Drawing together the estrangement theories of Viktor Shklovsky and Bertolt Brecht with Leo Tolstoy's theory of infection, Douglas Robinson studies the ways in which shared evaluative affect regulates ...both literary familiarity—convention and tradition—and modern strategies of alienation, depersonalization, and malaise.
This book begins with two assumptions, both taken from Tolstoy's late aesthetic treatise What Is Art? (1898): that there is a malaise in culture, and that literature's power to infect readers with the moral values of the author is a possible cure for this malaise. Exploring these ideas of estrangement within the contexts of earlier, contemporary, and later critical theory, Robinson argues that Shklovsky and Brecht follow Tolstoy in their efforts to fight depersonalization by imbuing readers with the transformative guidance of collectivized feeling. Robinson's somatic approach to literature offers a powerful alternative to depersonalizing structuralist and poststructuralist theorization without simply retreating into conservative rejection and reaction.
Both a comparative study of Russian and German literary-theoretical history and an insightful examination of the somatics of literature, this groundbreaking work provides a deeper understanding of how literature affects the reader and offers a new perspective on present-day problems in poststructuralist approaches to the human condition.
Eduard Steuermann (1892–1964), Austrian-Polish-Jewish pianist from Galicia, student of Busoni, teacher and friend of Adorno, exiled American, sought-after soloist and pedagogue between Vienna, New ...York and Darmstadt, sought throughout his life the "almost impossible": to reconcile truth and beauty in uncompromising "devotion to music". The esteem in which he was held as the most important pianist for the establishment of New Piano Music, not only by the Viennese Schoenberg circle, has had a lasting effect on an appreciation of his person that goes beyond this. In 14 contributions that look at Steuermann from very different angles – discussing his life, his family and artistic ties, his music-making and composing, his work as a teacher and witty author – the view of the breadth of his work is widened on the basis of numerous previously unexplored materials, and the portrait of an artist who, according to Adorno, embodied the "conscience" of music itself is drawn.
Eduard Steuermann (1892–1964), österreichisch-polnisch-jüdischer Pianist aus Galizien, Schüler Busonis, Lehrer und Freund Adornos, Exil-Amerikaner, gefragter Solist und Pädagoge zwischen Wien, New York und Darmstadt, hat zeitlebens das "beinahe Unmögliche" gesucht: in kompromissloser "Hingabe an die Musik" Wahrheit und Schönheit zu versöhnen. Die Wertschätzung, die ihm als dem wichtigsten Pianisten für die Etablierung Neuer Klaviermusik nicht nur des Wiener Schönberg-Kreises entgegengebracht wurde, hat einer darüber hinausgehenden Würdigung seiner Person nachhaltig entgegengewirkt. In 14 Beiträgen, die Steuermann von sehr unterschiedlichen Seiten betrachten – sein Leben, seine familiären und künstlerischen Bindungen, sein Musizieren und Komponieren, sein Wirken als Lehrer und geistvoller Autor erörtern –, wird anhand zahlreicher bisher unerschlossener Materialien der Blick auf die Breite seines Schaffens geweitet und das Porträt eines Künstlers gezeichnet, der nach Adorno das "Gewissen" der Musik selbst verkörperte.
Die Anton Bruckner Privatuniversität Linz veranstaltete vom 15.-17. November 2018 ein Symposium zu Leben und Werk des (nicht nur) für seine Interpretationen der Klaviermusik Arnold Schönbergs hoch ...gerühmten Pianisten, Komponisten und Lehrers Eduard (Edward) Steuermann (1892-1964).
Während Steuermanns Bedeutung als Interpret der Wiener Schule in Fachkreisen außer Frage steht, ist sein Klavierspiel nur in geringem Ausmaß auf Tonträgern überliefert und einer breiteren Öffentlichkeit heute ebenso wenig bekannt wie seine anspruchsvollen Kompositionen. Musikforscher aus Österreich, Deutschland und der Schweiz nähern sich der Künstlerpersönlichkeit Steuermanns aus unterschiedlichen Perspektiven an und ergründen seine bis heute weitgehend unterschwellig andauernde Wirkung.
