative evokes the rhythms of learning among Benedictines to show how monastic ways of being, knowing, and musicking resonate with humanistic inquiry and the pursuit of knowledge andunderstanding.
Maria S. Guarino received her PhD in critical and comparative studies in music from the University of Virginia. She specializes in ethnography, religious life, Benedictine monasticism, and contemplativepractices.
Support for this publication was provided by the Howard Hanson Institute for American Music of the Eastman School of Music at the University of Rochester.
Jessica Ortner
Transcultural Memory and European Identity in Contemporary German-Jewish Migrant Literature
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Examines how German-Jewish writers from Eastern Europe who migrated to Germany during or after the Cold War have widened European cultural memory to include the traumas of the Gulag.
Preserving the memory of the Holocaust as a moral and ethical limit case is key to the European Union's attempt to construct a pan-European identity. But with the Eastern expansion of the EU, new member states have challenged the Holocaust's singularity, calling for the traumas of the Stalinist Gulag to be acknowledged much more explicitly. Thus even though Europe has been unified politically, it is divided by its diverging perceptions of the past. Jessica Ortner argues that German-Jewish writers from Eastern Europe and the GDR who migrated to Germany as refugees during or after the Cold War have responded critically to the need to widen European cultural memory to include the traumatic experiences of the East. The writers focused on include Katja Petrowskaja, Olga Grjasnowa, Lena Gorelik, Vladimir Vertlib, and Barbara Honigmann. A central focus of the book is the "traveling of memories" from Eastern Europe and the GDR to (Western) Germany and Austria. Introducing the term "literature of mnemonic migration," Ortner asserts that these authors' writings negotiate the mnemonic divide between East and West. They criticize the normative memory politics of both Germany and the Soviet Union and address not only the politically explosive question of how to remember both National Socialism and Communism but also the status of Jews in contemporary Germany.
Marike Janzen
Writing to Change the World
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This book begins to recover the global history of solidarity as a principle of authorship, taking Anna Seghers (1900-1983) as an exemplar and reading her alongside prominent contemporaries: Brecht, Carpentier, and Spivak.
In the twentieth century, leftist authors around the world understood their writing as an act of solidarity, but their common project was obscured by the end of the Cold War and the dismantling of socialist states. This book begins to recover the global history of solidarity as a principle of authorship, taking Anna Seghers (1900-1983), one of the most important German writers of her time, as an exemplar. Like other leftist authors in other languages and contexts, Seghers emphasized how people are implicated in global economic inequality and efforts to change it. Writing to Change the World introduces Seghers's concept of solidarian authorship by telling the story of an award, still in existence today, that she bequeathed to support East German and Latin American authors. The book then follows the history of the idea by reading Seghers alongside prominent contemporaries: the German playwright and poet Bertolt Brecht in the 1930s, the Cuban novelist Alejo Carpentier in the 1960s, and the Indian scholar and theorist Gayatri Chakravorty Spivak in the 1980s. These writers thematized and critiqued solidarity, often by depicting characters who forge connections across borders. In doing so, they also commented on the literary institutions that fostered their own work. Providing new evidence for Seghers's global relevance beyond German literature, Writingto Change the World argues for the continued significance of solidarity both as a model of global authorship and as a framework for analysis of world literature. In doing so, it refocuses attention on global structures of inequality and collective imaginings of a better world.
Marike Janzen is Assistant Professor of Humanities and Courtesy Assistant Professor of Germanic Languages and Literatures at the University of Kansas.
Joel E. Rubin
New York Klezmer in the Early Twentieth Century
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The music of clarinetists Naftule Brandwein and Dave Tarras is iconic of American klezmer music. Their legacy has had an enduring impact on the development of the popular world music genre.
Since the 1970s, klezmer music has become one of the most popular world music genres, at the same time influencing musical styles as diverse as indie rock, avant-garde jazz, and contemporary art music. Klezmer is the celebratory instrumental music that developed in the Jewish communities of eastern Europe over the course of centuries and was performed especially at weddings. Brought to North America in the immigration wave in the late nineteenth century, klezmer thrived and developed in the Yiddish-speaking communities of New York and other cities during the period 1880-1950.
No two musicians represent New York klezmer more than clarinetists Naftule Brandwein (1884-1963)and Dave Tarras (1897-1989). Born in eastern Europe to respected klezmer families, both musicians had successful careers as performers and recording artists in New York. Their legacy has had an enduring impact and helped to spurthe revival of klezmer since the 1970s.
Using their iconic recordings as a case study, New York Klezmer in the Early Twentieth Century looks at the inner workings of klezmer dance music, from its compositional aspects to the minutiae of style. Making use of historical and ethnographic sources, the book places the music within a larger social and cultural context stretching from eastern Europe of the nineteenth century to the United Statesof the present.
JOEL E. RUBIN is Associate Professor of Music at the University of Virginia and an acclaimed performer of traditional klezmer music.
John W. Barker
The Pro Arte Quartet
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An engaging window into a century of musical life, as seen in the history of the Pro Arte String Quartet, first organized in 1912 and still performing today.
First organized in Brussels in 1912 by precocious young Belgian musicians, the Pro Arte String Quartet has survived two world wars and is still performing more than a century later -- a durability unique in the annals of such ensembles. Its membership has included such extraordinary musicians as founding first violinist Alphonse Onnou and his successor, Rudolf Kolisch. The Pro Arte was the first string quartet to be affiliated with an American university,a significant and much-imitated status, and the group continues to function in residence at the University of Wisconsin.
This book traces the Pro Arte Quartet's history from its beginnings to the present, highlighted byportraits of the diverse, fascinating, and colorful personalities, musicians and others, who have been a part of that history. The phases of its repertoires are analyzed, and the legacy of its recordings, many of pioneering significance, is reviewed. As a whole, the volume offers a panoramic window into a century of musical life.
John W. Barker is Emeritus Professor of History at the University of Wisconsin-Madison. He is the author of Wagner and Venice (2008) and Wagner and Venice Fictionalized: Variations on a Theme (2012), both available from the University of Rochester Press.
Brett E. Sterling
Hermann Broch and Mass Hysteria
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The first English-language monograph on Hermann Broch's literary and theoretical work on mass hysteria.
Winner of the 2023 Radomír Luža Prize for the Best Manuscript in Austrian/Czechoslovak Studies in the World War II Era
Austrian Jewish author Hermann Broch (1886-1951), a leading figure of European Modernism, spent decades attempting to understand the phenomenon of mass hysteria. With his work, he hoped to help protect society from the allure of mass hysteria, embodied in the fanatical appeal of National Socialism. He was torn between two approaches to the problem: using literature to diagnose and expose the irrational knowledge that underpins mass hysteria, and employing theory as a more precise and effective means of doing the same.
In this first English-language monograph on the topic, Brett E. Sterling traces the development of Broch's understanding of the mass from an initial confrontation in 1918 to a recurring theme in his fiction and ultimately to the monumental but incomplete Massenwahntheorie (Theory of Mass Hysteria, 1939-48). In thorough readings of Broch's major fictional and theoretical works, the analysis centers on the question of how his literature and theory provide distinct but complementary approaches to conceiving and representing the elusive figure of the mass and the attendant experience of mass hysteria. With political extremism and conspiratorial thinking on the rise, Sterling makes the case that Broch's insights into mass hysteria - literary as well as theoretical - are of renewed relevance to a contemporary audience.
Erica Heinsen-Roach
Consuls and Captives
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Analyzes how negotiations between Dutch consuls and North African rulers over the liberation of Dutch sailors helped create a new diplomatic order in the western Mediterranean.
This work offers a new perspective on the history of diplomacy in the western Mediterranean, examining how piracy and captivity at sea forced Protestant states from northwest Europe to develop complex relationships with Islamic North Africa. Tracing how Dutch diplomats and North African officials negotiated the liberation of Dutch sailors enslaved in the Maghrib, author Erica Heinsen-Roach argues that captivity and redemption helped shape (rather than undermine) a new diplomatic order in the western Mediterranean.
Making use of extensive archival research, Consuls and Captives shows how encounters with North African society led the Protestant North to adjust to the norms and practices of the western Mediterranean. Dutch consuls became state representatives, tasked with claiming the unconditional release of captives from the Netherlands. But caught between these directives and the realities of Maghribi politics, the diplomats consented to pay ransom, participated in what they considered lavish gift-giving practices, and began to pay tribute -- all practices that were departures from the norms the Dutch States General upheld in "doing" diplomacy.
In analyzing these adjustments, Heinsen-Roach brings into question earlier interpretations of diplomacy as a progressively evolving institution anchored in the western modern tradition. Consuls and Captives shows instead that early modern diplomacy in the western Mediterranean developed in uneven ways as a product of cultural encounters. With its compelling argument and wide-ranging evidence, this book will have a strong appeal to scholars of early modern diplomacy, slavery, and Mediterranean history, as well as to specialists on the Dutch Republic.
Erica Heinsen-Roach is visiting assistant professor at the University of South Florida St. Petersburg.
David Luesink
China and the Globalization of Biomedicine
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Argues that developments in biomedicine in China should be at the center of our understanding of biomedicine, not at the periphery
Today China is a major player in advancing the frontiers of biomedicine, yet previous accounts have examined only whether medical ideas and institutions created in the West were successfully transferred to China. This is the firstbook to demonstrate the role China played in creating a globalized biomedicine between 1850 and 1950. This was China's "Century of Humiliation" when imperialist powers dominated China's foreign policy and economy, forcing it to join global trends that included limited public health measures in the nineteenth century and government-sponsored healthcare in the twentieth. These external pressures, combined with a vast population immiserated by imperialism and the decline of the Chinese traditional economy, created extraordinary problems for biomedicine that were both unique to China and potentially applicable to other developing nations. In this book, scholars based in China, the United States, and the United Kingdom make the case that developments in biomedicine in China such as the discovery of new diseases, the opening of the medical profession to women, the mass production of vaccines, and the delivery ofhealthcare to poor rural areas should be at the center of our understanding of biomedicine, not at the periphery.
CONTRIBUTORS: Daniel Asen, Nicole Barnes, Mary Augusta Brazelton, Gao Xi , He Xiaolian, Li Shenglan, David Luesink, William H. Schneider, Shi Yan, Yu Xinzhong,
DAVID LUESINK is Assistant Professor of History at Sacred Heart University. WILLIAM H. SCHNEIDER is Professor Emeritus of History and Medical Humanities at Indiana University Purdue University Indianapolis. ZHANG DAQING is Professor and Director, Institute of Medical Humanities at Peking University in Beijing.
Melissa D. Burrage
The Karl Muck Scandal
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The demonization, internment, and deportation of celebrated Boston Symphony Orchestra conductor Dr. Karl Muck, finally told, and placed in the context of World War I anti-German sentiment in the United States.
BEST CLASSICAL MUSIC BOOK RELEASE OF 2019 by Classical-music.com, the official website of BBC Music Magazine.
2019 SUMMER READS ABOUT CLASSICAL MUSIC by the Australian Broadcasting Corporation.
2019 BEST BOOK AWARD FINALIST in both the History and Performing Arts categories, sponsored by American Book Fest.
2019 SUBVENTION AWARD by the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
One of the cherished narratives of American history is that of the Statue of Liberty welcoming immigrants to its shores. Accounts of the exclusion and exploitation of Chinese immigrants in the late nineteenth century and Japanese internment during World War II tell a darker story of American immigration. Less well-known, however, is the treatment of German-Americans and Germannationals in the United States during World War I. Initially accepted and even welcomed into American society at the outbreak of war, this group would face rampant intolerance and anti-German hysteria.
Melissa D. Burrage's book illustrates this dramatic shift in attitude in her engrossing narrative of Dr. Karl Muck, the celebrated German conductor of the Boston Symphony Orchestra, who was targeted and ultimately disgraced by a New York Philharmonic board member and by capitalists from that city who used his private sexual life as a basis for having him arrested, interned, and deported from the United States. While the campaign against Muck made national headlines, and is the main focus of this book, Burrage also illuminates broader national topics such as: Total War; State power; vigilante justice; internment and deportation; irresponsible journalism; sexual surveillance; attitudes toward immigration; anti-Semitism; and the development of America's musical institutions. The mistreatment of Karl Muck in the United States provides a narrative thread that connects these various wartime and postwar themes.
MELISSAD. BURRAGE, a former writing consultant at Harvard University Extension School, holds a Master's Degree in History from Harvard University and a PhD in American Studies from University of East Anglia.
Support for thispublication was provided by the Howard Hanson Institute for American Music at the Eastman School of Music at the University of Rochester.
Sarah Ann Long
Music, Liturgy, and Confraternity Devotions in Paris and Tournai, 1300-1550
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The first study focusing on the composition of new plainchant in northern-French confraternities for masses and offices in honor of saints thought to have healing powers
Starting in the fourteenth century, northern France saw the rise of confraternities and other lay communities of men and women, organized around trades and religious devotions dedicated to specific patron saints. The composition of new plainchant for masses and offices in honor of saints thought to have healing powers occupied an important place in the devotional landscape of the region.
