Books on the topic 'Artistic reputation'
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1
Lang, Gladys Engel. Etched in memory: The building and survival of artistic reputation. Chapel Hill: University of North Carolina Press, 1990.
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2
Kurt, Lang, ed. Etched in memory: The building and survival of artistic reputation. Urbana: University of Illinois Press, 2001.
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3
Nierop, Henk. The Life of Romeyn de Hooghe 1645-1708. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462981386.
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Romeyn de Hooghe was the most inventive and prolific etcher of the later Dutch Golden Age. The producer of wide-ranging book illustrations, newsprints, allegories, and satire, he is best known as the chief propaganda artist working for stadtholder and king William III. This study, the first book-length biography of de Hooghe, narrates how his reputation became badly tarnished when he was accused of pornography, fraud, larceny, and atheism. Traditionally regarded as a godless rogue, and more recently as an exponent of the Radical Enlightenment, de Hooghe emerges in this study as a successful entrepreneur, a social climber, and an Orangist spin doctor. A study in seventeenth-century political culture and patronage, focusing on spin and slander, this book explores how artists, politicians, and hacks employed literature and the visual arts in political discourse, and tried to capture their readership with satire, mockery, fun, and laughter.
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Nierop, Henk. The Life of Romeyn de Hooghe 1645-1708. NL Amsterdam: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463725101.
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Romeyn de Hooghe was the most inventive and prolific etcher of the later Dutch Golden Age. The producer of wide-ranging book illustrations, newsprints, allegories, and satire, he is best known as the chief propaganda artist working for stadtholder and king William III. This study, the first book-length biography of de Hooghe, narrates how his reputation became badly tarnished when he was accused of pornography, fraud, larceny, and atheism. Traditionally regarded as a godless rogue, and more recently as an exponent of the Radical Enlightenment, de Hooghe emerges in this study as a successful entrepreneur, a social climber, and an Orangist spin doctor. A study in seventeenth-century political culture and patronage, focusing on spin and slander, this book explores how artists, politicians, and hacks employed literature and the visual arts in political discourse, and tried to capture their readership with satire, mockery, fun, and laughter.
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Dickey, Stephanie, ed. Rembrandt and his Circle. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462984004.
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This collection brings together art historians, museum professionals, conservators, and conservation scientists whose work involves Rembrandt van Rijn and associated artists such as Gerrit Dou, Jan Lievens, and Ferdinand Bol. The range of subjects considered is wide: from the presentation of convincing evidence that Rembrandt and his contemporary Frans Hals rubbed elbows in the Amsterdam workshop of Hendrick Uylenburgh to critical reassessments of the role of printmaking in Rembrandt's studio, his competition with Lievens as a landscape painter, his reputation as a collector, and much more. Developed from a series of international conferences devoted to charting new directions in Rembrandt research, these essays illuminate the current state of Rembrandt studies and suggest avenues for future inquiry.
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Noorman, Judith. Art, Honor and Success in The Dutch Republic. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462987982.
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Focusing on the interrelationship between Jacob van Loo's art, honor, and career, this book argues that Van Loo's lifelong success and unblemished reputation were by no means incompatible, as art historians have long assumed, with his specialization in painting nudes and his conviction for manslaughter. Van Loo's iconographic specialty - the nude - allowed his clientele to present themselves as judges of beauty and display their mastery of decorum, while his portraiture perfectly expressed his clients' social and political ambitions. Van Loo's honor explains why his success lasted a lifetime, whereas that of Rembrandt, Frans Hals, and Vermeer did not. Taking an interdisciplinary approach, this book reinterprets the manslaughter case as a sign that Van Loo's elite patrons recognized him as a gentleman and highly-esteemed artist.
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O'Neil, Maryvelma Smith. Giovanni Baglione: Artistic Reputation in Baroque Rome. Cambridge University Press, 2002.
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Wheeldon, Marianne. Debussy's Legacy and the Construction of Reputation. Oxford University Press, 2018. http://dx.doi.org/10.1093/acprof:oso/9780190631222.001.0001.
