Książki na temat „Western art canon”
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The ambassadors of death: The sister arts, western canon and the silent lines of a Hebrew survivor. Brighton: Sussex Academic Press, 2011.
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The hongs of Canton: Western merchants in south China 1700-1900, as seen in Chinese export paintings. London: English Art Books, 2009.
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Conner, Patrick. The hongs of Canton: Western merchants in south China 1700-1900, as seen in Chinese export paintings. London: English Art Books, 2009.
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Conner, Patrick. The hongs of Canton: Western merchants in south China 1700-1900, as seen in Chinese export paintings. London: English Art Books, 2009.
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Rogers, Hiromi T. Anjin - The Life and Times of Samurai William Adams, 1564-1620. GB Folkestone: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9781898823858.
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The year is 1600. It is April and Japan’s iconic cherry trees are in full flower. A battered ship drifts on the tide into Usuki Bay in southern Japan. On board, barely able to stand, are twenty-three Dutchmen and one Englishman, the remnants of a fleet of five ships and 500 men that had set out from Rotterdam in 1598. The Englishman was William Adams, later to be known as Anjin Miura by the Japanese, whose subsequent transformation from wretched prisoner to one of the Shogun’s closest advisers is the centrepiece of this book. As a native of Japan, and a scholar of seventeenth-century Japanese history, the author delves deep into the cultural context facing Adams in what is one of the great examples of assimilation into the highest reaches of a foreign culture. Her access to Japanese sources, including contemporary accounts – some not previously seen by Western scholars researching the subject – offers us a fuller understanding of the life lived by William Adams as a high-ranking samurai and his grandstand view of the collision of cultures that led to Japan’s self-imposed isolation, lasting over two centuries. This is a highly readable account of Adams’ voyage to and twenty years in Japan and that is supported by detailed observations of Japanese culture and society at this time. New light is shed on Adams’ relations with the Dutch and his countrymen, including the disastrous relationship with Captain John Saris, the key role likely to have been played by the munitions, including cannon, removed from Adams’ ship De Liefde in the great battle of Sekigahara (September 1600), the shipbuilding skills that enabled Japan to advance its international maritime ambitions, as well as the scientific and technical support Adams was able to provide in the refining process of Japan’s gold and silver.
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Balbierz, Jan, red. Strindberg and the Western Canon. Wydawnictwo Uniwersytetu Jagiellońskiego, 2020. http://dx.doi.org/10.4467/k7068.245/19.19.15526.
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During the whole of his writing career August Strindberg was a restless canon-maker. In his capacity as writer, librarian, cultural scholar, polemicist and amateur researcher he constantly quoted sources, both historical and contemporary, included and excluded certain authors in his own work, as well as re-evaluated the boundaries of aesthetics and culture around the turn of the twentieth century. At the same time, he was a very active author in his own right, living in self-imposed exile but in close contact with cosmopolitan intellectual circles. All of this raises questions about his relationship with the literary and cultural canon. The dynamics between local and global culture define the whole of his oeuvre and make him one of those European authors who are readily interpreted in the context of Weltlitemtur. Strindberg was a multilingual cosmopolitan, an emigrant, theosophist, and reporter. In his capacity as a writer, with his gaze trained upon both East and West, he absorbed impressions from the universalist tendencies of the J7W de siecle. His ambition to join the global "Republic of Letters" led him to study French, Hebrew, the Chinese system of logograms, Russian literature, and the history of the Middle East. This volume, edited by Jan Balbierz, gathers contributions from renowned Strindberg scholars and discusses questions, such as: How did Strindberg construct his predecessors and which traditions did he associate himself with? How is a Strindbergian text altered in performative practice in theatre and film? How did Strindberg, whose writings are deeply rooted in Swedish folklore and landscape, relate to foreign cultural.
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Kivy, Peter. The Dilemma of Emma. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190689414.003.0009.
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In the Penguin Classics edition of Jane Austen’s Emma, the editor of the volume, Fiona Stafford, writes: “From its first appearance, late in December 1815, Emma has been criticized for its lack of action. . . .” These are harsh words for a novel, suggesting deficiency in story. Is Emma then a failed novel? Yet the novel is published in a series called Penguin Classics. In other words, Emma belongs to the Western literary canon. That hardly spells “failure.” It appears that Emma presents a kind of informal paradox or dilemma for the philosophy of art. Emma, although it is agreed on all hands to belong to the canon, far from telling a whopping good story, is agreed on all hands to be sadly deficient in the storytelling department. It is this dilemma or paradox that is the subject of this chapter.
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Merchant, Tanya. Like Tereshkova in the Cosmos. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039539.003.0004.