Sarah Ann Long's deeply researched new book highlights the decentralized nature of religious and spiritual authority from 1300-1550, which allowed confraternities to cultivate liturgical practices heavily influenced by popular devotional literature. It challenges pre-conceived notions of the power of the Catholic Church at that time, and the extent to which religious devotions were regulated and standardized. The resulting conclusion is that confraternity devotions occupied a liminal space that provided a certain amount of musical freedom. Examining musical culture at the intersection of the medieval and early modern eras, this work explores such subjects as manuscript production and early music printing; and it investigates not only plainchant, but a broad range of musical styles from the fourteenth through the sixteenth centuries. These include polyphonic embellishments of chant written by some of the most famous composers of the era, which were performed at the French, Burgundian, and Papal Courts.
Myroslav Marynovych
The Universe behind Barbed Wire
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Ukrainian dissident Myroslav Marynovych recounts his involvement in the Brezhnev-era human rights movement in the Soviet Union and his resulting years as a political prisoner in Siberia and in internal exile.
This memoir by a prominent Ukrainian dissident, now in English translation, offers a unique account that spans the entire postwar period, from the author's childhood in newly Soviet western Ukraine and coming of age within the Communist system to the collapse of the Soviet Union, concluding with his reflections on culpability and justice in the post-Soviet context. Marynovych's description of the varied landscape of Ukrainian dissent in the 1960s and 1970s focuses on the emerging human rights movement, especially the creation of the Ukrainian Helsinki Group, of which he was a founding member. He vividly recounts his encounters with the Soviet repressive apparatus, including his arrest and trial, and offers a rich picture of daily life in a Siberian prison camp and his internal exile in Kazakhstan.
Imbued with the author's deep Christian convictions, this memoir sheds light on the key role faith played for some participants in the Soviet human rights movement, a movement that has most often been seen as having a secular inflection. It also provides a fresh look at the complex place of Ukrainian dissidents within the broader Soviet human rights movement, as well as the interplay between human rights advocates and other dissident groups in Soviet Ukraine.
Sean Ross Meehan
A Liberal Education in Late Emerson
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Counters the view of the late Emerson's decline by rethinking his engagement with liberal education and his intellectual relation to Whitman, William James, Charles Eliot, and Du Bois.
Recent scholarship has inspired growing interest in the later work of Ralph Waldo Emerson (1803-1882) and a recognition that the conventional view of an aging Emerson, distant from public matters and limited by declining mental powers, needs rethinking. Sean Meehan's book reclaims three important but critically neglected aspects of the late Emerson's "mind": first, his engagement with rhetoric, conceived as the organizing power of mind and, unconventionally, characterized by the trope "metonymy"; second, his public engagement with the ideals of liberal education and debates in higher education reform early in the period (1860-1910) that saw the emergence of the modern university; and third, his intellectual relation to significant figures from this age of educational transformation: Walt Whitman, William James, Harvard president Charles W. Eliot, and W. E. B. Du Bois, Harvard's first African American PhD. Meehan argues that the late Emerson educates through the "rhetorical liberal arts," and he thereby rethinks Emerson's influence as rhetorical lessons in the traditional pedagogy and classical curriculum of the liberal arts college. Emerson's rhetoric of mind informs and complicates these lessons since the classical ideal of a general education in the common bonds of knowledge counters the emerging American university and its specialization of thought within isolated departments.
Hyun Joo Kim
Liszt's Representation of Instrumental Sounds on the Piano
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Examines Liszt's piano arrangements of music originally created for other instruments, especially the symphony orchestra and the Hungarian Gypsy band.
Liszt's adaptation of existing music is staggering in its quantity, scope, and variety of technique. He often viewed the model work as a source that he strove to improve, rival, and even surpass. Liszt's Representation of Instrumental Sounds on the Piano: Colors in Black and White provides a comprehensive survey of Liszt's reworking of instrumental music on the piano, particularly his emulation of tone colors and idiomatic gestures. The book relatesLiszt's sonic reproductions to the widespread nineteenth-century interest in visual-art reproduction. Hyun Joo Kim illustrates Liszt's diverse approaches to the integrity of the music in a detailed, vivid, and insightful manner through close study of his arrangements of Beethoven's symphonies and Rossini's Guillaume Tell Overture, his two-piano arrangements of his own symphonic poems such as Mazeppa and Hunnenschlacht, and his Hungarian Rhapsodies. By examining orchestral music and Hungarian Gypsy-style music as sources of Liszt's sound representations, this book reveals Liszt's musical discourse as straddling the musical, cultural, and aesthetic divides between mainstream and peripheral, art and folk, serious and popular.
HYUN JOO KIM holds a PhD from Indiana University and is an independent scholar in Seoul, South Korea.
J. M. van der Laan
The Faust Tales of Christoph Rosshirt
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The first cohesive Faust narrative in facsimile form, German transcription, and (first-ever) English translation, plus a history of Faust illustrations and an assessment of Faust's historicity.
The Faust legend, which has come down to us most famously in Goethe's tragedy but also in countless other incarnations since the late sixteenth century, was first collected and presented as a cohesive narrative (in manuscript) byChristoph Rosshirt during the 1570s. Rosshirt was also the first to provide illustrations of Faust, hand-colored by Rosshirt himself. This book offers a critical edition of Rosshirt's six tales, including an introductory chapter,a facsimile of the manuscript, a transcription and first-ever English translation on facing pages, as well as a history of Faust illustrations, with Rosshirt's own illustrations and other examples up through Delacroix, the most complete survey of such illustrations to date. A final chapter rounds out the study with an assessment of Rosshirt's significance for the Faust tradition, a review of the evidence for a historical Faust, and a rejection of his historicity (because it is unprovable) in favor of his existence only in his story - a story Rosshirt helped to tell - and in our imaginations that animate that story.
J. M. van der Laan is Professor Emeritus of German at Illinois State University.
Lewis Fallis
Socrates and Divine Revelation
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An account of Socrates' encounter with divine revelation
The philosopher Socrates was guided in his investigations by nothing other than his own reason. But did Socrates address adequately the possibility of guidance from a different and higher source -- the possibility of divine revelation?
In this book, Lewis Fallis examines Socrates' study of divine revelation. Giving interpretations of two of Plato's dialogues, the Euthyphro and the Ion -- which each depict Socrates conversing witha believer in revelation -- Fallis argues that in each dialogue Socrates explores the connection between knowledge of justice or nobility on the one hand and divine wisdom on the other. By doing so, Socrates searches for common ground between reason and revelation. Shedding new light on Socratic dialectics, Fallis uncovers the justification for understanding political philosophy to be the necessary starting point for an adequate inquiry into divine revelation.
Lewis Fallis is an independent scholar of political theory.
Robert Doran
Liszt and Virtuosity
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CO-WINNER: The Triennial Alan Walker Book Award, sponsored by the American Liszt Society 2023
A new and wide-ranging collection of essays by leading international scholars, exploring the concept and practices of virtuosity in Franz Liszt and his contemporaries.
In the annals of music history, few figures have dominated the discussion of virtuosity as much as Franz Liszt. A flamboyant performer whose hair-raising technical feats at the piano created a sense of awe-inspiring excitement and an icon whose star power radiated far beyond the realm of music, Liszt was, along with his early model, Paganini, among the first major performer-composers to define himself principally by virtuosity.
Featuring new essays by an international group of preeminent scholars, Liszt and Virtuosity offers a reevaluation of the concept and practices of virtuosity as shaped and defined in Liszt's multifaceted oeuvre, as well as a reconsideration of Liszt's relation to other major and lesser-known musical figures, including Czerny, Schubert, Chopin, Brahms, Debussy, and Marie Jaëll.
Set in the context of larger trends within the fields of music history, music analysis, intellectual history, and performance studies, these capacious explorations demonstrate that Liszt's uniqueness and significance resided in his ability to transform virtuosity into a revolutionary musical force, pushing the piano aesthetic to the limits of sound and poetic meaning.
Chris Barker
Educating Liberty
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A comprehensive study of Mill's theory of liberty, uncovering Mill's solution to the problem of democracy, the tyranny of the majority
Alexis de Tocqueville famously identified the problem of democracy as the "tyranny of the majority," where the rule of the majority oppresses or marginalizes minorities and individuals. John Stuart Mill, perhaps more than any other liberal thinker, attempted to find a solution to this problem. In this study of Mill's political theory, Chris Barker shows how Mill's civic education transforms individuals into citizens who are free to form opinions, analyze arguments, and wield a power capable of moderating the irresponsible power of the ruling majority. Barker examines Mill's thought as it is applied to five prominent components of democratic life-marriage, economic participation, scientific expertise, representative politics, and religion-with particular emphasis on gender and economic reform. Barker concludes that Mill's interpretation of liberty is not well described as either negative or positive. Instead, liberty consists in the mental independence or thinking power of the educated individuals composing and challenging majorities.
CHRIS BARKER is Assistant Professor of Political Science at the American University in Cairo.
Eckhard John
Songs for a Revolution
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Makes available twenty-two protest songs of the period up to and including the 1848 Revolution in Germany along with a reception history of the songs through their revival after 1945.
The socially volatile period of the Vormärz (1830-1848) and the 1848 Revolution in Germany produced a wealth of political protest song. Songs for a Revolution makes available twenty-two prominent protest songs from that time, both lyrics (in German and English) and melodies. It also chronicles the songs' reception: suppressed after the revolution, they fell into obscurity, despite intermittent revivals by the workers' movement and later in the Weimar Republic, until they were appropriated as democratic cultural heritage by the folk and political song movements of East and West Germany after 1945. The songs reflect the new, oppositional political consciousness that emerged during the post-1830 period of restoration and led to the revolution. The book makes use of broadsides, songbooks, newspaper reports, and manuscripts to document the songs' transmission and shed light on the milieus in which they circulated. It also demonstrates how the appropriation of these songs by the German Liedermacher and folk scene shaped today's cultural memory of the 1848 period. It illuminates the functioning of political ideology in these reception processes, which in turn have given rise to myths that have influenced the discourse on the 1848 songs.
Christine Lorre-Johnston, Eleonora Rao
Space and Place in Alice Munro's Fiction
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New essays engaging with the developing field of literary geography to devote attention to the "regional" settings of Munro's stories and how they affect her characters' development or stasis.
Alice Munro, the 2013 Nobel Prize laureate in Literature, has revolutionized the architecture of the short story. This collection of essays on Munro engages with literary geography, an emergent interdisciplinary field that is located at the interface between human geography and literary studies and is one of the most salient manifestations of the ongoing spatial turn in the arts and humanities. Critical readings of Munro's stories have labeled her literary production "regional," since she sets the majority of her short stories in the area of rural Ontario where she grew up. Until now, however, little attention has been devoted to the role of that location in the stories and tothe way that particular setting interacts with her characters' development or stasis. This collection contains eleven essays organized in two parts: first, Conceptualizing Space and Place: Houses, Landscapes, Territory; and second, Close Readings of Space and Place.
Christine Lorre-Johnston is a senior lecturer in English at the Sorbonne Nouvelle in Paris. Eleonora Rao teaches English and American literatures at the University of Salerno.
Frances B. Singh
Scandal and Survival in Nineteenth-Century Scotland
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Uncovers the life of Jane Cumming, who scandalized her contemporaries with tales of sexual deviancy but also defied cultural norms, standing up to male authority figures and showing resilience.
In 1810 Edinburgh, the orphaned Scottish-Indian schoolgirl Jane Cumming alleged that her two schoolmistresses were sexually intimate. The allegation spawned a defamation suit that pitted Jane's grandmother, a member of the Scottish landed gentry, against two young professional women who were romantic friends. During the trial, the boundary between passion and friendship among women was debated and Jane was viewed "orientally," as morally corrupt and hypersexual. Located at the intersection of race, sex, and class, the case has long been a lightning rod for scholars of cultural studies, women's and gender history, and, given Lillian Hellman's appropriation of Jane's story in her 1934 play The Children's Hour, theater history as well. Frances B. Singh's wide-ranging biography, however, takes a new, psychological approach, putting the notorious case in the context of a life that was marked by loss, separation, abandonment--and resilience.
Grounded in archival and genealogical sources never before consulted, Singh's narrative reconstructs Cumming's life from its inauspicious beginnings in a Calcutta orphanage through her schooling in Elgin and Edinburgh, an abusive marriage, her adherence to the Free Church at the time of the Scottish Disruption, and her posthumous life in Hellman's Broadway play. Singh provides a detailed analysis not only of the case itself, but of how both Jane's and her teachers' lives were affected in the aftermath.
Scott Messing
Self-Quotation in Schubert
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Examines the history of musical self-quotation, and reveals and explores a previously unidentified case of Schubert quoting one of his own songs in a major instrumental work.