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This book examines the vicissitudes of Debussy’s posthumous reception in the 1920s and early 1930s and analyzes the confluence of factors that helped to overturn the initial backlash against his musical aesthetic. In tracing this overarching narrative, this study enters into dialogue with research in the sociology of reputation and commemoration, examining the collective nature of the processes of artistic consecration. Key in this regard is identifying the networks of influence that had to come together and act in several spheres—textual, performative, material—to safeguard the composer’s legacy. Today, Debussy’s position as a central figure in twentieth-century concert music is secure: this book examines how and why this seemingly inevitable state of affairs came about. Although this study focuses on one particular instance of reputation building, its scope is also broader in that it addresses the more general processes by which reputations are constructed, contested, and consolidated. And by analyzing the forces that came to bear on the formation of Debussy's legacy, this book contributes to a greater understanding of the interwar period—the cultural politics, debates, and issues that confronted musicians in 1920s and 1930s Paris.
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Wheeldon, Marianne. The Construction of Reputation and the Case of Debussy. Oxford University Press, 2018. http://dx.doi.org/10.1093/acprof:oso/9780190631222.003.0001.
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This chapter considers some of the general mechanisms by which artistic figures are consecrated and weighs their relative contribution to the construction of Debussy’s reputation. Drawing on Gladys Engel Lang and Kurt Lang’s analysis of the survival of reputation in the fine arts, four areas emerge that would seem to be particularly relevant to Debussy: (1) the initiatives undertaken by the composer to establish his own legacy; (2) the posthumous reception of the corpus of works left behind; (3) the actions of heirs and family members on behalf of the deceased: and (4) the efforts of the composer’s close friends and collaborators. Yet, as Chapter 1 demonstrates, the first two were rendered less effective because of the particularities of Debussy’s case—namely, his protracted illness and his death during the First World War.
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Smiles, Sam. Ruins and Reputations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826477.003.0016.
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This chapter explores how poetic inspiration, centred around the tombs of ancient poets, can be expressed through the material idiom of painting. It approaches the ‘tomb of Virgil’ through the eyes of artists working in the later eighteenth and early nineteenth centuries, when the vogue for travel and the growth of a market for topographical and antiquarian images produced the circumstances that gave new life to representations of the tombs of the Greek and Roman poets. It focuses specifically on the work of two artists who visited the spot: Joseph Wright of Derby, who produced a number of variants of a highly poetical approach to the tomb, and J. M. W. Turner, who thought about the tomb of the poet in relation to the social role of the artist.
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Jr, Shannon Edgar Finley. Tennyson and the Reviewers: A Study of His Literary Reputation and of the Influence of the Critics upon His Poetry, 1827-1851. Harvard University Press, 2013.
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Jackson, H. J. Those Who Write for Immortality: Romantic Reputations and the Dream of Lasting Fame. Yale University Press, 2015.
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Those Who Write for Immortality: Romantic Reputations and the Dream of Lasting Fame. Yale University Press, 2015.
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14
Korevaar, Gerbrand, Thijs Weststeijn, Anna Tummers, Marieke van den Doel, and Natasja van Eck. Learned Eye: Regarding Art, Theory, and the Artist's Reputation. Amsterdam University Press, 2005.
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Marieke van den Doel (Editor), Natasja van Eck (Editor), Gerbrand Korevaa (Editor), Anna Tummers (Editor), and Thijs Weststijn (Editor), eds. The Learned Eye: Regarding Art, Theory, and the Artist's Reputation. Amsterdam University Press, 2005.
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Cousineau, Diane, and Magda Salvesen. Artists' Estates: Reputations in Trust. Salvesen, Magda, 2022.
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(Editor), Magda Salvesen, and Diane Cousineau (Editor), eds. Artists' Estates: Reputations In Trust. Rutgers University Press, 2005.
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Cousineau, Diane, and Magda Salvesen. Artists' Estates: Reputations in Trust. Salvesen, Magda, 2022.
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19
Brook, Peter. The Shifting Point. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781350069459.
