With a new introduction, acclaimed director and screenwriter Paul Schrader revisits and updates his contemplation of slow cinema over the past fifty years. Unlike the style of psychological realism, ...which dominates film, the transcendental style expresses a spiritual state by means of austere camerawork, acting devoid of self-consciousness, and editing that avoids editorial comment. This seminal text analyzes the film style of three great directors—Yasujiro Ozu, Robert Bresson, and Carl Dreyer—and posits a common dramatic language used by these artists from divergent cultures. The new edition updates Schrader’s theoretical framework and extends his theory to the works of Andrei Tarkovsky (Russia), Béla Tarr (Hungary), Theo Angelopoulos (Greece), and Nuri Bilge Ceylan (Turkey), among others. This key work by one of our most searching directors and writers is widely cited and used in film and art classes. With evocative prose and nimble associations, Schrader consistently urges readers and viewers alike to keep exploring the world of the art film.
This book analyzes William of Ockham's early theory of property rights alongside those of his fellow dissident Franciscans, paying careful attention to each friar's use of Roman and civil law, which ...provided the conceptual building blocks of the poverty controversy.
In this elegant study of the works of the undeservedly neglected composer Luigi Boccherini, Elisabeth Le Guin uses knowledge gleaned from her own playing of the cello as the keystone of her original ...approach to the relationship between music and embodiment. In analyzing the striking qualities of Boccherini's music—its virtuosity, repetitiveness, obsessively nuanced dynamics, delicate sonorities, and rich palette of melancholy affects—Le Guin develops a historicized critical method based on the embodied experience of the performer. In the process, she redefines the temperament of the musical Enlightenment as one characterized by urgent, volatile inquiries into the nature of the self. A CD of sound examples, performed by the author and her string quartet, is included with the book.
An intriguing portrait of Israel’s “Generation X,” and the perceived decline in Zionism among contemporary urban Israeli youth between the Palestinian uprisings that began in 1987 and 2000
Poetry has often been considered an irrational genre, more expressive than logical, more meditative than given to coherent argument. And yet, in each of the four very different poets she considers ...here, Helen Vendler reveals a style of thinking in operation; although they may prefer different means, she argues, all poets of any value are thinkers. The four poets taken up in this volume--Alexander Pope, Walt Whitman, Emily Dickinson, and William Butler Yeats--come from three centuries and three nations, and their styles of thinking are characteristically idiosyncratic. Vendler shows us Pope performing as a satiric miniaturizer, remaking in verse the form of the essay, Whitman writing as a poet of repetitive insistence for whom thinking must be followed by rethinking, Dickinson experimenting with plot to characterize life's unfolding, and Yeats thinking in images, using montage in lieu of argument. With customary lucidity and spirit, Vendler traces through these poets' lines to find evidence of thought in lyric, the silent stylistic measures representing changes of mind, the condensed power of poetic thinking. Her work argues against the reduction of poetry to its (frequently well-worn) themes and demonstrates, instead, that there is always in admirable poetry a strenuous process of thinking, evident in an evolving style--however ancient the theme--that is powerful and original.
"Most people today think of Johann Sebastian Bach and Wolfgang Amadeus Mozart as the only Bach and Mozart of classical music. This volume in the Bach Perspectives series offers essays on the ...lesser-known musical figures who share those illustrious names alongside new research on the legendary composers themselves. Topics include the keyboard transcriptions of J. S. Bach and Johann Gottfried Walther; J. S. Bach and W. A. Mozart's freelance work; the sonatas of C. P. E. Bach and Leopold Mozart; the early musical training given J. C. Bach by his father and half-brother; the surprising musical similarities between J. C. Bach and W. A. Mozart; and the latest documentary research on Mozart's 1789 visit to the Thomasschule in Leipzig. An official publication of the American Bach Society, Bach Perspectives, Volume 14 draws on a variety of approaches and a broad range of subject matter in presenting a new wave of innovative classical musical sch
Based on primary sources, many of which have never been published or examined in detail, this book examines the music of the late seventeenth-century composers, Biber, Schmeltzer and Muffat, and the ...compositions preserved in the extensive Moravian archives in Kromeriz. These works have never before been fully examined in the cultural and conceptual contexts of their time. Charles E. Brewer sets these composers and their music within a framework that first examines the basic Baroque concepts of instrumental style, and then provides a context for the specific works. The dances of Schmeltzer, for example, functioned both as incidental music in Viennese operas and as music for elaborate court pantomimes and balls. These same cultural practices also account for some of Biber's most programmatic music, which accompanied similar entertainments in Kromeriz and Salzburg. The many sonatas by these composers have also been misunderstood by not being placed in a context where it was normal to be entertained in church and edified in court. Many of the works discussed here remain unpublished but have, in recent years, been recorded. This book enhances our understanding and appreciation of these recordings by providing an analysis of the context in which the works were first performed.
Contents: Preface; Stylus Phantasticus and Stylus Hyporchematicus: concepts of instrumental music in late 17th-century Central and East-Central Europe; Johann Heinrich Schmeltzer (c.1620/23-80) and music at the Viennese court; The chapel of Prince-Bishop Carl Liechtenstein-Castelcorn; Biber and Muffat at Salzburg; The dissemination and dissolution of the Stylus Phantasticus; Appendices; Select bibliography; Index.
Charles E. Brewer is Associate Professor of Musicology at The College of Music of The Florida State University and Director of the Early Music Ensembles. His research interests have focused on the broader questions of music and culture both during the Middle Ages and Baroque period. Beginning with his dissertation on the music of medieval Poland, much of his published work has been focused on the early music of Central and East Central Europe. He has worked in many of the archives and libraries in the Czech Republic, Hungary, Poland, and Slovakia with the support of the Fulbright-Hays Commission, the International Research and Exchanges Board, the Martha Baird Rockefeller Fund for Music, and the National Endowment for the Humanities. He is also an avid performer on early keyboard instruments and is currently editing a number of unpublished sonatas by C.P.E. Bach.
Carnival and crisis in three stories by Nathaniel Hawthorne -- Oppositionality in Fielding's Tom Jones -- Carnival diminished : the secret springs of Tristram Shandy -- Non-carnivalesque ...oppositionality : Jane Austen and the golden mean -- Checks and balances : Charles Dickens's A tale of two cities -- Across the boundaries of the self : George Eliot's Daniel Deronda -- Carnival reversals : Thomas Hardy's The mayor of Casterbridge -- Morphology of crisis : non-contact measurement of self in Conrad's "The secret sharer" -- Carnivalization : throwaways in Joyce's Ulysses -- Discourse of Lent : Kafka's "A hunger artist" and Shalamov's "The artist of the spade".