Enthusiasts and experts have long relished Schubert's quotations of his own music. This study centers on a previously unidentified pairing: "Ave Maria," one of his most beloved songs, and the Piano Trio no. 2, a masterpiece that holds a unique position in his career. Messing's Self-Quotation in Schubert interrogates the concept of self-quotation from the standpoints of terminology and authorial intent, and it demonstrates, for the first time, how Schubert's practice of self-quotation relates to prevailing practices in the late eighteenth and early nineteenth centuries. Messing goes on to analyze in detail the musical relationships between the two works and to investigate thecircumstances that led Schubert to compose each of them.
"Ave Maria" is one of the few Schubert songs for which we have documentation of some early private performances, and the trio stood at the heart of Schubert's only public concert devoted to his works. Messing establishes that Schubert sought to convey an associative meaning with this self-quotation, trusting in his contemporaries' familiarity with the original melody and with Walter Scott's poem, a text that carried profound resonances in Catholic Vienna. Scrutinizing this evidence yields the symbolic purpose behind Schubert's allusion to "Ave Maria" in the piano trio: honoring the recently deceased Beethoven andvalidating Schubert as his legatee.
SCOTT MESSING is Charles A. Dana Professor of Music Emeritus at Alma College.
Marissa Silverman
Gregory Haimovsky
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In the bleak cage of the Soviet Union, a brilliant pianist, inspired by the music of Olivier Messiaen, survived and triumphed. This is his story, told partly in his own words.
Interlacing material from previously unknown Russian archives, original recordings, photographs, and essays, Gregory Haimovsky: A Pianist's Odyssey to Freedom is the story of an extraordinary Russian concert pianist who, fighting the cultural prohibitions of the USSR, eventually succeeded in performing and recording major works by the prominent French composer Olivier Messiaen.
At the lowest point of his life, expelled from Moscow and exiled to a small provincial city, Haimovsky discovered Messiaen's oeuvre uncatalogued and hidden in the library of the Union of Soviet Composers. Haimovsky's intense studies and Soviet premieres of these banned compositions healed and liberated his mind, spirit, and artistic imagination. Messiaen's music also deepened and fueled Haimovsky's fierce personal and musical opposition to Soviet political and cultural doctrines.
Told partly in Haimovsky's own words and supplemented by interviews with several performers who worked with him between 1960 and 1972 as well as stories from his correspondence with major Russian artists, writers, and musicians of the time, Marissa Silverman's vivid narrative sheds new light on relationships between twentieth-century Russian music, Soviet politics, and the culture wars that raged during and after Stalin's barbaric rule.
Marissa Silverman is Associate Professor of Music at the John J. Cali School of Music, Montclair State University.
Heidi Hart
Hanns Eisler's Art Songs
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Traces Eisler's art songs through the political crises of the twentieth century, presenting them as a way to intervene in the nationalist appropriation of aesthetic material.
Best known for his collaborations with Bertolt Brecht, composer Hanns Eisler also set nineteenth-century German poetry to music that both absorbs and disturbs the Lieder tradition. This book traces Eisler's art songs (German: Kunstlieder) through twentieth-century political crises from World War I to Nazi-era exile and from Eisler's postwar deportation from the US to the ideological pressures he faced in the early German Democratic Republic. His artsongs are presented not as an escape from the "dark times" Brecht lamented but rather as a way to intervene in the nationalist appropriation of aesthetic material. The book follows a chronological arc from Eisler's early Morgenstern songs to his Lied-like setting of Brecht's 1939 "To Those Who Come After" and his treatment of Hölderlin's poetry in the 1940s Hollywood Songbook; the final two chapters focus on Eisler's Goethe settings in the early GDR, followed by his late Serious Songs recalling Brahms in their reflective approach. In its combination of textual and musicological analysis, this book balances technical and lay vocabulary to reach readers with or without musical background. The author's practical perspective as a singer also informs the book, as she addresses not only what Eisler asks of the voice but also the challenge of evoking both intimacy and distance in his politically fraught art songs.
Heidi Hart holds a PhD in German Studies from Duke University. She is an instructor in the College of Humanities and Social Sciences at Utah State University.
Thomas Austenfeld
Robert Lowell in a New Century
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New essays providing fresh insights into the great 20th-century American poet Lowell, his writings, and his struggles.
Robert Lowell (1917-1977) holds a place of unchallenged prominence in the poetic pantheon of the twentieth-century United States. He is an essential focal point for understanding the connection between poetry and American history,social justice, and personal identity. A recent spate of publications both by and about him, as well as allusions to him in the work of major American poets such as Wanda Coleman and Claudia Rankine, attest to his continued relevance. In March 2017, leading Lowell scholars from Europe and America gathered at the University of Fribourg, Switzerland in commemoration of his 100th birthday. The essays deriving from the conference and presented here aftercareful revision reveal new aspects of Lowell: for instance, the poet's influence on his peers, discussed by Thomas Travisano, the biographer of Elizabeth Bishop; or echoes of Milton in Lowell's work, discussed by Saskia Hamilton, editor of the forthcoming Dolphin Letters between Lowell and Elizabeth Hardwick. Other essays examine Lowell's struggles with bipolar illness, with marriage, and with money; his economic views and his early personality issues with respect to his poetic production; his extended sojourn in Amsterdam; and his special relationship with Ireland. Several essays focus on his 1961 volume Imitations, his major poetic engagement with the European tradition, unjustly neglected in the US. The essays will appeal to the wide audience that Lowell scholarship continues to command.
Contributors: Steven Gould Axelrod, Massimo Bacigalupo, Philip Coleman, Ian D. Copestake, Astrid Franke, Jo Gill, Saskia Hamilton, Frank J. Kearful, Grzegorz Kosc, Diederik Oostdijk, Francesco Rognoni, Thomas Travisano, Boris Vejdovsky.
Thomas Austenfeld is Professor of American Literature at the University of Fribourg.
Justin Barr
Of Life and Limb
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Examining the history of arterial repair, Of Life and Limb investigates the process of surgical innovation by exploring the social, technological, institutional, and martial dynamics shaping the introduction and adoption ofa new operation.
In 1880, patients suffering from vascular disease faced amputation -- or death. By 1960, a suite of revolutionary techniques and technologies empowered surgeons to remedy aneurysms, mend damaged vessels, and treat arteries cloggedwith cholesterol, saving the lives and limbs of patients around the world.
Tracking this remarkable transformation, Of Life and Limb: Surgical Repair of the Arteries in War and Peace, 1880-1960 reveals how social, technological, institutional, and military dynamics interplay to catalyze modern surgical innovation. Author Justin Barr examines each of these phenomena through the complementary perspectives of academic historian andclinical surgeon, marshaling extensive research and incisive analysis into a broadly applicable model that helps frame, illuminate, and forecast change in surgery.
Justin Barr received his PhD in History from Yale University and his MD from the University of Virginia. He is currently in residency for general surgery at Duke University.
Mohammed Bashir Salau
Plantation Slavery in the Sokoto Caliphate
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A work of synthesis on plantation slavery in nineteenth century Sokoto caliphate, engaging with major debates on internal African slavery, on the meaning of the term "plantation," and on comparative slavery
A large-scale study of plantation slavery in West Africa with a focus on the nineteenth-century Sokoto caliphate, this book draws on diverse sources including oral testimony, Arabic material, and extant scholarly works about the caliphal state. Plantation Slavery in the Sokoto Caliphate: A Historical and Comparative Study offers new views on various fundamental issues including the definition of blackness in the Sokoto caliphate, the meaning of theterm "plantation," the significance of plantation slavery in the caliphal state, and the role of slavery in the context of African states.
Author Mohammed Bashir Salau analyzes key themes in the history of plantation slavery, especially plantation management and the acquisition, treatment, and control of slaves. Building on this analysis, Salau points to previously unknown ways in which the caliphal state prevented the development of serfdom, arguing that while social and economic factors played a role in the rise of slavery in the Sokoto caliphate, conscious political choice was the major factor for the rise and maintenance of plantation slavery. This study will be of major interest to students and scholars of slavery in Africa in general and in the Sokoto Caliphate in particular; in addition, through its comparative discussion it contributes to the literature on second slavery.
Mohammed Bashir Salau is an Associate Professor of History at the University of Mississippi.
Rachel Orzech
Claiming Wagner for France
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A pathbreaking study of the Parisian press's attempts to claim Richard Wagner's place in French history and imagination during the unstable and conflict-ridden years of the Third Reich.
Richard Wagner was a polarizing figure in France from the time that he first entered French musical life in the mid nineteenth century. Critics employed him to symbolize everything from democratic revolution to authoritarian antisemitism. During periods of Franco-German conflict, such as the Franco-Prussian War and World War I, Wagner was associated in France with German nationalism and chauvinism. This association has led to the assumption that, with the advent of the Third Reich, the French once again rejected Wagner.
Drawing on hundreds of press sources and employing close readings, this book seeks to explain a paradox: as the German threat grew more tangible from 1933, the Parisian press insisted on seeing in Wagner a universality that transcended his Germanness. Repudiating the notion that Wagner stood for Germany, French critics attempted to reclaim his role in their own national history and imagination.
Claiming Wagner for France: Music and Politics in the Parisian Press, 1933-1944 reveals how the concept of a universal Wagner, which was used to challenge the Nazis in the 1930s, was gradually transformed into the infamous collaborationist rhetoric promoted by the Vichy government and exploited by the Nazis between 1940 and 1944. Rachel Orzech's study offers a close examination of Wagner's place in France's cultural landscape at this time, contributing to our understanding of how the French grappled with one of the most challenging periods in their history.
Stephen A. Lazer
State Formation in Early Modern Alsace, 1648-1789
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A richly documented study of early modern state formation, sovereignty, legitimacy, and comparative political culture in Alsace between the Peace of Westphalia and the French Revolution
Alsace, a contested borderland region with a long and obdurate German heritage, first became part of France after the Peace of Westphalia in 1648. Stephen Lazer's deeply researched book analyzes this history, focusing on Alsace itself rather than on the usual dichotomy between periphery and center. Lazer's narrative reveals how the French monarchy transformed this fractured borderland, which possessed neither fixed borders nor representative institutions,into something resembling a province. With only weak claims, France had to negotiate sovereignty with Alsace's many individual rulers. Those rulers then legitimized French rule, providing the administrative institutions and borders that Alsace lacked.
State Formation in Early Modern Alsace, 1648-1789, examines the wide range of power-sharing solutions the kings of France and Alsatian lords worked out between them through a close study offive territories ruled by the dukes of Pfalz-Zweibrücken-Birkenfeld. Some lands fell immediately to France; some required significant concessions; others contested the French bid for rulership. France eventually acquired all fiveterritories. The dukes, members of the Holy Roman Empire, nevertheless maintained their autonomy, especially in the administrative and confessional spheres. Indeed, ducal officials proved decisive enacting Alsace's new, mixed political culture on the ground. Lazer's research makes a much-needed contribution to our understanding of the process of state formation in early modern Europe.
STEPHEN A. LAZER is Lecturer of History at Arizona State University.
Michael Wood
Edinburgh German Yearbook 12
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In essays that examine particular non-canonical works and writers in their wider cultural context, this volume "repopulates" the German Enlightenment.
German literature and thought flourished in the eighteenth century, when a culture considered a European backwater came to assert worldwide significance. This was an age in which repeated attempts to reform German literary and philosophical culture were made - often only to be overtaken within a few decades. It ushered in generations of exceptionally gifted poets and thinkers including Klopstock, Lessing, Goethe, Kant, and Schiller, whose names still dominate our understanding of the German Enlightenment. Yet the period also brought with it new means of accessing and disseminating culture and a rapid increase in cultural production. The leading lights of eighteenth-century German culture operated against the backdrop of a yet more diverse and vivid cast of literary and philosophical figures since consigned to the second tier of German culture. Through essays that examine particular non-canonical works and writers in their wider cultural context, this collection repopulates the German Enlightenment with these largely forgotten movements, writers, and literary circles. It offers new insights into the development of genres such as thenovel, the fable, and the historical drama, and assesses the dynamics that led to individual authors, circles, and schools of thought being left behind in their time and passed over or inadequately understood to this day.
Contributors: Johannes Birgfeld, Stephanie Blum, Julia Bohnengel, Kristin Eichhorn, Sarah Vandegrift Eldridge, Jonathan Blake Fine, J. C. Lees, Leonard von Morzé, Ellen Pilsworth, Joanna Raisbeck, Ritchie Robertson, Michael Wood.
Michael Wood is British Academy Postdoctoral Fellow in German at the University of Edinburgh. Johannes Birgfeld teaches Modern German Literature at the University of the Saarland.
Kristy Kristy Boney
Dimensions of Storytelling in German Literature and Beyond
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Explores the storytelling of Anna Seghers and other 20th-century writers who faced the tensions between aesthetics and politically conscious writing, between conformity and resistance.