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Hailed as 'the theatrical event of this century' (Sunday Times), Peter Brook's unique dramatization of India's great epic poem, The Mahabharata played to ecstatic audiences worldwide. In The Shifting Point, one of theatre's great visionaries assesses the lessons of his pioneering work from his brilliant debut at Stratford and the West End in the 1960s to the triumphant success of The Mahabharata. With the bravura and insight of a great practitioner and explorer he reveals some of the inspiration behind his extraordinary career. Published in Bloomsbury's Revelations series, Brook's account covers many of the groundbreaking productions that cemented his reputation as 'one of the artistic geniuses of our time' (San Franciso Herald): his controversial productions of King Lear and Romeo and Juliet; the three-month period in Africa which culminated in The Conference of the Birds; Marat/Sade; filming King Lear and Lord of the Flies, and the epic The Mahabharata. With Brooks's reflections on the problems of Shakespeare and opera, and on a range of modern theatre artists including Grotowski, Gordon Craig and Samuel Beckett, The Shifting Point provides a uniquely revealing account of 4 decades of artistic exploration. 'The great thing about Brook is that, in a medium where others provide answers, he keeps asking questions. This sage and stimulating book shows that, inside a sophisticated adult mind, lurks the intemperate curiosity of a child; which is the mark of genius.'(Michael Billington, Listener)
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Jackson, H. J. Those Who Write for Immortality. Yale University Press, 2015.
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21
Aguilar, Ananay. Pioneering the orchestra-owned label. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0006.
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This chapter discusses the London Symphony Orchestra’s creation and development of the pioneering orchestra-owned label LSO Live as a response to a classical music industry in crisis. The investigation of the label’s business model is framed within a production of culture perspective that considers six categories: industry structure, organizational structure, occupational careers, law and regulation, technology, and market. Drawing on ethnographic fieldwork and industry data, this chapter demonstrates how the London Symphony Orchestra increased its artistic and managerial independence and, in doing so, effectively multiplied its local and international reputation. As an example of forward-looking managerial culture and leadership, the LSO Live initiative continues to be imitated around the globe.
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Crossley, Mark, and James Yarker. Devising Theatre with Stan’s Cafe. Bloomsbury Publishing Plc, 2017. http://dx.doi.org/10.5040/9781474267083.
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Since it was founded in 1991, British theatre company Stan’s Cafe has garnered an international reputation for artistic innovation, and prolific, eclectic performance projects. Their work has toured nationally and internationally, with 2003's Of All The People In All The World having been performed in over fifty cities around the world. Embracing site-specific, immersive, durational, non-text-based as well as scripted work, Stan's Cafe's portfolio defies simple categorization. Running through all their work however is a collaborative devising process that champions a playful experimentation with form. Devising Theatre with Stan’s Cafe reveals and reflects on their theatre-making process, providing an illuminating and accessible account of their work and the approaches, techniques and philosophies which underpin and inspire it. Co-authored by artistic director James Yarker and Dr Mark Crossley, the book is places their work within wider context of contemporary theatre and is the perfect companion to anyone looking to make their own original theatre or performance work. For theatre students, fans and theatre-makers, Devising Theatre with Stan’s Cafe is an inspiring account and practical guide to contemporary performance practice
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Gooley, Dana. Liszt and the Romantic Rhetoric of Improvisation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0006.
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Chapter 5 follows another musician of strong improvisatory inclinations who modified his practice in response to criticism. Unlike Schumann’s more linear development, Liszt’s relationship with improvisation vacillated. Free improvisations were central to his reputation as a child prodigy, yet the more he sought recognition as a composer, the more compelled he felt to rein it in for fear of being judged as superficial. At the same time, George Sand and Heinrich Heine were advancing a positive new vision of improvisation as a privileged, elevated mode of artistic utterance, and Liszt was one of their main exhibits. To an extent matched only by Chopin and Paganini, Liszt gave the impression he was blurring the line between playing a prepared piece and improvising. He thus played a key role in linking improvisational practice with the emerging imaginary ideal of improvisation, while submitting himself to the new order of “works” and “interpreters.”
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Wetering, Ernst Van de, and Marieke van den Doel. Learned Eye : Regarding Art, Theory, and the Artist's Reputation: Essays for Ernst Van de Wetering. Amsterdam University Press, 2005.
