New Music at Darmstadt explores the rise and fall of the so-called 'Darmstadt School', through a wealth of primary sources and analytical commentary. Martin Iddon's book examines the creation of the ...Darmstadt New Music Courses and the slow development and subsequent collapse of the idea of the Darmstadt School, showing how participants in the West German new music scene, including Herbert Eimert and a range of journalistic commentators, created an image of a coherent entity, despite the very diverse range of compositional practices on display at the courses. The book also explores the collapse of the seeming collegiality of the Darmstadt composers, which crystallised around the arrival there in 1958 of the most famous, and notorious, of all post-war composers, John Cage, an event Carl Dahlhaus opined 'swept across the European avant-garde like a natural disaster'.
Introduction : listening to the archives : Black lesbian literature and queer memory -- Desirous mistresses and unruly slaves : neo-slave narratives, property, power, and desire -- Small movements : ...queer blues epistemologies in Cherry Muhanji's Her -- "Mens womens some that is both some that is neither" : spiritual epistemology and queering the Black rural South in the work of Sharon Bridgforth -- "Make it up and trace it back" : remembering Black trans subjectivity in Jackie Kay's Trumpet -- What grace was : erotic epistemologies and diasporic belonging in Dionne Brand's In another place, not here -- Epilogue : grieving the queer : anti-Black violence and black collective memory
Generosity is an ambiguous quality, William Flesch observes; while receiving gifts is pleasant, gift-giving both displays the wealth and strength of the giver and places the receiver under an ...obligation. In provocative new readings of Shakespeare, Herbert, and Milton, Flesch illuminates the personal authority that is bound inextricably with acts of generosity. Drawing on the work of such theorists as Mauss, Blanchot, Bourdieu, Wittgenstein, Bloom, Cavell, and Greenblatt, Flesch maintains that the literary power of Shakespeare, Herbert, and Milton is at its most intense when they are exploring the limits of generosity. He considers how in Herbert's Temple divine assurance of the possibility of redemption is put into question and how the poet approaches such a gift with the ambivalence of a beneficiary. In his readings of Shakespeare's Richard II, Henry IV, King Lear, Antony and Cleopatra, and the sonnets, Flesch examines the perspective of the benefactor—including Shakespeare himself—who confronts the decline of his capacity to give. Turning to Milton's Paradise Lost, Flesch identifies two opposing ways of understanding generosity—Satan's, on the one hand, and Adam and Eve's, on the other - and elaborates the different conceptions of poetry to which these understandings give rise. Scholars of Shakespeare and of Renaissance culture, Miltonists, literary theorists, and others interested in the relationship between philosophy and literature will want to read this insightful and challenging book.
Touching on the role and destiny of Haiti in the Americas, Haiti Unbound engages with long-standing issues of imperialism and resistance culture in the transatlantic world. Glover's timely project ...emphatically articulates Haiti's regional and global centrality, combining vital 'big picture' reflections on the field of postcolonial studies with elegant close-reading-based analyses of the philosophical perspective and creative practice of a distinctively Haitian literary phenomenon. Providing insightful and sophisticated blueprints for the reading and teaching of the Spiralists' prose fiction, it will serve as a point of reference for the works of these authors and for the singular socio-political space out of and within which they write.
Søren Kierkegaard is a fascinating author. Living shortly after the dawn of modernity in the Enlightenment, he restates classical Christianity in dynamic fashion. His Lutheran heritage is vital here ...as he places ‘faith’ over ‘reason’. Yet Kierkegaard also holds decidedly pre-modern epistemological presuppositions that are supportive of his endeavour. After an initial chapter on Kierkegaard's intellectual milieu, the book expounds with reference to the philosophical and historical context of seven of his major texts, ranging across theological, ethical, social and political questions. A final chapter, on an autobiographical text, allows for an estimate of Kierkegaard as a person. The book does not however simply depict Kierkegaard. In the ‘Critique’ with which each chapter concludes, the book carries on a lively debate with Kierkegaard. Questions range from his indifference to biblical historical criticism, his lack of a sense for causality and for the regularity of nature, and his early a-political outlook. Whatever one's theological evaluation, Kierkegaard has insights that are abiding; into the nature of the self in relation to God, the manner of according dignity to others, and the need to prioritise rightly in life.