While Walter Benjamin, in his famous essay "The Storyteller" (1936), lamented the decline of the storytelling tradition in the age of the modernist novel, Anna Seghers and other twentieth-century German writers went on to chronicle the century's darkest days in creative and compelling ways. This volume is at its heart a tribute to Germanist Helen Fehervary, whose work, particularly on the prose of Anna Seghers, continues to inspire scholars who examine narration and storytelling. The subtitle quotation, "for once, telling it all from the beginning," is a translation of the phrase "einmal alles von Anfang an erzählen," from Seghers's exile novel Transit, in which she told notonly her own story but that of countless others who faced existential challenges in their attempts to escape the Nazi regime. This volume examines a number of such writers, exploring the tensions between aesthetics and politically conscious writing, as well as individual struggles involving conformity and resistance in a totalitarian state.
Contributors: Peter Beicken, Hunter Bivens, Kristy R. Boney, Ute Brandes, Stephen Brockmann, Sylvia Fischer, Jost Hermand, Kristen Hetrick, Robert C. Holub, Weijia Li, Elizabeth Loentz, Michaela Peroutková, Benjamin Robinson, Christiane Zehl Romero, Marc Silberman, Andy Spencer, Luke Springman, Amy Kepple Strawser, Jennifer Marston William.
Kristy R. Boney is Associate Professor of German at the University of Central Missouri. Jennifer Marston William is Professor of German and Head of the School of Languages and Cultures at Purdue University.
Robert L. Marshall
Bach and Mozart
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2020 CHOICE Outstanding Academic Title Award Winner
Interpretive and biographical essays by a major authority on Bach and Mozart probe for clues to the driving forces and experiences that shaped the character and the extraordinary artistic achievements of these iconic composers.
The essays in this volume, by one of America's leading authorities on Bach and Mozart, serve a single objective: to promote a deeper understanding of those two great composers both as supremely gifted creators and as human beings. Author Robert L. Marshall draws on a diverse range of interpretive strategies including both textual and musical criticism. Life and work are treated together, just as they were intermingled for the composers.
After a preliminary historiographical contemplation of the "Century of Bach and Mozart," fifteen numbered chapters follow in roughly chronological succession. Among the issues addressed: the artistic consequences of Bach's orphanhood, his relationship to Martin Luther, his attitude toward Jews, his relationship to his sons, the stages of his stylistic development, and his position in the history of music; and, moving to Mozart, the composer's portrayal in Amadeus, his wit, his indebtedness to J. S. Bach, and aspects of his compositional process.
The volume concludes with a factually informed speculation about what Mozart is likely to have done and to have composed, had he lived on for another decade or more.
ROBERT L. MARSHALL is Sachar Professor of Music emeritus, Brandeis University.
Amy Lynn Wlodarski
George Rochberg, American Composer
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Based on private diaries, correspondence, and unpublished writings, George Rochberg, American Composer, reveals the impact of personal trauma on the creative and intellectual work of a leading postmodern composer.
George Rochberg, American Composer, is the first comprehensive study devoted to tracing and putting into a rich cultural context the career of George Rochberg, widely acknowledged as one of the most prominent musical postmodernists. Drawing from unpublished materials including diaries, letters, sketches, and personal papers, the book traces the impact of two specific personal traumas--Rochberg's service as an infantryman in World War II and the premature death of his son--on his work as a leading composer, college educator, and public intellectual.
The book significantly expands our understanding of Rochberg's creative work by reconstructing and examining the earliest seeds of his aesthetic thinking--which took root while he served in Patton's Third Army--and following their development through his mature compositional period into the final stages of his long career. It argues that Rochberg's military service was a transformative life experience for the young humanist, one that crucially shaped his worldview and influenced his artistic creativity for the next sixty years. As such it reveals personal trauma and aesthetic recovery to be the basis of Rochberg's postwar ideas about humanism, musical quotation, and neotonality.
This book is available as an Open Access eBook under the Creative Commons license: CC-BY-NC. Support for this publication was provided by the Howard Hanson Institute for American Music at the Eastman School of Music at the University of Rochester.
Larson Powell
The Films of Konrad Wolf
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This is the first book in English on the films of Konrad Wolf (1925-1982), East Germany's greatest filmmaker, and puts Wolf in a larger European filmic and historical context.
Konrad Wolf (1925-1982) was East Germany's greatest filmmaker and also an influential public figure in his country's political and cultural life. As artist and representative of the GDR, he had to perform a complex balancing act between aesthetic conscience and political function, not unlike Brecht. His work covers almost the whole lifespan of the GDR, in a range of filmic styles and genres, from musicals to antifascist films to films of everyday life. This book, the first in English on Wolf's entire oeuvre, proposes that we understand his work as an archive both of his own personal experience and of the ideology of socialism, embedded in self-reflexive filmic forms and generic references that put Wolf in the vicinity of other filmmakers like Fassbinder, Wajda, and Tarkovsky. The book's comparativist dimension, as well as its larger examination of the problems of a politically committed artist in state socialism, will make it of interest to all readers concerned with late-twentieth-century film history, art under socialism, and the history of East Germany and Eastern Europe.
Larson Powell is Curator's Professor of Film Studies at University of Missouri, Kansas City. He has published The Technological Unconscious (2008); The Differentiation of Modernism (2013), and edited volumes on German television and on classical music in the GDR.
Michael Lasser
City Songs and American Life, 1900-1950
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An insightful look at the urban sensibility that gives the Great American Songbook its pizzazz.
Nothing defines the songs of the Great American Songbook more centrally than their urban sensibility. During the first half of the twentieth century, songwriters such as Harold Arlen, Irving Berlin, Dorothy Fields, George and IraGershwin, and Thomas "Fats" Waller flourished in New York City, the home of Tin Pan Alley, Broadway, and Harlem. Through their songs, these artists described America -- not its geography or politics, but its heart -- to Americansand to the world at large.
In City Songs and American Life, 1900-1950, renowned author and broadcaster Michael Lasser offers an evocative and probing account of the popular songs -- including some written originally for the stage or screen -- that America heard, sang, and danced to during the turbulent first half of the twentieth century. Many songs portrayed the glamor of Broadway or the energy and Jazz Age culture of Harlem. But a city-bred spirit -- or even a specifically New York City way of feeling and talking -- also infused other widely known and loved songs, stretching from the early decades of the century to the Twenties (the age of the flapper, bathtub gin, and women's right to vote), the Great Depression, and, finally, World War II.
Lasser's deftly written book demonstrates how the soul of city life -- as echoed in the nation's songs -- developed and changed in tandemwith economic, social, and political currents in America as a whole.
Michael Lasser, a former teacher and theater critic, is host of the syndicated public-radio show Fascinatin' Rhythm (winner of the Peabody Award) and the author of two previous books.
Support for this publication was provided by the Howard Hanson Institute for American Music at the Eastman School of Music at the University of Rochester.
Daniel Abraham
Leonard Bernstein and Washington, DC
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Bold new essays demonstrate how Leonard Bernstein influenced American culture, society, and politics through his conducting, composing, political relationships, and activism.
Composer, conductor, activist, and icon of twentieth-century America, Leonard Bernstein (1918-90) had a rich association with Washington, DC. Although he never lived there, the US capital was the site of some of the most important moments in his life and work, as he engaged with the nation's struggles and triumphs. By examining Bernstein through the lens of Washington, DC, this book offers new insights into his life and music from the 1940s through the 1980s, including his role in building the city's artistic landscape, his political-diplomatic aims, his works that received premieres and other early performances in Washington, and his relationships with the nation's liberal and conservative political elites. The collection also contributes new perspectives on twentieth-century American history, government, and culture, helping to elucidate the political function of music in American democracy.
The essays in Leonard Bernstein and Washington, DC, all newly written by leading authorities, situate this important American cultural figure in the seat of United States government. The result is a fresh new angle on Leonard Bernstein, American politics, and American culture in the second half of the twentieth century.
Marcie Ray
Coquettes, Wives, and Widows
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A revelatory study of how composers and dramatists of seventeenth- and eighteenth-century France criticized and trivialized independent women in their portrayals of them in works of theater and opera.
Seventeenth- and eighteenth-century French theatrical works created an uneasy dialogue with the often-blistering depictions of marriage in contemporary writings by literary women. For over a century, composers and librettists attempted to silence such anti-traditionalist views through dramas that ridicule, banish, or, even more violently, silence and subjugate female characters who resist marriage. These dramas portray independent-minded women as agents ofchaos who deploy their sexuality to destabilize class demarcations, or to destroy families and at times the monarchy itself.
Coquettes, Wives, and Widows: Gender Politics in French Baroque Opera and Theater shows how dramatists wrested narratives away from women and weaponized those narratives in a defense of the status quo. It examines a wide range of works of different types: from Jean-Philippe Rameau's Platée, ou Junon jalouseand André Campra's Aréthuse, ou la Vengeance de l'Amour to representative works from the Comédie Française, the Comédie Italienne, and the fairgound theaters. Each theater offered denigrating portraits of independent womenas dissolute, obstinate, and extremist.
The operas and other theatrical works explored in Coquettes, Wives, and Widows reveal who (in the view of many at the time) should exercise authority to make choices aboutwomen's lives. They also give evidence of widespread fears about how society might change if it were to grant women themselves that responsibility.
Nina Schmidt
The Wounded Self
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Takes the recent wave of German autobiographical writing on illness and disability seriously as literature, demonstrating the value of a literary disability studies approach.
In the German-speaking world there has been a new wave - intensifying since 2007 - of autobiographically inspired writing on illness and disability, death and dying. Nina Schmidt's book takes this writing seriously as literature,examining how the authors of such personal narratives come to write of their experiences between the poles of cliché and exceptionality. Identifying shortcomings in the approaches taken thus far to such texts, she makes suggestions as to how to better read their narratives from the stance of literary scholarship, then demonstrates the value of a literary disability studies approach to such writing with close readings of Charlotte Roche's Schoßgebete(2011), Kathrin Schmidt's Du stirbst nicht (2009), Verena Stefan's Fremdschläfer (2007), and - in the final, comparative chapter - Christoph Schlingensief's So schön wie hier kanns im Himmel gar nicht sein! Tagebuch einer Krebserkrankung (2009) and Wolfgang Herrndorf's blog-cum-book Arbeit und Struktur (2010-13). Schmidt shows that authors dealing with illness and disability do so with an awareness of their precarious subject position in the public eye, a position they negotiate creatively. Writing the liminal experience of serious illness along the borders of genre, moving between fictional and autobiographical modes, they carve out spaces from which they speak up and share their personal stories in the realm of literature, to political ends.
Nina Schmidt is a postdoctoral researcher in the Friedrich Schlegel Graduate School of Literary Studies at the Freie Universität Berlin.
Maria Roca Lizarazu
Renegotiating Postmemory
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With the disappearance of the eyewitness generation and the globalization of Holocaust memory, this book interrogates key concepts in Holocaust and trauma studies through an assessment of contemporary German-language Jewish authors.
In the shifting media landscape of the twenty-first century, the second and third generations of German-language Jewish authors are grappling with the disappearance of the eyewitness generation and the hyper-mediation and globalization of Holocaust memory. Benjamin Stein, Maxim Biller, Vladmir Vertlib, and Eva Menasse each experiment with new approaches towards Holocaust representation and the Nazi past. This book investigates major shifts in Holocaust memory since the turn of the millennium, and argues that the works of these authors call for a much-needed reassessment of key concepts and terms in Holocaust discourse such as authenticity, empathy, normalization, representation, traumatic unspeakability, and postmemory. Drawing on current research in media, memory, cultural, and literary studies, Maria Roca Lizarazu develops a fresh approach which challenges the dominant focus on traumatic unspeakability by engaging with the culturally mediated travels of transgenerational and transnational contemporary Holocaust memory. Roca Lizarazu pays special attention to ethical and aesthetic challenges of contemporary Holocaust memory and how these are addressed in the medium of contemporary German-language literature. This book offers a critical new perspective on the central paradigms informing recent Holocaust and trauma studies scholarship and, in doing so, provides novel insights into a new generational approach towards Holocaust remembrance and representation.
MARIA ROCA LIZARAZU is a Leverhulme Early Career Fellow in the Department of Modern Languages at the University of Birmingham, UK.
Jeanice Brooks
Nadia Boulanger
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The first collection ever of essays and reviews by the renowned pedagogue, composer, and conductor, providing fresh perspectives on her musical influence and impact.
The impact of Nadia Boulanger (1887-1979) on twentieth-century music was vast: as composer, keyboard performer, conductor, impresario, and pedagogue. Her extensive musical networks included figures such as Fauré, Stravinsky, and Poulenc, and her advocacy helped establish the compositions of her sister Lili Boulanger.
Few today realize, though, that Boulanger wrote numerous essays and reviews at various times in her career. These offer unparalleled insight into her thinking and illuminate aspects of musical culture in Europe and America from the rare point of view of an internationally prominent female artist.
Nadia Boulanger: Thoughts on Music provides a translation and critical edition of selected writings chosen for their quality and interest. The previously published articles and essays have never been reissued since their original appearance; the remaining materials are presented to readers here for the first time. The volume renders all these materials widely available, providing an important new resource for teaching and scholarship on twentieth-century music as well as an engaging collection of musical essays for the general reader.