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Korevaar, Gerbrand, Thijs Weststeijn, and Anna Tummers. Learned Eye : Regarding Art, Theory, and the Artist's Reputation: Essays for Ernst Van de Wetering. Amsterdam University Press, 2010.
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The learned eye: Regarding art, theory, and the artist's reputation : essays for Ernst van de Wetering. [Amsterdam]: Amsterdam University Press, 2005.
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Kennedy, Róisín. Art and the Nation State. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789622355.001.0001.
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Art and the Nation State is a wide-ranging study of the reception and critical debate on modernist art in Ireland from the foundation of the Irish Free State in 1922 to the end of the modernist era in the 1970s. Drawing on media coverage, reviews, writings and the private papers of key Irish and international artists, critics and commentators, the study explores the significant contribution of Irish modern art to post-independence cultural debate and diverging notions of Irish national identity. Through an analysis of significant controversies and debates on modern art, the book examines how the reputations of major Irish artists was moulded by the prevailing demands of national identity, modernization and the dynamics of the international art world. Disputes about the relevance of the work of leading international modernists such as the Irish-American sculptor, Andrew O’Connor; the French expressionist painter, Georges Rouault; the British sculptor Henry Moore and the Irish born, but ostensibly, British artist, Francis Bacon to Irish cultural life is also analysed, as is the equally problematic positioning of Northern Irish artists.
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Fernald, Anne E., ed. The Oxford Handbook of Virginia Woolf. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780198811589.001.0001.
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With thirty-nine original chapters from internationally prominent scholars, The Oxford Handbook of Virginia Woolf is designed for post-secondary students, scholars, and common readers. Feminist to the core, each chapter offers an overview that is at once fresh and thoroughly grounded in prior scholarship. Six parts focus on Woolf’s life, her texts, her experiments, her as a professional, her contexts, and her afterlife. Opening chapters on Woolf’s life address the powerful influences of family, friends, and home. Part II on her works moves chronologically, emphasizing Woolf’s practice of writing essays and reviews alongside her fiction. Chapters on Woolf’s experimentalism pay special attention to the literariness of Woolf’s writing, with opportunity to trace its distinctive watermark while ‘Professions of Writing’, invites readers to consider how Woolf worked in cultural fields including and extending beyond the Hogarth Press and the Times Literary Supplement. Part V on ‘Contexts’ moves beyond writing to depict her engagement with the natural world as well as the political, artistic, and popular culture of her time. The final part, ‘Afterlives’, demonstrates the many ways Woolf’s reputation continues to grow. Of particular note, chapters explore three distinct Woolfian traditions in fiction: the novel of manners, magical realism, and the feminist novel.
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Painting Under Pressure Fame Reputation And Demand In Renaissance Florence. Yale University Press, 2013.
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Ansari, Emily Abrams. The Sound of a Superpower. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190649692.001.0001.
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Classical composers seeking to create an American sound enjoyed unprecedented success during the 1930s and 1940s. Aaron Copland, Roy Harris, Howard Hanson, and others brought national and international attention to American composers for the first time in history. In the years after World War II, however, something changed. The prestige of musical Americanism waned rapidly as anti-Communists made accusations against leading Americanist composers. Meanwhile, a method of harmonic organization that some considered more Cold War–appropriate—serialism—began to rise in status. For many composers and historians, the Cold War had effectively “killed off” musical Americanism. In this book, the author offers a fuller, more nuanced picture of the effect of the Cold War on Americanist composers. She shows that the ideological conflict brought both challenges and opportunities. Some leftist Americanist composers struggled greatly in this new artistic and political environment, especially as American nationalism increasingly meant American exceptionalism. But composers of all political stripes would find in the federal government a new and unique channel through which to ensure the survival of musical Americanism, as the White House sought to use American music as a Cold War propaganda tool and American composers as cultural diplomats. The Americanists’ efforts to safeguard the reputation of their style would have significant consequences. Ultimately, they effected a rebranding of musical Americanism, with consequences that remain with us today.