In a series of articles published inTait's Magazinein 1834, Thomas DeQuincey catalogued four potential instances of plagiarism in the work of his friend and literary competitor Samuel Taylor ...Coleridge. DeQuincey's charges and the controversy they ignited have shaped readers' responses to the work of such writers as Coleridge, Lord Byron, William Wordsworth, and John Clare ever since. But what did plagiarism mean some two hundred years ago in Britain? What was at stake when early nineteenth-century authors levied such charges against each other? How would matters change if we were to evaluate these writers by the standards of their own national moment? And what does our moral investment in plagiarism tell us about ourselves and about our relationship to the Romantic myth of authorship? InPlagiarism and Literary Property in the Romantic Period, Tilar Mazzeo historicizes the discussion of late eighteenth- and early nineteenth-century plagiarism and demonstrates that it had little in common with our current understanding of the term. The book offers a major reassessment of the role of borrowing, textual appropriation, and narrative mastery in British Romantic literature and provides a new picture of the period and its central aesthetic contests. Above all, Mazzeo challenges the almost exclusive modern association of Romanticism with originality and takes a fresh look at some of the most familiar writings of the period and the controversies surrounding them.
When Cleopatra expresses a desire to die 'after the high Roman fashion', acting in accordance with 'what's brave, what's noble', Shakespeare is suggesting that there are certain values that are ...characteristically Roman. The use of the terms 'Rome' and 'Roman' in Julius Caesar, Antony and Cleopatra or Jonson's Sejanus often carry the implication that most people fail to live up to this ideal of conduct, that very few Romans are worthy of the name. In this book Chernaik demonstrates how, in these plays, Roman values are held up to critical scrutiny. The plays of Shakespeare, Jonson, Massinger and Chapman often present a much darker image of Rome, as exemplifying barbarism rather than civility. Through a comparative analysis of the Roman plays of Shakespeare and his contemporaries, and including detailed discussion of the classical historians Livy, Tacitus and Plutarch, this study examines the uses of Roman history - 'the myth of Rome' - in Shakespeare's age.
How Faulkner, Welty, Lytle, and Gordon reimagined and reconstructed the Native American past in their work. In this book, Annette Trefzer argues that not only have Native Americans played an active ...role in the construction of the South’s cultural landscape—despite a history of colonization, dispossession, and removal aimed at rendering them invisible—but that their under-examined presence in southern literature provides a crucial avenue for a post-regional understanding of the American south. William Faulkner, Eudora Welty, Andrew Lytle, and Caroline Gordon created works about the Spanish conquest of the New World, the Cherokee frontier during the Revolution, the expansion into the Mississippi Territory, and the slaveholding societies of the American southeast. They wrote 100 years after the forceful removal of Native Americans from the southeast but consistently returned to the idea of an —Indian frontier,— each articulating a different vision and discourse about Native Americans—wholesome and pure in the vision of some, symptomatic of hybridity and universality for others. Trefzer contends that these writers engage in a double discourse about the region and nation: fabricating regional identity by invoking the South’s "native" heritage and pointing to issues of national guilt, colonization, westward expansion, and imperialism in a period that saw the U.S. sphere of influence widen dramatically. In both cases, the —Indian— signifies regional and national self-definitions and contributes to the shaping of cultural, racial, and national "others." Trefzer employs the idea of archeology in two senses: quite literally the excavation of artifacts in the South during the New Deal administration of the 1930s (a surfacing of material culture to which each writer responded) and archeology as a method for exploring texts she addresses (literary digs into the textual strata of America’s literature and its cultural history).