Edward Nowacki
Greek and Latin Music Theory
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A long-needed overview of, and guide to, the principles behind the treatises on music theory written in ancient Greece and Rome and continuing through the Middle Ages.
Long recognized as a foundation of musical composition, criticism, pedagogy, and appreciation, the literature of ancient and medieval music theory has maintained its strong position in the academic curriculum up to the present day. Now blessed with fine English translations of many of the ancient and medieval authors, modern students of music theory have advantages that their predecessors lacked just a few generations ago. Yet the ancient writings by themselves do not yield to easy comprehension. They need expository help. In this collection of fifteen topical essays, the author offers a contribution to that educational goal. Covering a dense theoretical literature from the classical period of ancient Greece to the sixteenth century of the Common Era, these essays present a detailed examination of subjects of concern not only to specialists in the history of theory, but to scholars of the general history ofancient Greek music and the liturgical plainchant of the medieval West.
More than just a collection of specialized studies or a syllabus of obligatory learning, these essays present a persistent reflection on the timelessness of theoretical questions that engaged our musical forebears and that still engage us today. The author's approach is perennialist. It teaches us things about our musical heritage that never go away.
Professor Siobhán Donovan
Edinburgh German Yearbook 13
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Volume 13 deals with the interaction of music and politics, considering a broad range of genres, authors, composers, and artists in Germany since the nineteenth century.
A particularly iconic image of German Reunification is that of Mstislav Rostropovich playing from J. S. Bach's cello suites in front of the Berlin Wall on November 11, 1989. Thirty years on, it is timely to reconsider the cross-fertilization of music and politics within the German-speaking context. Frequently employed as a motivational force, a propaganda tool, or even a weapon, music can imbue a sense of identity and belonging, triggering both comforting and disturbing memories. Playing a key role in the formation of Heimat and "Germanness," it serves ideological, nationalistic, and propagandistic purposes conveying political messages and swaying public opinion. This volume brings together essays by historians, literary scholars, and musicologists on topics concerning the increasing politicization of music, especially since the nineteenth century. They cover a broad spectrum of genres, musicians, and thinkers, discussing the interplay of music and politics in "classical" and popular music: from the rediscovery and repurposing of Martin Luther in nineteenth-century Germany to the exploitation of music during the Third Reich, from the performative politics of German punk and pop music to the influence of the events of 1988/89 on operatic productions in the former GDR - up to the relevance of Ernst Bloch in our contemporary post-truth society.
Professor Muriel Cormican
The Tender Gaze
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By exploring the concept of the "tender gaze" in German film, theater, and literature, this volume's contributors illustrate how perspective-taking in works of art fosters empathy and prosocial behaviors.
The gaze, understood as a way of looking at others that involves contemplation and the operation of power, has an extensive history of iterations such as the male gaze (Mulvey), the oppositional gaze (hooks), and the postcolonial gaze (Said). This essay collection develops a supplemental theory of what Muriel Cormican has coined the "tender gaze" and traces its occurrence in German film, theater, and literature. More than qualifying the primarily voyeuristic, narcissistic, and sexist impetus of the male gaze, the tender gaze also allows for a differentiated understanding of the role identification plays in reception, and it highlights various means of eliciting a sociopolitical critique in works of art. Emphasizing the humanizing potential of the tender gaze, the contributors argue that far from simply exciting emotional contagion, affect in art promotes an altruistic, rational, and fundamentally ethical relationship to the other. The tender gaze elucidates how perspective-taking operates in art to foster empathy and prosocial behaviors. Though the contributors identify instances of the tender gaze in artistic production since the early nineteenth century, they focus on its pervasiveness in contemporary works, corresponding to twenty-first-century concerns with implicit bias and racism.
Mónica Jato
Fractured Frontiers
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A comparative study of "inner" and "territorial" forms of literary exile under Nazism and Francoism, proposing an integrative model of exile that emphasizes common approaches and themes rather than division.
Writers opposed to National Socialism or Francoism have been considered either territorial exiles, who left their country, or "inner exiles," who did not. Those who stayed were initially accorded greater status, while those who left were denigrated. With time, however, there was a growing recognition of the hardship and achievements of territorial exiles and increasing criticism of inner exiles. Later critical debates have perpetuated this fissure and failed to explore the similar origins and assumptions of the two forms of exile. This book adopts a unique cross-cultural approach, illuminating the shared roots of opposition across the two cultures and exilic settings. It challenges the traditional divide, demonstrating striking similarities in terminology, exilic identities, and literary concerns, between not only "inner" and "outer" but also the German and Spanish contexts. The study offers new perspectives on the literary historiography of twentieth-century Germany and Spain, showing how, in the impact and consequences of dictatorship, the histories of the two countries intersect. It is thus of interest to literary historiansand students of German and Spanish literature, and it also, because it provides English translations of all quotations, serves as an introduction for English-speaking readers to this poorly understood phenomenon and its implications for other exilic settings.
Mónica Jato is Reader and John Klapper is Emeritus Professor in the Department of Modern Languages, University of Birmingham, UK.
Agnes Mueller, Katja Garloff
German Jewish Literature after 1990
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Edited volume tracing the development of a new generation of German Jewish writers, offering fresh interpretations of individual works, and probing the very concept of "German Jewish literature."
The 1990 reunification of Germany gave rise to a new generation of writers who write in German, identify as both German and Jewish, and often also sustain cultural affiliations with places such as Russia, Azerbaijan, or Israel. This edited volume traces the development of this new literature into the present, offers fresh interpretations of individual works, and probes the very concept of "German Jewish literature." A central theme is the transformation ofmemory at a time when the Holocaust is moving into greater historical distance while the influx of new immigrant groups to Germany brings other past trauma into view. The volume's ten original essays by scholars from Europe and the US reframe the debates about Holocaust memory and contemporary German culture. The concluding interviews with authors Mirna Funk and Olga Grjasnowa offer a glimpse into the future of German Jewish literature.
Contributors: Luisa Banki, Caspar Battegay, Helen Finch, Mirna Funk, Katja Garloff, Olga Grjasnowa, Elizabeth Loentz, Andree Michaelis-König, Agnes Mueller, Jessica Ortner, Jonathan Skolnik, Stuart Taberner.
Katja Garloff is Professor of German and Humanities at Reed College. Agnes Mueller is the College of Arts & Sciences Distinguished Professor of the Humanities at the University of South Carolina.
Bonny H. Miller
Augusta Browne
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The first comprehensive biography of any American woman musician born before the Civil War brings to life a composer whose story is both old-fashioned and strikingly modern.
Honourable Mention, AMS H. Robert Cohen/RIPM Award
Augusta Browne's five-decade career in music and letters reveals a gifted composer and author. Hailed as "one of the most prolific women composers in the USA before 1870," Augusta Browne Garrett (c. 1820-1882) was also a dedicatedmusic educator and music journalist. The Americanness of her story resounds across the decades: an earnest little girl growing up amidst a troubled family business; a young professor of music who burst onto the New York City musical scene; and an entrepreneur who resolutely sought publication of her music and prose to her final day. In Augusta Browne: Composer and Woman of Letters in Nineteenth-Century America, author Bonny Miller presents Browne'sunfamiliar story, assesses her musical works, and describes her literary publications.
Browne's outsider status and self-agency offer a potent narrative that transcends antebellum and Victorian-era norms. She used the public arena of newspapers and magazines as conduits for her work during an era when women were ridiculed for public speaking. And yet in many ways her persona as a tenacious entrepreneur conflicted with her adherence to strict Christian precepts, despite her assertion of woman's equality with man.
Making use of recently digitized sheet music as well as archives of newspapers and books of the period, Miller's narrative provides the first-ever comprehensive, nuanced account of this notable life in American music.
Emily Jeremiah
Willful Girls
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Explores the process of "becoming woman" through an analysis of the depiction of girls and young women in contemporary Anglo-American and German literary texts.
What does it mean to "become woman" in the context of neoliberalism and postfeminism? What is the role of will in this process? Willful Girls explores these questions through an analysis of the depiction of girls and youngwomen in contemporary Anglo-American and German literary texts. It identifies four sets of concerns that are vital for an understanding of gendered subject formation in the contemporary context: agency and volition; body and beauty; sisterhood and identification; and sex and desire. The book examines numerous nonfiction feminist texts as well as novels by Helene Hegemann, Caitlin Moran, Charlotte Roche, Emma Jane Unsworth, Kate Zambreno, and Juli Zeh, among others. These texts illustrate the complex processes by which female subjects become women today. Failure, refusal, disgust, and anger are striking features of these becomings.
Drawing on the work of Sara Ahmed (Willful Subjects) and thinkers including Simone de Beauvoir, Rosi Braidotti, and Elizabeth Grosz, the book demonstrates the significance of willfulness for understandings and assertions of female agency. In addition, it proposesa view of literary works themselves as instances of willfulness. The book will be of interest to scholars working in comparative literature, English, German studies, and feminist, gender, and queer studies.
Emily Jeremiah is Senior Lecturer in German and Gender Studies at Royal Holloway, University of London.
Seán Allan
Inspiration Bonaparte?
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"In the Beginning was Napoleon"--"Napoleon and no end": Inspiration Bonaparte explores German responses to Bonaparte in literature, philosophy, painting, science, education, music, and film from his rise to the present.
Two hundred years after his death, Napoleon Bonaparte (1769-1821) continues to resonate as a fascinating, ambivalent, and polarizing figure. Differences of opinion as to whether Bonaparte should be viewed as the executor of the principles of the French Revolution or as the figure who was principally responsible for their corruption are as pronounced today as they were at the beginning of the nineteenth century. Contributing to what had been an uneasy German relationship with the French Revolution, the rise of Bonaparte was accompanied by a pattern of Franco-German hostilities that inspired both enthusiastic support and outraged dissent in the German-speaking states. The fourteen essays that comprise Inspiration Bonaparte examine the mythologization of Napoleon in German literature of the nineteenth and twentieth centuries and explore the significant impact of Napoleonic occupation on a broad range of fields including philosophy, painting, politics, the sciences, education, and film. As the contributions from leading scholars emphasize, the contradictory attitudes toward Bonaparte held by so many prominent German thinkers are a reflection of his enduring status as a figure through whom the trauma of shattered late-Enlightenment expectations of sociopolitical progress and evolving concepts of identity politics is mediated.
Nicholas A. Germana
The Anxiety of Autonomy and the Aesthetics of German Orientalism
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A history of Kantian and post-Kantian thought and of a foundational stage of German orientalism.
German orientalism has been understood, variously, as a form of latent colonialism, as a quest for academic hegemony in Europe, and as an effort to diagnose and treat the ills of modern Western culture. Nicholas Germana identifiesa different impetus for orientalism in German thought, seeing it as an effort to come to grips with the Other within German society at the turn of the nineteenth century and within the dynamics of subjectivity itself. Drawing largely on work by feminist scholars, the book uncovers an anxiety at the core of Kantian and post-Kantian thought, thus shedding light on its derogation (or elevation) of Oriental cultures. Kant's philosophy of freedom is a construction of modern, Western masculinity. Reason, which alone can make freedom possible, subverts and orders chaotic nature and protects the rational subject from the enervating influences of the senses and the imagination. The feminized, sexually charged Orient is a threat to the historical achievement of Western male rationality. Germana's book emphasizes aesthetics in the German orientalist discourse, a subject that has received little attention todate. In this tradition of German thought, aesthetics became a form of spiritual anthropology, ordering and classifying societies, races, and genders in terms of their ability to master the senses and the imagination, forces thatundermine rational autonomy, the very source of human (i.e., masculine) dignity.
Nicholas A. Germana is Professor of History at Keene State College, New Hampshire.
Professor Toyin Falola
African Islands
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Explores the culturally complex and cosmopolitan histories of islands off the African coast
Islands and island chains like Cabo Verde, Madagascar, and Bioko are often sidelined in contemporary understandings of Africa in which mainland nation-states take center stage in the crafting of historical narratives. Yet in the modern period, these small offshore spaces have often played important if inconsistent roles in facilitating intra- and intercontinental exchanges that have had lasting effects on the cultural, economic, and political landscape of Africa.
In African Islands: Leading Edges of Empire and Globalism, contributors argue for the importance of Africa's islands in integrating the continent into wider networks of trade and migration that links it with Asia, Europe, and the Americas. Essays consider the cosmopolitan and culturally complex identities of Africa's islands, analyzing the process and extent to which trade, slavery, and migration bonded African elements with Asian, Arabic, and European characteristics over the years. While the continental and island nations have experienced similar cycles of invasion, boom, and bust, essayists note both similarities and striking differences in how these events precipitated economic changes in the different geographic areas. This book, a much-needed broadly comparative study of the African islands, will be an important resource for students and scholars of the region and of topics such as colonialism, economic history, and cultural hybridity.