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Church, David. Post-Horror. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475884.001.0001.
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Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed “elevated horror” and “post-horror” in popular film criticism, texts such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from high-minded critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema. It argues that the affect produced by these films’ minimalist aesthetic has fueled taste-based disagreements between professional film critics, genre fans, and more casual viewers about whether the horror genre can or should be upheld as more than a populist entertainment form, especially as the genre turned away from the post-9/11 debates about graphic violence that consumed the first decade of the twenty-first century. The book thus explores the aesthetic qualities, historical precursors, affective resonances, and thematic concerns of this emerging cycle by situating these texts within revived debates between over the genre’s larger artistic, cultural, and entertainment value. Chapters include thematic analyses of trauma, gaslighting, landscape, existential dread, and political identity across a range of films straddling the line between art-horror and multiplex fare since approximately 2013.
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Schwartz, Barry. Rethinking Conflict and Collective Memory: The Case of Nanking. Edited by Jeffrey C. Alexander, Ronald N. Jacobs, and Philip Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780195377767.013.20.
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This article examines the politics of collective memory and attribution theory by studying expert and popular beliefs in Japan about the 1937–1938 Nanking Massacre. Memory, when conceived as a product of political conflict, assumes pluralistic and centralized forms. Multiple memories emerge out of a context of cross-cutting interests, coalitions, power networks, and enterprises, as seen in the fate of artistic and presidential reputations, Holocaust commemoration, place-naming, monument-making, and the organization of museums. After discussing the assumptions underlying the politics of memory and attribution theory, the article considers two theories in light of the Nanking debates: the first relates history and memory to power struggles, whereas the second subsumes these struggles under conflicting causal attributions. It also looks at three carrier groups that participate in the Nanking memory war, and particularly in debates over Japan’s moral responsibility for crimes committed in Nanking: maximalists, revisionists, and centrists.
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Burford, Mark. Mahalia Jackson and the Black Gospel Field. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190634902.001.0001.
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Drawing on and piecing together a trove of previously unexamined sources, this book is the first critical study of the renowned African American gospel singer Mahalia Jackson (1911–1972). Beginning with the history of Jackson’s family on a remote cotton plantation in the Central Louisiana parish of Pointe Coupée, the book follows their relocation to New Orleans, where Jackson was born, and Jackson’s own migration to Chicago during the Great Depression. The principal focus is her career in the decade following World War II, during which Jackson, building upon the groundwork of seminal Chicago gospel pioneers and the influential National Baptist Convention, earned a reputation as a dynamic church singer. Eventually, Jackson achieved unprecedented mass-mediated celebrity, breaking through in the late 1940s as an internationally recognized recording artist for Apollo and Columbia Records who also starred in her own radio and television programs. But the book is also a study of the black gospel field of which Jackson was a part. Over the course of the 1940s and 1950s, black gospel singing, both as musical worship and as pop-cultural spectacle, grew exponentially, with expanded visibility, commercial clout, and forms of prestige. Methodologically informed by a Bourdiean field analysis approach that develops a more granular, dynamic, and encompassing picture of post-war black gospel, the book persistently considers Jackson, however exceptional she may have been, in relation to her fellow gospel artists, raising fresh questions about Jackson, gospel music, and the reception of black vernacular culture.
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Hughes, Langston. Let America Be America Again. Edited by Christopher C. De Santis. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192855046.001.0001.
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Abstract Let America Be America Again: Conversations with Langston Hughes is a record of a remarkable man talking. In texts ranging from early interviews in the 1920s, when he was a busboy and scribbling out poems on hotel napkins, to major speeches, such as his keynote address at the First World Festival of Negro Arts in Dakar, Senegal, in 1966, Hughes’s words included in this volume further amplify the international reputation he established over the course of five decades through more widely-published and well-known poems, stories, novels, and plays. In these interviews, speeches, and conversational essays, the writer referred to by admirers as the “Poet Laureate of the Negro Race” and the “Dean of Black Letters” articulated some of his most powerful critiques of fascism, economic and racial oppression, and compromised democracy. It was also through these genres that Hughes spoke of the responsibilities of the Black artist, documented the essential contributions of Black people to literature, music, and theatre, and chronicled the substantial challenges that Black artists face in gaining recognition, fair pay, and professional advancement. And it was through these pieces, too, that Hughes built on his celebrated work in other literary genres to craft an original, tragic-comic persona—a Blues poet in exile, forever yearning for and coming back to a home, a nation, that nevertheless continues to disappoint and harm him. A global traveler, Hughes’s words, “Let America be America Again,” were, throughout his career, always followed by a caveat: “America never was America to me.”