- Vorwort
- Grußwort von Alfred Brendel
- Lars E. Laubhold: "… Musiker und gleichzeitig 'Klawiervirtuose' zu sein … ". Eduard Steuermann – ein Porträt
- Karin Wagner: "Gedanken über die Dauer des Exils". Steuermann in den USA
- Irene Suchy: Leerstelle Eduard Steuermann. Tangentiale Berührungen und bürokratische Vermeidungen
- Anton Voigt: "… eine ganz hervorragende Wiener Schule …". Steuermann als Klavierpädagoge
- Reinhard Kapp: Noch einmal: Espressivo, insbesondere "Wiener Espressivo"
- Werner Unger: Eduard Steuermanns phonographischer Nachlass. Aktuelle Situation und Perspektiven
- Eike Feß: Lebens- und Schaffensdokumente. Zur Edward Steuermann Collection am Arnold Schönberg Center, Wien
- Jürg Stenzl: Eduard Steuermanns Interpretation von Ludwig van Beethovens "Veränderungen über einen Walzer von Anton Diabelli", op. 120
- Lars E. Laubhold: "… some Bach, some Mozart …". Steuermann interpretiert Musik des 18. Jahrhunderts
- Thomas Glaser: "'Intellektuelles' Musizieren gegen 'spontanes', musikantisches …". Schönbergs "Phantasy for Violin with Piano Accompaniment" op. 47 in den Einspielungen mit Kolisch und Steuermann
- Christian Utz: Zur Plastizität verklanglichte Form. Tempo-, Klang- und Formgestaltung in Eduard Steuermanns Einspielungen von Arnold Schönbergs "Sechs kleinen Klavierstücken" op. 19 im Kontext der Interpretationsgeschichte des Werkes
- Matthias Schmidt: "Alpenkräuter-Duft". Zu Eduard Steuermann und Anton Webern
- Volker Rülke: Nur im Banne Schönbergs? Zu Eduard Steuermanns Klavierwerken
- Martin Zenck: "… das 'Wirre' ist ja nicht ungewollt …". Zum zweiten Streichquartett "Diary" (1960–61) in der Uraufführung mit dem Juilliard String Quartet 1963 in New York
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An analysis of the novels of Maturin, Gogol, Dostoevsky, Mann, Lovecraft and Pelevin through the prism of their interest in investigating the nature of the nightmare reveals the unstudied features of ...the nightmare as a mental state and traces the mosaic of coincidences leading from literary experiments to today's culture of nightmare consumption.
Philip Weinstein explores the modernist commitment to unknowing by addressing the work of three supreme experimental writers: Franz Kafka, Marcel Proust, and William Faulkner. In their novels, the ...narrative props that support the drama of coming to know are refused. When space turns uncanny rather than lawful, when time ceases to be linear and progressive, objects and others become unfamiliar. So does the subject seeking to know them. Weinstein argues that modernist texts work, by way of surprise and arrest, to subvert the familiarity and narrative progression intrinsic to realist fiction. Rather than staging the drama of coming to know, they stage the drama of coming to unknow. The signature move of modernism is shock, just as resolution is the trademark of realism.Kafka, Proust, and Faulkner wrought their most compelling experimental effects by undermining an earlier Enlightenment project of knowing. Weinstein draws on major Enlightenment thinkers to identify constituent components of the narrative of coming to know—the progressive narrative underwriting two centuries of Western realist fiction. The book proceeds by framing modernist unknowing between prior practices of realist knowing, on the one hand, and, on the other, certain later practices—postmodern and postcolonial—that move beyond knowing altogether. In so doing, Weinstein proposes a metahistory of the Western novel, from Daniel Defoe to Toni Morrison. Philip Weinstein explores the modernist commitment to unknowing by addressing the work of three supreme experimental writers: Franz Kafka, Marcel Proust, and William Faulkner. In their novels, the narrative props that support the drama of coming to know are refused. When space turns uncanny rather than lawful, when time ceases to be linear and progressive, objects and others become unfamiliar. So does the subject seeking to know them. Weinstein argues that modernist texts work, by way of surprise and arrest, to subvert the familiarity and narrative progression intrinsic to realist fiction. Rather than staging the drama of coming to know, they stage the drama of coming to unknow. The signature move of modernism is shock, just as resolution is the trademark of realism. Kafka, Proust, and Faulkner wrought their most compelling experimental effects by undermining an earlier Enlightenment project of knowing. Weinstein draws on major Enlightenment thinkers to identify constituent components of the narrative of coming to know—the progressive narrative underwriting two centuries of Western realist fiction. The book proceeds by framing modernist unknowing between prior practices of realist knowing, on the one hand, and, on the other, certain later practices—postmodern and postcolonial—that move beyond knowing altogether. In so doing, Weinstein proposes a metahistory of the Western novel, from Daniel Defoe to Toni Morrison.
This book is a meditation on the role of psychoanalysis within Latin literary studies. Neither a sceptic nor a true believer, Oliensis adopts a pragmatic approach to her subject, emphasizing what ...psychoanalytic theory has to contribute to interpretation. Drawing especially on Freud's work on dreams and slips, she spotlights textual phenomena that cannot be securely anchored in any intention or psyche but that nevertheless, or for that very reason, seem fraught with meaning; the 'textual unconscious' is her name for the indefinite place from which these phenomena erupt, or which they retroactively constitute, as a kind of 'unconsciousness-effect'. The discussion is organized around three key topics in psychoanalysis - mourning, motherhood, and the origins of sexual difference - and takes the poetry of Catullus, Virgil, and Ovid as its point of reference. A brief afterword considers Freud's own witting and unwitting engagement with the idea of Rome.