TOYIN FALOLA is Jacob and Frances Sanger Mossiker Chair in the Humanities and Professor of History at the University of Texas at Austin. R. JOSEPH PARROTT is Assistant Professor of History at Ohio State University. DANIELLE PORTER SANCHEZ is Assistant Professor of History at Muhlenberg College.
Barry Charles Tharaud
Paul Bowles
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Shows that the writings of Paul Bowles, who is often seen as a literary renegade, owe much to the antinomian American tradition of Emerson and his literary descendants.
Paul Bowles has often been considered a cult writer, a literary renegade: he lived more than fifty years as an expatriate in Morocco, and according to Norman Mailer, his works "let in the murder, the drugs, the incest . . . the call of the orgy, the end of civilization." In recent decades Bowles has found greater acceptance as a serious writer, as evidenced by the two-volume, 2,000-page Library of America edition of his works published in 2002. Still, he has rarely if ever been seen as having written in the antinomian tradition of Emerson and his literary descendants. The present book makes the case for doing so by demonstrating basic Emersonian attitudes and objectives in Bowles' life and works, especially in his focus on human consciousness and perception and on the need for the individual to escape from the trammels of social and cultural conditioning. Bowles' intellectual pursuits seem to have developed at first from his own spontaneous attitudes, which were then reinforced by his conservative and individualistic New England background on both sides of his family and deepened by a serious study of anthropology, Emersonian transcendentalism, and related "Oriental" thought such as the theosophy of Krishnamurti. Despite his half century in Tangier, Bowles is a writer who is thoroughly "in the American grain."
Peter Davies
Witness between Languages
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Shows how making translation and its effects visible contributes to a clearer understanding of how knowledge about the Holocaust has been and continues to be created and mediated.
A growing body of scholarship is making visible the contribution of translators to the creation, preservation, and transmission of knowledge about the Holocaust. The discussion has tended to be theoretical or to concentrate on exposing the "distorted" translations of texts by important witnesses such as Anne Frank or Elie Wiesel. There is therefore a need for a positive, concrete, and contextually aware approach to the translation of Holocaust testimonies that acknowledges the achievements of translators while being sensitive to the consequences of particular translation strategies. Peter Davies's study proceeds from the assumption that translators are active co-creators whose work does not simply mediate a pre-existing text, but creates a representation of that text for a new readership in a specific context. Translators of Holocaust testimonies, then, provide a form of textual commentary that works through ideas about witnessing, historical truth, and the meaning of the Holocaust. In this way they are important co-creators of knowledge about the Holocaust and its legacy.
The study focuses on translations between English and German, and from other languages (principally French, Russian, and Polish) into English and German. It works through a number of case studies, showing how making translation and its effects visible contributes to a clearer understanding of how knowledge about the Holocaust has been and continues to be created and mediated.
Peter Davies is Professor of German at the University of Edinburgh.
Andrew Wright Hurley
Ludwig Leichhardt's Ghosts
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A fascinating cultural studies account of the "afterlife" of Leichhardt, revealing both German entanglement in British colonialism in Australia, and in a broader sense, what happens when we maintain an open stance to the ghosts ofthe past.
After the renowned Prussian scientist and explorer Ludwig Leichhardt left the Australian frontier in 1848 on an expedition to cross the continent, he disappeared without a trace. Andrew Hurley's book complicates that view by undertaking an afterlife biography of "the Humboldt of Australia." Although Leichhardt's remains were never located, he has been sought and textually "found" many times over, particularly in Australia and Germany. He remains a significant presence, a highly productive ghost who continues to "haunt" culture. Leichhardt has been employed for all sorts of political purposes. In imperial Germany, he was a symbol of pure science, but also a bolster for colonialism. In the 20th century, he became a Nazi icon, a proto-socialist, the model for the protagonist of Nobel laureate Patrick White's famous novel Voss, as well as a harbinger of multiculturalism. He has also been put to useby Australian Indigenous cultures. Engaging Leichhardt's ghosts and those who have sought him yields a fascinating case study of German entanglement in British colonialism in Australia. It also shows how figures from the colonialpast feature in German and Australian social memory and serve present-day purposes. In an abstract sense, this book uses Leichhardt to explore what happens when we maintain an open stance to the ghosts of the past.
Andrew Wright Hurley is Associate Professor in German Studies at the University of Technology Sydney. His book Into the Groove: Popular Music and Contemporary German Fiction was published by Camden House in 2015.
Lou Andreas-Salomé
Anneliese's House
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The first English translation of a presciently modern portrayal of emerging feminist sensibilities in a nineteenth-century family, by one of Germany's leading pre-First World War writers.
Best known now for her involvement with Nietzsche, Rilke, and Freud, Lou Andreas-Salomé (1861-1937) first became famous for fiction and criticism that engaged provocatively with "the woman question." In recent years, the author's literary treatment of the challenges facing women in a patriarchal society has awakened renewed interest. Anneliese's House is the first English translation of her last and most masterful work of fiction, the 1921 Das Haus: Familiengeschichte vom Ende vorigen Jahrhunderts (The House: A Family Story from the End of the Nineteenth Century). Anneliese Branhardt, the book's protagonist, long ago renounced a career as a pianist to raise a family with her physician husband, Frank. She worries about her son Balduin - an aspiring poet modeled on Rilke - and about her equally free-spirited daughter Gitta. She is haunted by memories of a daughter who died in childhood and anxious about a risky, late pregnancy. With her domestic harmony threatened by her own stirrings of autonomy and her children's growing independence, Anneliese finds the future both frightening and promising. The edition is fully annotated, with a critical introduction and bibliography.
Professor John B. Lyon
Fontane in the Twenty-First Century
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Assesses the relevance of the works of Fontane, perhaps the foremost German novelist between Goethe and Mann, for the twenty-first century.
Theodor Fontane remains a canonical figure in German literature, the most important representative of poetic realism, and likely the best German-language novelist between Goethe and Mann, yet scholarly attention to his works oftenlags behind his stature, at least in the English-speaking academy. This volume, coinciding with Fontane's 200th birthday in 2019, assesses the relevance of his works for us today and also draws attention to the most current English-language research. Much has changed in the last two decades in critical theory, and the volume highlights how new methodological approaches and new archival research can update our understanding of Fontane's works. Although his novels are famously rooted in the details of quotidian life in nineteenth-century Germany, they also reflect larger historical transformations that resonate with our world today (e.g., financial crisis, class conflict, changing gender roles, and migration) and so speak to contemporary critical interests. The volume's contributors draw on literary and cultural studies approaches including gender and sexuality studies, emotion studies, transnationalismand globalization, media and visual studies, rhetorical criticism, paratextual criticism, and digital humanities. Their contributions survey a wide range of Fontane's literary production in order to speak to both German and non-German audiences in the twenty-first century.
Contributors: James N. Bade, Russell A. Berman, Katharina Adeline Engler-Coldren, Todd Kontje, John B. Lyon, Ervin Malakaj, Nicolas von Passavant, Lynne Tatlock, Christian Thomas, Brian Tucker, Michael J. White, Holly A. Yanacek.
John B. Lyon is Professor of German at the University of Pittsburgh. Brian Tucker is Associate Professor of German at Wabash College.
Ernst Josef Aufricht
And the Shark, He Has Teeth
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First English translation of the memoirs of the vaunted theater producer Aufricht, providing an inside account of the late Weimar theater scene in Berlin and much else of interest.
This is the first English translation of the memoirs of the great German-Jewish theater producer Ernst Josef Aufricht (in German 1966, rpt. 1998). The title alludes to Brecht and Weill's Threepenny Opera, the premiere of which was produced by Aufricht at his Theater am Schiffbauerdamm in Berlin in 1928, launching Brecht and Weill to worldwide fame. Aufricht's book is most notable for its insider's account of the Berlin theater scene from the great days of the late 1920s and early 30s. Its range, however, from school years and the military to his time as an actor and then producer, the rise of the Nazis, and finally his long years of exile in France and America, gives the picture of a complex individual with a talent for survival and a winningly understated sense of humor. The book will be of interest to an academic audience, but its reflections on a period of momentous artistic and political events will expand its appeal to a wider group: those interested in twentieth-century German history, music and theater history, as well as the general reader. A selection of photographs, some rare and many showing Aufricht's famous productions, enhances this English edition.
Benjamin Bloch is a clinical psychologist who studied German and English Literature at Oberlin College. Marc Silberman is Emeritus Professor of German at the University of Wisconsin.
Paula Musegades
Aaron Copland's Hollywood Film Scores
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A pioneering study of how American composer Aaron Copland helped shape the sound of the Hollywood film industry and introduced the moviegoing public to modern musical styles.
One of the most influential and beloved American composers, Aaron Copland played a critical role in shaping what is often recognized as the "American sound." He is best known for achieving this through his works for the concert hall and ballet. Yet his film scores, though less familiar nowadays, were equally influential.
Between 1939 and 1949, Copland composed the music for five major Hollywood films: Lewis Milestone's Of Mice and Men (1939), Sam Wood's Our Town (1940), Lewis Milestone's The North Star (1943) and The Red Pony (1949), and William Wyler's The Heiress (1949). These were high-prestige projects, based on literary works by such respected figures as Henry James, Lillian Hellman, and John Steinbeck.
Using the film medium to introduce the moviegoing public to modern musical styles, Copland challenged Hollywood's traditional uses of music in film. His innovative approaches enhanced important national themes running through these films while also contributing to Hollywood's transformation as the Great Depression gave way to wartime tribulation and, eventually, postwar prosperity and Red Scare paranoia. Aaron Copland's Hollywood Film Scores explores Copland's scores, interviews, and lectures, tracing his legacy and lasting influence on Hollywood's sound.
Richard Anderson
Liberated Africans and the Abolition of the Slave Trade, 1807-1896
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Interrogates the development of the world's first international courts of humanitarian justice and the subsequent "liberation" of nearly two hundred thousand Africans in the nineteenth century.
In 1807, Britain and the United States passed legislation limiting and ultimately prohibiting the transoceanic slave trade. As world powers negotiated anti-slave-trade treaties thereafter, British, Portuguese, Spanish, Brazilian,French, and US authorities seized ships suspected of illegal slave trading, raided slave barracoons, and detained newly landed slaves. The judicial processes in a network of the world's first international courts of humanitarian justice not only resulted in the "liberation" of nearly two hundred thousand people but also generated an extensive archive of documents. Liberated Africans and the Abolition of the Slave Trade, 1807-1896 makes use of theserecords to illuminate the fates of former slaves, many of whom were released from bondage only to be conscripted into extended periods of indentured servitude.
Essays in this collection explore a range of topics relatedto those often referred to as "Liberated Africans"-a designation that, the authors show, should be met with skepticism. Contributors share an emphasis on the human consequences for Africans of the abolitionist legislation. The collection is deeply comparative, looking at conditions in British colonies such as Sierra Leone, the Gambia, and the Cape Colony as well as slave-plantation economies such as Brazil, Cuba, and Mauritius. A groundbreaking intervention in the study of slavery, abolition, and emancipation, this volume will be welcomed by scholars, students, and all who care about the global legacy of slavery.
Sharon R. Harrow
Adapting the Eighteenth Century
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A collection of pedagogical essays that presents proven strategies for the teaching of adaptation and eighteenth-century texts
The eighteenth century was a golden age of adaptation: classical epics were adapted to contemporaneous mock-epics, life writing to novels, novels to plays, and unauthorized sequels abounded. In our own time, cultural products of the long eighteenth century continue to be widely adapted. Early novels such as Robinson Crusoe and Gulliver's Travels, the founding documents of the United States, Jane Austen's novels, Mary Shelley's Frankenstein-all of these have been adapted so often that they are ubiquitous cultural mythoi, even for people who have never read them. Eighteenth-century texts appear in consumer products, comics, cult mashups, fan fiction, films, network and streaming shows, novels, theater stagings, and web serials.
Adapting the Eighteenth Century provides innovative, hands-on pedagogies for teaching eighteenth-century studies and adaptation across disciplines and levels. Among the works treated in or as adaptations are novels by Austen, Defoe, and Shelley, as well as the current worldwide musical sensation Hamilton. Essays offer tested models for the teaching of practices such as close reading, collaboration, public scholarship, and research; in addition, they provide a historical grounding for discussions of such issues as the foundations of democracy, critical race and gender studies, and notions of genre. The collection as a whole demonstrates the fruitfulness of teaching about adaptation in both period-specific and generalist courses across the curriculum.
Jean-Jacques Nattiez
Musical Analyses and Musical Exegesis
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Here translated for the first time, Jean-Jacques Nattiez's widely hailed comparative guide to the techniques of music analysis focuses on a single vivid passage from Wagner's Tristan and Isolde.
The field of musicology has in recent decades branched out to incorporate methods from a wide range of other fields. But, when scholars examine a musical work, to what extent should they emphasize immanent (purely internal) features, and to what extent historical, cultural, psychological, or aesthetic networks of meanings associated with those features? Finally, what specific analytical method should be chosen, given that various methods can lead to seemingly incompatible results?