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Kluge, Alexander. Difference and Orientation. Edited by Richard Langston. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501739200.001.0001.
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This book's author is one of contemporary Germany's leading intellectuals and artists. A key architect of the New German Cinema and a pioneer of auteur television programming, who has also written books and articles, and continues to make films. However, his reputation outside of the German-speaking world still largely rests on his films of the 1960s, 1970s, and 1980s. This book assembles thirty of the author's essays, speeches, glossaries, and interviews, revolving around the capacity for differentiation and the need for orientation toward ways out of catastrophic modernity. The volume brings together some of the author's most fundamental statements on literature, film, pre- and post-cinematic media, and social theory, nearly all for the first time in English translation. Together, these works highlight a career-spanning commitment to unorthodox, essayistic thinking.
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Wheeldon, Marianne. Debussyism, Anti-debussyism, Neoclassicism. Oxford University Press, 2018. http://dx.doi.org/10.1093/acprof:oso/9780190631222.003.0003.
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Chapter 3 considers the effects of the contingencies of music and cultural history on reputation. The arrival of new artists or aesthetic tendencies on the Parisian scene forced writers to reconsider the recent musical past and to reshape it in accordance with present-day concerns. Cocteau, Les Six, Stravinsky, and Schoenberg all had significant implications for Debussy’s posthumous reception as historical frameworks were revised to integrate or denigrate Debussy’s position vis-à-vis recent musical developments. Chapter 3 examines three musical currents of the 1920s—debussyism, anti-debussyism, and neoclassicism—all of which had a notable impact on the early formation of Debussy’s legacy. Whereas the postwar turn to anti-debussyism was undoubtedly harmful for the composer’s legacy, Chapter 3 considers how the development of neoclassicism over the course of the 1920s was ultimately beneficial for the first stages of its recovery.
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Wood, Naomi J., ed. A Cultural History of Fairy Tales in the Long Nineteenth Century. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781350095373.
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How have fairy tales from around the world changed over the centuries? What do they tell us about different cultures and societies? This volume explores the period when the European fairy tales conquered the world and shaped the global imagination in its own image. Examining how collectors, children’s writers, poets, and artists seized the form to challenge convention and normative ideas, this book explores the fantastic imagination that belies the nineteenth century’s materialist and pedestrian reputation. Looking at writers including E.T.A Hoffman, the Brothers Grim, S.T. Coleridge, Walter Scott, Oscar Wilde, Christina Rosetti, George MacDonald, and E. Nesbit, the volume shows how fairy tales touched every aspect of nineteenth century life and thought. It provides new insights into themes including: forms of the marvelous, adaptation, gender and sexuality, humans and non-humans, monsters and the monstrous, spaces, socialization, and power. With contributions from international scholars across disciplines, this volume is an essential resource for researchers, scholars and students of literature, history, and cultural studies.
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Gooley, Dana. PreludeThe Virtue of Improvisation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0001.
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IN RECENT TIMES improvisation has made a significant comeback in classical music concerts, education, and scholarship. Pianist Robert Levin has injected fresh life into Mozart by improvising ornaments, lead-ins, and whole cadenzas to Mozart concertos. More impressively still, he plays free fantasies in Mozart style on themes given by the concert audience. Gabriela Monteiro has built a distinctive reputation among concert pianists by improvising at length on themes solicited from the audience, drawing on an eclectic range of styles from Bach-like baroque to modern jazz. Early music practitioners have long understood the importance of improvisation to historically informed practice, but artists such as violinist Andrew Manze and harpsichordist Richard Egarr have pressed it to new limits. Organist Thierry Escaich has been inventing entire four-movement symphonies on themes suggested by the audience, setting a new standard for a tradition already rich in improvisation. Students and fans of these elite musicians are showing signs that they intend to keep the flame burning by cultivating improvisational practice in various classical idioms....
