Die Poesie der Dinge

Distillation flasks, sugar cane mills, and the brain – the scientific revolution created a spectacular range of themes, even in a traditional genre such as didactic poetry. In this volume, internationally renowned researchers in Latin didactic poetry examine the many facets of early modern scientific poetry and offer insights on these previously neglected texts

State of Ambiguity

Cuba's first republican era (1902–1959) is principally understood in terms of its failures and discontinuities, its first three decades and the overthrow of Machado seen at best as a prologue to the "real" revolution of 1959. This book brings together scholars from North America, Cuba, and Spain to challenge this narrative, presenting republican Cuba instead as a time of meaningful engagement—socially, politically, and symbolically. Addressing a wide range of topics—civic clubs and folkloric societies, science, public health and agrarian policies, popular culture, national memory, and the intersection of race and labor—the contributors explore how a broad spectrum of Cubans embraced a political and civic culture of national self-realization. These essays recast the first republic as a time of deep continuity in processes of liberal state- and nation-building that were periodically disrupted—but also reinvigorated—by foreign intervention and profound uncertainty

An annotated catalogue of works for piano duet a supplement to Cameron McGraw's Piano duet repertoire

Includes bibliographical references.Each entry provides, apart from the title of the work and the composers name, dates and nationality, the following information (where applicable and/or available): composer's website, movements, approximate duration, the arranger's name, the original medium, publication details and/or other information on availability (location of manuscript or on-line source). Works that could be located are annotated with comments on the character of the work, and on musical and/or technical difficulties. In the case of arrangements, the annotations also include the effectiveness and suitability of the distribution of the musical material in terms of balance, register allocation, and the expansion and/or reduction of range and textural density; pedal markings and the transcription of interpretative, dynamic and articulation markings

August Endell's Construction of Feeling

The German architect August Endell (1871-1925) is best known for his idiosyncratic buildings and interiors. As the first monographic study on his work in English, this dissertation uncovers the little-known design philosophy behind his works, and elucidates the intellectual origins and career of his important theory of experiential form. Endell was a polymath versed in scientific philosophy, empirical psychology, musicology and architecture. A man of extraordinary intellectual range, he saw his architectural practice as a laboratory for conducting experiments in psychology. In particular, his buildings explored architectural forms patterned on the workings of the human brain, as understood in late nineteenth century Germany. Previous studies of Endell generally have tried to situate him within one of the major German schools of thought in psychology, alternatively as a proponent of abstraction or empathy. Through detailed analyses of his built works and written texts, this dissertation argues that Endell was in fact attempting a reconciliation between abstraction and empathy, through what I have interpreted as experiential forms, namely forms drawn from collective memories, feelings, and ethical relations. Endell was an activist for architectural design driven by a "science" of consciousness, and he was convinced that built experiential forms could serve an important unifying social function, counteracting processes of social disaggregation he believed was taking place in pre-World War I Germany. Endell was discredited and ignored for much of the twentieth century, perhaps because his claims about the influence of architecture in the functioning of the human brain and sensorium, in the absence of scientific proof, seemed condemned to remain hypothetical. To re-examine his work today, when neuroscience is giving us an entirely new picture of the brain, is to recover an important chapter in the pre-history of attempts to adequate our built environment to our human condition

Venite et Videte: Art and Architecture in Brussels as Agents of Change during the Counter Reformation, c. 1609-1659

In the Counter Reformation, art and architecture are often attributed a central role in such a process of persuasion. Recent historical studies, however, have emphasized the intense fear of God that held Early Modern society in its grip, leading to a revision of the traditional view of the Counter Reformation as a top-down process. This revision has important implications for the history of art, as it challenges us to reconsider the notion of religious art and architecture during the Counter Reformation as rhetorical “propaganda”. In the present dissertation I approach the religious art patronage in the Catholic South from a perspective informed by recent developments in ethnography and anthropology. I propose to redefine the “baroque piety” of religious patronage that generated works of art and architecture not as a strategy to persuade (in a rhetorical way), but to negotiate with the divine in a continuous process of reconciliation, aiming to regain divine grace. Put in anthropological terms, works of art served as ritual interfaces to enter into negotiation with the divine. This negotiation with God took place within networks of social relations (nexuses) in which art and architecture functioned as agents of changeFWO VlaanderenMedieval and Early Modern Studie

Así es nuestro Rey : el libro de "La Monarquía"

El periódico "La Monarquía" ha sido fundado por Benigno Varela.Texto en español, francés, inglés y alemán

Revisiting New Babylon: the making and unmaking of a nomadic myth

This thesis revisits Constant’s New Babylon (about 1956-1974). Turning to theories of primitivism and, in particular, Christopher L. Miller’s critical reading of ‘the nomad’ found in Gilles Deleuze’s and Félix Guattari’s A Thousand Plateaus (1980), I use previously published and unconsidered archival materials alike to demonstrate the importance of Romani to Constant’s original work and thinking on New Babylon. Positioning these materials against a selection of dominant claims, reference points and images now circulating in established New Babylon and Situationist International scholarship, I argue that Constant’s daily life and artistic practice, together with key moments in the development and public display of his project, are framed by references to, yearnings for and personal dealings with Romani, both real and imagined. Questioning contemporary theorisations of nomadism through a consideration of who travels and why, I advocate for a greater awareness of and sensitivity to the historical conditions that produce particular forms of movement. New Babylon and Romani are inextricably intertwined: to forget the one is to misunderstand, and misrepresent, the other

Schweizer Jahrbuch fuer Musikwissenschaft- Annales Suisses de Musicologie-Annuario Svizzero di Musicologia

Das Schweizer Jahrbuch für Musikwissenschaft hat die Aufgabe, die Ergebnisse musikwissenschaftlicher Forschung zu präsentieren, die im Land zu allen denkbaren Gegenständen betrieben wird. Darüber hinaus werden Beiträge namhafter Kollegen der internationalen Forschergemeinschaft veröffentlicht. Der vorliegende Band Nr. 36 enthält Studien zur schweizerischen Musik und zu den Identitätsdiskursen, an deren Entwicklung sie beteiligt war (Andrea Kammermann, Yannick Wey und Raymond Ammann über Ferdinand Fürchtegott Huber; Jacques Tchamkerten über Ernest Bloch). Daneben sind Beiträge zu mediengeschichtlichen Aspekten und Diskussionen über kulturelle Verbreitungsformen von Musik im 20. Jahrhundert enthalten (Carlo Piccardi über die Natur des radiophonen Musikhörens, Angela Carone über das Wirken von Roman Vlad). Aus einer anderen methodischen Perspektive analysiert Susan Rutherford die Struktur des Mythos, der die Operndiva und ihr Publikum verbindet. Die Rezension am Ende des Bandes bespricht eine Publikation, die auf die intellektuelle und musikalische Geschichte der Schweiz eingeht