Jean-Jacques Nattiez, a renowned figure in music theory, musicology, and ethnomusicology, here examines numerous contending approaches that have been applied to the English-horn melody heard in Wagner's Tristan and Isolde. His aim is to offer thereby a methodological guide and compendium that will allow specialists and students alike to navigate the multiplicity of theoretical orientations in musicology.
Analytical models proposed by Heinrich Schenker, Nicolas Ruwet, Leonard B. Meyer, Fred Lerdahl, and other notable figures in the field of music analysis are discussed. Some of the analytical sketches by these scholars were previously unpublished and are presented to the public for the first time in the present book. The author also considers insights from the fields of psychology and psychoanalysis. An examination of Wagner's wide-ranging musical sources (Venetian gondolier songs and Swiss shepherd songs) leads to acutely relevant passages in writings by Rousseau, Goethe, and Schopenhauer. The book culminates in Nattiez's own interpretation of the relationship between vocal and instrumental music in Tristan and Isolde. Jean-Jacques Nattiez is professor emeritus of musicology at the Université de Montréal.
Paul Lauter
Our Sixties
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The social movements of the 1960s - still vital and challenging - seen through the author's experiences as a civil rights activist, a feminist, an antiwar organizer, and a radical teacher.
Today, some fifty years after, we celebrate - or excoriate - "the Sixties." Using his wide-ranging experience as an activist and writer, Paul Lauter examines the values, the exploits, the victories, the implications, and sometimes the failings, of the "Movement" of that conflicted time. In Our Sixties, Lauter writes about movement activities from the perspective of a full-time participant: 1964 Mississippi freedom schools; Students for a Democratic Society (SDS); the Morgan community school in Washington, DC, which he headed; a variety of antiwar, antidraft actions; the New University Conference, a radical group of faculty and graduate students; The Feminist Press, which he helped found; and the United States Servicemen's Fund, an organization supporting antiwar GIs. He got fired, got busted, got published, and even got tenure. He honed his skills writing for the New York Review of Books among other magazines. As a teacher he created innovative courses ranging from "Revolutionary Literature" and "Contesting the Canon" to "The Sixties in Fiction, Poetry, and Film." He led the development of the groundbreaking Heath Anthology of American Literature and remains its general editor.
Lauter's book offers both a retrospective look at the social justice struggles of the Sixties and an account of how his participation in these struggles has shaped his life. Social history as well as personal chronicle, this account is for those who recall that turbulent decade as well as for those who seek to better understand its impact on American politics and society in our current era.
Jim Pearce, Ward J. Risvold
Renaissance Papers 2017
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This year's volume offers many contributions on early modern drama alongside essays probing identity, iconography, and devotional imagery in religious spaces and artworks.
Renaissance Papers collects the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The 2017 volume opens with a trio of essays probing identity, iconography, and devotional imagery in connection with the sacred spaces of St. Paul's Cathedral and of the Bichi Chapel frescoes in the Church of St. Agostino in Siena, as well as with Francisco de Zurburán's Crucifixion with a Painter. The majority of the volume'sessays concern early modern drama: botany and the body in Titus Andronicus; Ovidian sleep in Romeo and Juliet, The Winter's Tale, and Othello; chivalry in Richard II and 1 Henry IV; transhumanist discourse in Othello; obedience and devils in Dr. Faustus, and domesticity and commerce in A Chaste Maid in Cheapside. The focus then shifts to the non-dramatic with reconsiderations of the intertextualities in Shakespeare's The Rape of Lucrece and the paratextualities in Salve Deus Rex Judaeorum. The final essay, on the Faerie Queene, explores the intended and unintended literary consequences of pairing humor with death.
Contributors: Jasmin W. Cyril, Lisandra Estevez, Tony Perrello, Emily Johnson Roberts, Rachel M. De Smith Roberts, Deneen M. Sensai, Margaret Simon, Elisha Sircy, Susan C. Staub, Frances Teague, John N.Wall, Lewis Walker.
The journal is edited by Jim Pearce of North Carolina Central University and Ward J. Risvold of the University of California, San Diego.
Karin Baumgartner
Anxious Journeys
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The first book to offer a cutting-edge discussion of contemporary travel writing in German, Anxious Journeys looks both at classical tropes of travel writing and its connection to current debates.
The rich contemporary literature of travel has been the focus of numerous recent publications in English that seek to understand how travel narratives, with their distinctive representations of identities, places, and cultures, respond to today's globalized, high-speed world characterized by the dual mass movements of tourism and migration. Yet a corresponding cutting-edge discussion of twenty-first-century travel writing in German has until now been missing. The fourteen essays in Anxious Journeys redress this situation. They analyze texts by leading authors such as Felicitas Hoppe, Christoph Ransmayr, Julie Zeh, Navid Kermani, Judith Schalansky, Ilija Trojanow, and others, as well as topics such as Turkish-German travelogues and the relationship of comics to travel writing. The volume examines how writers engage with classic tropes of travel writing and how they react to the current sense of crisis and belatedness. It also links travel to ongoing debates about the role of the nation, mass migration, and the European project, as well as to Germany's place in the larger world order.
Contributors: Karin Baumgartner, Heather Merle Benbow, Anke S. Biendarra, John Blair and Muriel Cormican, Nicole Coleman, Carola Daffner, Christina Gerhardt, Nicole Grewling, Gundela Hachmann, Andrew Wright Hurley, Christina Kraenzle, Magda Tarnawaska Senel, Monika Shafi, Sunka Simon.
Karin Baumgartner is Professor of German at the University of Utah. Monika Shafi is Elias Ahuja Professor of German at the University of Delaware.
Kevin J. Hayes
At War with The Red Badge of Courage
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The story of the critical reception of Crane's great Civil War novel from its publication to the present, with particular attention to the effects of later wars on that reception.
Stephen Crane's masterpiece The Red Badge of Courage was a sensation when it first appeared in 1895: many readers were astonished that this upstart, born after the Civil War, had written the single best novel on the subject. It remains one of the best books on the experience of war in American literature. Since its publication, The Red Badge has been repeatedly subjected to new scrutiny - not only by the passing of time and the changing of critical trends, but by every new war - to see if Crane's story still holds its power. So far, it has done so, not just in the eyes of literary critics but also among soldiers. The two world wars, Korea, Vietnam, the Gulf War, and the wars in Iraq and Afghanistan: all these have shaped the book's critical reception; and veterans, many of whom have commended Crane's insight into the experience of battle, have significantly affected how it has been read and understood. After World War I, Red Badge was closely associated with modernist novels written by those with wartime experience, Ernest Hemingway most importantly. After World War II and Korea, the book resonated with the manyveterans the G.I. Bill brought into the classroom to study American literature, some of whom became critics themselves. And during and after Vietnam and the other controversial wars that have followed, Crane's book has continuedto call forth a steady stream of critical response. Kevin J. Hayes's book is the story of the critical reception of The Red Badge both in and out of war.
Yvonne Zivkovic
The Literary Politics of Mitteleuropa
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Shows how postwar writers in Austria and Yugoslavia re-imagined the concept of Mitteleuropa, Central Europe, as a cultural space between nostalgia and totalitarianism.
The German term Mitteleuropa, or Central Europe, was never just a geographical concept: it connoted extending German influence to the east. In the 1980s, the eastern European dissident writers György Konrád, Czesław Miłosz, and Milan Kundera revived the concept to counter a perceived Cold War memory vacuum, aligning themselves with the multiethnic and multilingual legacy of the Habsburg Empire. Their observations gave rise to a protracted public debate that posited literature against politics. This debate was both anticipated and expanded upon in postwar literary works by Ingeborg Bachmann, Peter Handke, and Christoph Ransmayr in Austria, and Danilo Kiš, Aleksandar Tišma, and Dubravka Ugrešić in (the former) Yugoslavia, all of whom questioned notions of geographic identity and national allegiance by imagining Mitteleuropa as a cultural space between nostalgia and totalitarianism. Yvonne Zivkovic draws on space and memory studies to show how Mitteleuropa emerged as an alternate memory discourse that reveals deep ties between the Second Austrian Republic and the Socialist Federal Republic of Yugoslavia. The writers discussed address the major themes of the 1980s debate - traumatic memory, geographic displacement, and transnationalism - but also share a literary aesthetics that privileges the intersections of prose fiction and the essay, the literary fragment, and intertextuality. Zivkovic's book shows the persistence of Mitteleuropa as a literary network and as a cultural collective that examines civic values against public tendencies of memory manipulation.
Sophie Redfern
Bernstein and Robbins
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The formative early ballets of West Side Story creators Leonard Bernstein and Jerome Robbins explored in detail for the very first time.
2022 CHOICE Outstanding Academic Title Winner.
Leonard Bernstein and choreographer Jerome Robbins stand as giants of the musical-theatre world, but it was ballet that launched their stage careers and established their relationship. With Fancy Free (1944), their triumphant debut collaboration produced by Ballet Theatre, Bernstein, Robbins, and set designer Oliver Smith-all in their mid-twenties- captured the spirit of wartime New York, created a defining ballet of the period still widely performed today, and became overnight sensations. The hit musical On the Town (1944) and a now largely forgotten ballet, Facsimile (1946), followed over the next two years.
Drawing extensively on previously unpublished archival documents, Bernstein and Robbins: The Early Ballets provides a richly detailed and original historical account of the creation, premiere, and reception of Fancy Free and Facsimile. It reveals the vital and sometimes conflicting role of Ballet Theatre, explores how Bernstein composed the scores, sheds light on the central importance of Oliver Smith, and considers the legacy of these works for all involved. The result is a new understanding of Bernstein, Robbins, and this formative period in their lives.
Adrian Daub
Goethe Yearbook 25
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Cutting-edge scholarly articles on diverse aspects of Goethe and the Goethezeit, featuring in this volume a special section on acoustics around 1800.
The Goethe Yearbook is a publication of the Goethe Society of North America, encouraging North American Goethe scholarship by publishing original English-language contributions to the understanding of Goethe and other authors of the Goethezeit while also welcoming contributions from scholars around the world. Volume 25 features a special section on acoustics around 1800, edited by Mary Helen Dupree, which includes, among others, contributionson sound and listening in Ludwig Tieck's Der blonde Eckbert (Robert Ryder) and on the role of the tympanum in Herder's aesthetic theory (Tyler Whitney).
The volume also contains essays on Goethe and stage sequels(Matthew Birkhold), on figures of armament in eighteenth-century German drama (Susanne Fuchs), on the dialectics of Bildung in Wilhelm Meister (Galia Benziman), on the Gothic motif in Goethe's Faust and "Von deutscher Baukunst" (Jessica Resvick), on Goethe and Salomon Maimon (Jason Yonover), on Goethe's "Novelle" (Ehrhard Bahr), and on Schiller's Bürger critique (Hans Richard Brittnacher).
Contributors: Ehrhard Bahr, Galia Benziman, Matthew H. Birkhold, Hans Richard Brittnacher, Linda Dietrick, Mary Helen Dupree, Susanne Fuchs, Deva Kemmis, Jessica C. Resvick, Robert Ryder, Patricia Anne Simpson, Chenxi Tang, Tyler Whitney, Jason Yonover, Chunjie Zhang.
Adrian Daub is Associate Professor of German at Stanford University. Elisabeth Krimmer is Professor of German at the University of California Davis.
Tyler Fleming
Opposing Apartheid on Stage
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A captivating account of an interracial jazz opera that took apartheid South Africa by storm and marked a turning point in the nation's cultural history.
In 1959, King Kong, an interracial jazz opera, swept across South Africa and became a countrywide phenomenon. Its performances sold out, its LP record was widely heard, and its cast became recognized celebrities. Featuring an African composer, cast, and orchestra but predominantly white directors and producers, this interracial production seemed completely distinct from any other theatrical production in the country's history. Despite being staged over a decade after the enacting of apartheid, the interracial collaboration met widespread acclaim that bridged South Africa's racial, political, ethnic, and class fissures.
Widely considered a watershed moment within the history of South African theater and music, King Kong encapsulated key currents within South African cultural history. Author Tyler Fleming's gripping narrative unpacks the life of the musical, from the emergence of the heavyweight boxer "King Kong" Dlamini to the behind-the-scenes dynamics of rehearsals to the musical's 1961 tour of Britain and the later experience of cast members living in exile for their opposition to apartheid. Opposing Apartheid on Stage: "King Kong" the Musical explores the history of this jazz opera and its enduring legacy in both South African history and global popular culture.
Patricia Anne Simpson, Birgit Tautz
Goethe Yearbook 27
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A new Forum section focuses on the impact of Digital Humanities on Goethe scholarship and on eighteenth-century German Studies, alongside articles on a diverse range of authors and topics.