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Scott, Walter. Marmion. Edited by Ainsley McIntosh. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425193.001.0001.
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Marmion (1808) is the second of Walter Scott’s grand historical narrative poems. Its sixteenth-century romance tale is framed within six conversation poems, each addressed to one of Scott’s friends, and supplemented by substantial ethnographical and antiquarian notes. Scott here features as a topical poet, commemorating both national events and occasions, as well as the work of his contemporaries. His relations with aristocratic patrons, artists, and statesmen are also amply reflected in the dedicatory epistles. It was with the overwhelming success of Marmion (four editions and over 11,000 copies were produced in 1808 alone) that Scott’s poetic reputation was indisputably established, his entry in the world of commercial publishing confirmed, and his commitment to a literary life fully determined. This is the first scholarly edition of Marmion. Based on new archival research it provides critically edited text that incorporates lines omitted from previous editions of the poem and extensive annotations. The critical apparatus in this volume includes a detailed essay on the development of the text, a Historical Note, Explanatory Notes and a full glossary of Scots, foreign and archaic words.
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Archer-Parré, Caroline, and Malcolm Dick, eds. John Baskerville. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940643.001.0001.
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This book is concerned with the eighteenth-century typographer, printer, industrialist and Enlightenment figure, John Baskerville (1707-75). Baskerville was a Birmingham inventor, entrepreneur and artist with a worldwide reputation who made eighteenth-century Birmingham a city without typographic equal, by changing the course of type design. Baskerville not only designed one of the world’s most historically important typefaces, he also experimented with casting and setting type, improved the construction of the printing-press, developed a new kind of paper and refined the quality of printing inks. His typographic experiments put him ahead of his time, had an international impact and did much to enhance the printing and publishing industries of his day. Yet despite his importance, fame and influence many aspects of Baskerville’s work and life remain unexplored and his contribution to the arts, industry and technology of the Enlightenment are largely unrecognized. Moreover, recent research in archaeology, art and design, history, literary studies and typography, is leading to a fundamental reassessment of many aspects of Baskerville’s life and impact, including his birthplace, his work, the networks which sustained him and the reception of his printing in Britain and overseas. This interdisciplinary approach provides an original contribution to printing history, eighteenth-century studies and the dissemination of ideas.
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Warner, Tobias. The Tongue-Tied Imagination. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284634.001.0001.
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Should a writer work in former colonial language, or in a vernacular? The language question was once one of the great, intractable problems that haunted postcolonial literatures in the twentieth century, but it has since acquired a reputation for being a dead end of narrow nationalism. Instead of asking whether language matters, The Tongue-Tied Imagination explores how the language question itself came to matter. Focusing on the case of Senegal, this book studies the intersection of French and Wolof. Drawing on extensive archival research and an under-studied corpus of novels, poetry, and films in both languages, the chapters follow the emergence of a politics of language from colonization into the early independence decades and through to the era of neoliberal development. Chapters explore the works of well-known francophone authors such as Léopold Senghor, Ousmane Sembène, Mariama Bâ, and Boubacar Boris Diop alongside the more overlooked vernacular artists with whom they are in dialogue. Pushing back against a prevailing view of postcolonial language debates as a terrain of nativism, this book argues for the language question as a struggle over the nature and limits of literature itself. Language debates tend to pull in two directions: first, they produce literary commensurability by suturing vernacular traditions into the normative patterns of world literature; but second, they create space to imagine how literary culture might be configured otherwise. Drawing on these insights, this book models both a new understanding of translation and a different approach to literary comparison.
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Vandrei, Martha. Queen Boudica and Historical Culture in Britain. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816720.001.0001.