Systematically reading Jewish exegesis in light of Homeric scholarship, this book argues that more than 2000 years ago Alexandrian Jews developed critical and literary methods of Bible interpretation ...which are still extremely relevant today. Maren R. Niehoff provides a detailed analysis of Alexandrian Bible interpretation, from the second century BCE through newly discovered fragments to the exegetical work done by Philo. Niehoff shows that Alexandrian Jews responded in a great variety of ways to the Homeric scholarship developed at the Museum. Some Jewish scholars used the methods of their Greek colleagues to investigate whether their Scripture contained myths shared by other nations, while others insisted that significant differences existed between Judaism and other cultures. This book is vital for any student of ancient Judaism, early Christianity and Hellenistic culture.
Often identified with its lyric poetry, Romanticism has come to be dismissed by historicists as an ineffectual idealism. By focusing on Romantic narrative, noted humanist Tilottama Rajan takes issue ...with this identification, as well as with the equation of narrative itself with the governmental apparatus of the Novel. Exploring the role of narrativity in the works of Romantic writers, Rajan also reflects on larger disciplinary issues such as the role of poetry versus prose in an emergent modernity and the place of Romanticism itself in a Victorianized nineteenth century.While engaging both genres, Romantic Narrative responds to the current critical shift from poetry to prose by concentrating, paradoxically, on a poetics of narrative in Romantic prose fiction. Rajan argues that poiesis, as a mode of thinking, is Romanticism’s legacy to an age of prose. She elucidates this thesis through careful readings of Shelley’s Alastor and his Gothic novels, Godwin’s Caleb Williams and St. Leon, Hays’ Memoirs of Emma Courtney, and Wollstonecraft’s The Wrongs of Woman. Rajan, winner of the Keats-Shelley Association's Distinguished Lifetime Award and a fellow of the Royal Society of Canada, is one of Romanticism’s leading scholars. Effective, articulate, and readable, Romantic Narrative will appeal to scholars in both nineteenth-century studies and narrative theory.
Race and Culture in New Orleans Stories posits that the Crescent City and the surrounding Louisiana bayous were a logical setting for the literary exploration of crucial social problems in America.
...Race and Culture in New Orleans Stories is a study of four volumes of interrelated short stories set in New Orleans and the surrounding Louisiana bayous: Kate Chopin’s Bayou Folk ; George Washington Cable’s Old Creole Days ; Grace King’s Balcony Stories ; and Alice Dunbar-Nelson’s The Goodness of St. Rocque and Other Stories . James Nagel argues that the conflicts and themes in these stories cannot be understood without a knowledge of the unique historical context of the founding of Louisiana, its four decades of rule by the Spanish, the Louisiana Purchase and the resulting cultural transformations across the region, Napoleonic law, the Code Noir, the plaçage tradition, the immigration of various ethnic and natural groups into the city, and the effects of the Civil War and Reconstruction. All of these historical factors energize and enrich the fiction of this important region.
The literary context of these volumes is also central to understanding their place in literary history. They are short-story cycles—collections of short fiction that contain unifying settings, recurring characters or character types, and central themes and motifs. They are also examples of the “local color” tradition in fiction, a movement that has been much misunderstood. Nagel maintains that regional literature was meant to be the highest form of American writing, not the lowest, and its objective was to capture the locations, folkways, values, dialects, conflicts, and ways of life in the various regions of the country in order to show that the lives of common citizens were sufficiently important to be the subject of serious literature.
Finally, Nagel shows that New Orleans provided a profoundly rich and complex setting for the literary exploration of some of the most crucial social problems in America, including racial stratification, social caste, economic exploitation, and gender roles, all of which were undergoing rapid transformation at the end of the nineteenth century and the beginning of the twentieth.
What would political thought look like without the foundation of ethics? Drawing on the work of Emmanuel Levinas, Jacques Derrida and Jean-Luc Nancy, Madeleine Fagan puts forward a radical and ...far-reaching refusal of foundational ethics. Instead, she proposes an account of the inseparability of ethics and politics. The 'ethical' should not be understood as a label; it does not mean 'good' or 'right', it is not an evaluation or guide. Rather, both the ethical and the political are descriptions of the context in which we find ourselves. The book highlights the necessity of a practice-based rethinking of the relationship between ethics and politics and so denaturalises a series of commonplaces about poststructuralist ethics.