The Goethe Yearbook is a publication of the Goethe Society of North America, showcasing North American and international scholarship on Goethe and other authors and aspects of the Goethezeit. Volume 27 features the yearbook's first Forum, a discussion of the impact of Digital Humanities (DH) and "computational criticism" on Goethe scholarship and eighteenth-century German Studies more broadly. For this launch, invited contributors were askedto consider the canon in comparison to "the great unread" (Margaret Cohen): the vast expanse of uncanonized texts. The contributions evince approaches that go beyond the established binary of scholarly methods vs. data sciences; they also explore DH as a way of navigating the gendered fault lines of canon formation. Beyond the Forum, there are articles on Goethe's self-marketing, on several of his major works, and on pivotal topics in them (orientation, der Gang, and transgression); on nascent anthropology, on Creativity Studies, and on other eighteenth-century figures (Rahel Levin Varnhagen, Karl Phillip Moritz). A newly discovered text by August von Kotzebue, sample entries fromthe prodigious work in progress Lexikon of Philosophical Concepts, and the customary book review section round out the volume.
Richard B. Apgar, Constanze Baum, Jane K. Brown, Matt Erlin, Renata Fuchs, Matthew Handelman, Katrin Henzel, Stefan Höppner, Julie Koser, James Manalad, Clark Muenzer, Maike Oergel, Andrew Piper, Mattias Pirholt, Michael Saman, Renata Schellenberg, Helmut J. Schneider, Oliver Simons, Leif Weatherby, George S. Williamson, Karin A. Wurst.
Patricia Anne Simpson is Professor of German at the University of Nebraska-Lincoln. Birgit Tautz is George Taylor Files Professor of Modern Languages at Bowdoin College. Book review editor Sean Franzel is Associate Professor of German at the University of Missouri-Columbia.
Jeffrey L. High
Heinrich von Kleist
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WINNER of the 2023 CHOICE Outstanding Academic Title Award
Volume of new essays investigating Kleist's influences and sources both literary and philosophical, their role as paradigms, and the ways in which he responded to and often shattered them.
Heinrich von Kleist (1777-1811) was a rebel who upset canonization by employing his predecessors and contemporaries as what Steven Howe calls "inspirational foils." It was precisely a keen awareness of literary and philosophical traditions that allowed Kleist to shatter prevailing paradigms. Though little is known about what specifically Kleist read, the frequent allusions in his enduringly modern oeuvre indicate fruitful dialogues with both canonical and marginal works of European literature, spanning antiquity (The Old Testament, Sophocles), the Early Modern Period (Shakespeare, De Zayas), the late Enlightenment (Wieland, Goethe, Schiller), and the first eleven years of the nineteenth century (Mereau, Brentano, Collin). Kleist's works also evidence encounters with his philosophical precursors and contemporaries, including the ancient Greeks (Aristotle) and representatives of all phases of Enlightenment thought (Montesquieu, Rousseau, Ferguson, Spalding, Fichte, Kant, Hegel), economic theories (Smith, Kraus), and developments in anthropology, sociology, and law. This volume of new essays sheds light on Kleist's relationship to his literary and philosophical influences and on their function as paradigms to which his writings respond.
Dr Katja Herges
Contested Selves
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Investigates the field of German life writing, from Rahel Levin Varnhagen around 1800 to Carmen Sylva a century later, from Döblin, Becher, women's WWII diaries, German-Jewish memoirs, and East German women's interview literatureto the autofiction of Lena Gorelik.
In recent decades, life writing has exploded in popularity: memoirs that focus on traumatic experiences now constitute the largest growth sector in book publishing worldwide. But life writing is not only highly marketable; it also does important emotional, cultural, and political work. It is more available to amateurs and those without the cultural capital or the self-confidence to embrace more traditional literary forms, and thus gives voice to marginalized populations. Contested Selves investigates various forms of German-language life writing, including memoirs, interviews, letters, diaries, and graphic novels, shedding light on its democratic potential, on its ability to personalize history and historicize the personal. The contributors ask how the various authors construct and negotiate notions of the self relative to sociopolitical contexts, cultural traditions, genre expectations, and narrative norms. They also investigate the nexus of writing, memory, and experience, including the genre's truth claims vis-à-vis the pliability and unreliability of human memories. Finally, they explore ethical questions that arise from intimate life writing and from the representation of "vulnerable subjects" as well as from the interrelation of material body, embodied self, and narrative. All forms of life writing discussed in this volume are invested in a process of making meaning and in an exchange of experience that allows us to relate our lives to the lives of others.
April A. Eisman
Bernhard Heisig and the Fight for Modern Art in East Germany
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One of the first books to extend the currently burgeoning scholarship on East Germany to the visual arts, revealing that painting, like literature and film, was a space of contestation.
East German studies today is thriving. Scholars have shown East Germany to be a complex society where culture played an important, if contested, role in the making of the socialist person. In English-language scholarship, however,the visual arts-and especially painting-have been largely ignored, the result of the misperception that East German art was little more than kitsch or propaganda. This book focuses on one of East Germany's most successful artistsas a point of entry into the vibrant art world of the "other" Germany. In the 1980s, Bernhard Heisig (1925-2011) was praised on both sides of the Berlin Wall for his neo-expressionist style and his commitment to German history and art. Chancellor Helmut Schmidt chose him to paint his official portrait, major museums collected his work, and in 1989 he had a major solo exhibition in West Germany. After unification, Heisig was a focal point in the Bilderstreit, a virulent debate over what role East German art should play in the new Germany. Challenging current understandings of Heisig and East German art, this book focuses on Heisig's little-known fight for modern art in EastGermany. Examining major debates of the 1960s, it shows the key role he played in expanding the country's art from the limits of Soviet-style socialist realism to a socialist modernism that later gained recognition in the West.
April A. Eisman is Associate Professor of Art History at Iowa State University.
Brian Murdoch
The Fortunes of Everyman in Twentieth-Century German Drama
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Death still comes to Everyman, but this study of three twentieth-century German plays shows the harder challenge of living without salvation in an age of war and unprecedented mass destruction.
Death comes to everyone, and in the late-medieval morality play of Everyman the familiar skeleton forces the universalized central figure to come to terms with this. Only his inner resources, in the forms of Good Deeds and Knowledge, ensure that he repents and is redeemed. Three important twentieth-century German plays echo Everyman - Toller's Hinkemann, Borchert's The Man Outside, and Frisch's The Arsonists/Firebugs - but the unprecedented scale of killing in the First and Second World Wars changed the view of death, while in the Cold War the nuclear destruction literally of everyone became a possibility. Brian Murdoch traces the heritage of Everyman in the three plays in terms of dramatic effect, changes in the image of Death, and especially the problem of living with existential guilt. Death, now over-fed, still has to be faced, but Everyman has the harder problem of living with the awareness of human wickedness without the possibility of salvation. All three plays have tended to be viewed in their specific historical contexts, but by viewing them less rigidly and as part of a long dramatic tradition, Murdoch shows that all present a message of lasting and universal significance. They pose directly to the theater audience questions not just of how to cope with death, but how to cope with life.
Jeremy Yudkin
The New Beethoven
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Marking the 250th anniversary of the composer's birth, this volume presents twenty-one completely new essays on aspects of Beethoven's personal life, his composing process, his manuscripts, and his greatest works.
Beethoven's music stands as a universal symbol of personal and artistic achievement. As we reach and then surpass the 250th anniversary of the composer's birth, Jeremy Yudkin has commissioned a collection of new essays from some of the most insightful writers on Beethoven's accomplishments and brought them together in this remarkable volume. Filled with careful explanations, this book gives us completely new insights into music known and loved by people around the world.
Ordinary music lovers as well as scholars will find countless new discoveries about Beethoven and his music. Listeners will hear his compositions afresh, and scholars will find new results of research and analysis and new avenues for discovery. Topics include Beethoven's cultural milieu, his personal life, his friends, his publishers, his instruments, his working methods, his own handwritten scores, and, of course, his music. Many works are carefully discussed and explained in ways that reveal fascinating and previously unknown aspects of compositions that we thought we knew well. A landmark publication for all who admire some of the greatest music of our civilization.
Joseph Twist
Mystical Islam and Cosmopolitanism in Contemporary German Literature
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Highlights the spirituality and cosmopolitanism of four contemporary German Muslim writers, showing that they undermine the "clash-of-civilizations" narrative and open up space for new ways of coexisting.
At a time when the place of Muslims in German society is being disputed, this book explores how four contemporary German writers of Muslim backgrounds - Zafer Senocak, SAID, Feridun Zaimoglu, and Navid Kermani - point beyond identity politics and suggest new ways of thinking about religion and community. Twist highlights both the spirituality and the cosmopolitanism of these authors, bringing their thought into dialogue with the work of Jean-Luc Nancy. Nancy is critical of communities based on a single guiding principle (be it God or Reason) and thus involving a universalizing core that leads to conflicts between identity groups. He proposes alternative notions of both religious faith (a postmonotheistic version with elements of mysticism) and community (spontaneous communities requiring no shared identity). Twist relates these arguments to post-9/11 debates over cosmopolitanism and religion, illuminating how the writers under study draw upon mystical Islam's deconstructive potential, finding divine insight in love, sex, music, pain, and beauty. Such a worldly and affective spirituality dispels associations between Islam and sexual conservatism while rejecting monotheistic ideology. Thus, unlike the homogenizing drive of universalist cosmopolitanism, these writers' nonfoundational conceptualizations undermine the twenty-first century's "clash-of-civilizations" narrative and open up space for new ways of coexisting.
JOSEPH TWIST is Fixed-term Lecturer in German at University College Dublin.
Albert Earle Gurganus
Kurt Eisner
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The first comprehensive biography in English of the leader of the Bavarian Revolution and Republic of 1918/19, the first Jewish head of a European state and a man who embraced and embodied modernity.
At the end of the First World War, German Jewish journalist, theater critic, and political activist Kurt Eisner (1867-1919), just released from prison, led a nonviolent revolution in Munich that deposed the monarchy and established the Bavarian Republic. Local head of the Independent Socialists, Eisner had been jailed for treason after organizing a munitions workers' strike to force an armistice. For a hundred days, as Germany spiraled into civil war, Eisner fought as head of state to preserve calm while implementing a peaceful transition to democracy and reforging international relations. He rejected another central German government dominated by Prussia in favor of a confederation of autonomous equals, a "United States of Germany." A Francophile, he sought ties with Paris in hope of containing Prussia. In February 1919, on the way to submit his government's resignation to the newly elected constitutionalassembly, Eisner was shot by a protofascist aristocrat, plunging Bavaria into political chaos from which Adolf Hitler would emerge. At the centenary of the Bavarian Revolution and Republic of 1918/19, this is the first comprehensive biography of Eisner written for an English-language audience.
Albert Earle Gurganus is Professor Emeritus of Modern Languages at The Citadel. He is the author of The Art of Revolution: Kurt Eisner's Agitprop (Camden House, 1986).
Timothy Stapleton
West African Soldiers in Britain’s Colonial Army, 1860-1960
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Explores the history of Britain's colonial army in West Africa, especially the experiences of ordinary soldiers recruited in the region.
West African Soldiers in Britain's Colonial Army explores the complex and constantly changing experience of West African soldiers under British command in Nigeria, the Gold Coast (now Ghana), Sierra Leone, and the Gambia. Since cost and tropical disease limited the deployment of British metropolitan troops to the region, British colonial rule in West Africa depended heavily on locally recruited soldiers and their families. This force became Britain's largest colonial army in Sub-Saharan Africa. West African Soldiers looks at the development of this colonial military from the conquest era of the late nineteenth century to decolonization in the 1950s. Rather than describing the many battles fought by this army both regionally and overseas, and informed by the concept of military culture, the book looks at the broad and overlapping themes of identity, culture, daily life, and violence. Chapter topics include the enslaved origins of the force, military identities including the myth of martial races, religious life, visual symbols like uniforms and insignia, health care related to tropical and sexually transmitted diseases, the experience of army wives, disciplinary flogging, mutiny, day-to-day violence committed by troops, and the employment of former soldiers by the colonial state. Based on archival research in five countries, the book derives inspiration from previous work on ordinary African soldiers in the British and German colonies of East Africa and in French West Africa.
Kevin J. Hayes
How D. H. Lawrence Read Herman Melville
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Details Lawrence's reception of Melville and reveals his underacknowledged role in the Melville Revival, while contributing to the history of the book and the study of the creative process.
How Lawrence Read Melville is a highly focused account of D. H. Lawrence's discovery and reception of Herman Melville, from when he first read Moby-Dick as a young man to his final references to Melville in his late works. It shows Lawrence's initial reaction to Moby-Dick; how it led him to other works by Melville, namely Typee and Omoo; and how Melville affected Lawrence's critical and creative writing and shaped his philosophy. This book is a study of the creative process that shows how one great writer inspired another, but it also makes a major contribution to the history of the book and two of its subfields: the history of reading, and reception studies. By his death in 1891, Melville had been forgotten except by a small circle of English enthusiasts. That group put Lawrence onto Melville, whereupon he became a - until now largely unacknowledged - leader of the Melville Revival that rescued the great writer from obscurity. This Swiss army knife of a book will appeal to scholars and booklovers alike.