Full textAbstract:
This innovative and distinctive book takes a long chronological view and a wide-ranging, interdisciplinary approach. It is the definitive work on the posthumous reputation of the ever-popular warrior queen of the Iceni, Queen Boadicea/Boudica. It explores her presence in British historical discourse, from the early modern rediscovery of the works of Tacitus to the first historical films of the early twentieth century. In doing so, the book seeks to demonstrate the continuity and persistence of historical ideas across time and throughout a variety of media. This focus on continuity leads into an examination of the nature of history as a cultural phenomenon and the implications this has for our own conceptions of history and its role in culture more generally. While providing contemporary contextual readings of Boudica’s representations, this book also explores the unique nature of historical ideas as durable cultural phenomena, articulated by very different individuals over time, all of whom were nevertheless engaged in the creative process of making history. Thus this book presents a challenge to the axioms of cultural history, new historicism, and other mainstays of twentieth- and twenty-first-century historical scholarship. It shows how, long before professional historians sought to monopolize historical practice, audiences encountered visions of past ages created by antiquaries, playwrights, poets, novelists, and artists, all of whom engaged with, articulated, and even defined the meaning of ‘historical truth’. This book argues that these individual depictions, variable audience reactions, and the abiding notion of history as truth constitute the substance of historical culture.
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Snyder, Michael. James Purdy. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197609729.001.0001.
Full textAbstract:
Abstract One of the most iconoclastic twentieth-century American novelists, James Purdy penned original and sometimes shocking works about those on the margins of American society, exploring small towns, urban life, alienation, sexuality, and familial relations. Purdy was a compelling if eccentric figure, declared an “authentic American genius” by Gore Vidal. James Purdy: Life of a Contrarian Writer is the first biography of the gay American novelist, story writer, playwright, and poet. From his roots in Ohio, Purdy moved to a world of bohemian artists and jazz musicians in Chicago in the late 1930s and 1940s, traveled in Spain, studied in Mexico, enlisted in the Army Air Corps, worked for the Federal Security Agency, and taught in Cuba and at a Wisconsin college for nearly a decade. All the while, he aspired to become a writer, but struggled to publish. Only when friends financed the private publication of his work did he find a champion in poet Edith Sitwell, who helped get him published in England, which led to publication in the United States. After moving to New York in 1957, he spent nearly fifty years writing in Brooklyn Heights. Although Purdy’s reputation peaked in the 1960s and he never enjoyed a bestseller, his often queer and edgy content found a diverse following that included Tennessee Williams, Langston Hughes, William Carlos Williams, Dorothy Parker, Jonathan Franzen, and many LGBTQ readers. Difficult and often contrarian, Purdy sometimes hampered his own career as he sought recognition from a conservative, cliquey New York publishing world.
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Whitehead, James. Madness and the Romantic Poet. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198733706.001.0001.
Full textAbstract:
This book examines writing that has linked poetry and poets to madness, covering early literary criticism, biography, medical literature, and poetry itself, and moving between the late eighteenth and the twentieth century. More specifically, its purpose is to offer an account of the development and dissemination of the figure of the ‘Romantic mad poet’ in the nineteenth century, and to show how this figure interacted with coeval ideas about genius or creativity, and the varying fortunes in reception and reputation of Romantic poets, poetry, and conceptions of Romanticism generally. The opening sections address the currency of popular myths on the topic, and the relevance of modern psychological studies on mental illness and creativity. The greater part of the book focuses on reception, broadly conceived, discussing the Romantic conversation with classical and early modern ideas about poetic madness; attitudes towards the creative and literary mind in the psychiatric medicine of the period; contemporary reviews of Romantic poetry, and the hostile rhetoric of insanity they deployed; and life-writing, moving from early brief lives and popular anthologies of the ‘infirmities of genius’ to the larger narratives of irrationality in Victorian literary biography. Figures discussed include Wordsworth, Coleridge, Blake, Hazlitt, Byron, Lamb, Shelley, and Clare. The book reassesses how Romantic writers both contributed to and resisted the construction of the mad poet, or new and rediscovered mythologies of poetic madness. Finally, the Romantic mad poet is considered as an image of the artist in modernity, and the image’s long afterlife and importance are explained.