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This chapter examines how women perform post-Soviet nationalism using the canon of European classical music by focusing on a project designed to produce Uzbek Western art music, one that retains prominence in independent Uzbekistan. The project has involved getting composers engaged in the creation of a sense of Uzbek style in composition. In Uzbekistan, from remarkably early in the Soviet period, women have been important figures in the performance and promulgation of Uzbek compositions. The chapter first provides a historical overview of Western art music in Soviet Uzbekistan and compares it with Western art music in independent Uzbekistan. It then considers how women's performances support a construction of national identity that began in the Soviet era and continues today. The chapter features interviews with Dilbara Abdurahmanova, the first female director of the Alisher Navoiy State Opera, and prominent pianist and former conservatory director Ofeliya Yusupova. By far the most pervasive musical style heard in Tashkent, popular music, known as estrada, provides audiences with a glamorous construction of Uzbek femininity.
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Voloshchuk, Yevgeniya, i Boris Bigun. The Era of “isms”: Modernism and Avantgarde in Western European Literature of the First Half of the XX Century. PH “Akademperiodyka”, 2014. http://dx.doi.org/10.15407/akademperiodyka.275.324.
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The book by Ye.V. Voloshchuk and B.Ya. Bigun “The Era of “isms”: Modernism and Avantgarde in Western European Literature of the First Half of the XX Century” highlights the basic theoretical and historical-literary issues of contemporary modernism studies, as well as a number of literary portraits of classics of modernism and avantgarde. Reviews of artistic practice of artists are supplemented by the analysis of some of their works, which are included in the literary canon of the XX century. The publication is intended for students of philological faculties, masters, graduate students, teachers, as well as anyone interested in world literature of the XX century.
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El-Rouayheb, Khaled, i Sabine Schmidtke. Introduction. Redaktorzy Khaled El-Rouayheb i Sabine Schmidtke. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199917389.013.40.
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The study of Islamic philosophy has recently entered a new and exciting phase. Both the received canon of Islamic philosophers and the grand narrative of the course of Islamic philosophy are in the process of being radically questioned and revised. The bulk of twentieth-century Western scholarship on Arabic or Islamic philosophy focused on the period from the ninth century to the twelfth. It is a measure of the transformation that is currently underway in the field that the present Handbook gives roughly equal weight to every century from the ninth to the twentieth. Moreover, its entries are work-centered rather than person- or theme-centered.
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Ashley, Richard. Musical improvisation. Redaktorzy Susan Hallam, Ian Cross i Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0038.
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Musical improvisation is, to many in the Western world, an activity shrouded in mystery. Most listeners are familiar with some genres of music in which improvisation is a commonplace, such as rock and other popular styles, jazz, or perhaps ‘ethnic’ musics – that is to say, composed or improvised ‘traditional’ musics falling outside the typical Western canons. Therefore listeners are aware that many musicians can, and routinely do, produce novel musical utterances in real time. The question for most them is ‘How is improvisation carried out?’ With this formulation of the question, musical improvisation becomes a suitable topic for psychological investigation, focusing on cognitive, physical, and interpersonal processes, and on the musical structures on which these processes operate. This article seeks to bring together the literature on musical improvisation that will be of interest and benefit to those wishing to know more about it from a cognitive perspective.
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El-Rouayheb, Khaled, i Sabine Schmidtke, red. The Oxford Handbook of Islamic Philosophy. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199917389.001.0001.
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The study of Islamic philosophy has recently entered a new and exciting phase. Both the received canon of Islamic philosophers and the grand narrative of the course of Islamic philosophy are in the process of being radically questioned and revised. The bulk of twentieth-century Western scholarship on Arabic or Islamic philosophy focused on the period from the ninth century to the twelfth. It is a measure of the transformation that is currently underway in the field that the present Handbook gives roughly equal weight to every century from the ninth to the twentieth. The Handbook differs from previous overviews in another significant way: It is work-centered rather than person- or theme-centered. This format is intended to give readers a better sense of what a work in Islamic philosophy looks like, and of the issues, concepts, and arguments that are at play in works belonging to various periods and subfields within Islamic philosophy.
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Durrant, Colin. The Framing of Choirs and Their Conductors. Redaktorzy Frank Abrahams i Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.12.
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The British choral tradition is rooted in its ancient cathedrals and chapels, where the office of Evensong is sung, often daily. In addition, choral societies are to be found in most localities where singers come together and perform some of the major works in the western canon. Although singing itself occurs in a variety of forms this chapter looks at conductor-led choral singing. It does not give a fulsome picture of UK choral conducting and singing. Nonetheless, through a brief history starting from the John Curwen’s tonic sol-fa ideas for singing and culminating in a 20th century choral music renaissance; through an analysis of the English choral tradition; through a consideration of revivals of UK singing such as “Sing Up”; and through questionnaires and interviews with conductors and singers, the chapter explores some of the personal, cultural and sociological, educational, and musical issues and interests that can be found in the United Kingdom now.
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Lienhard, John H. The Engines of Our Ingenuity. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195135831.001.0001.
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Millions of people have listened to John H. Lienhard's radio program "The Engines of Our Ingenuity." In this fascinating book, Lienhard gathers his reflections on the nature of technology, culture, and human inventiveness. The book brims with insightful observations. Lienhard writes that the history of technology is a history of us--we are the machines we create. Thus farming dramatically changed the rhythms of human life and redirected history. War seldom fuels invention--radar, jets, and the digital computer all emerged before World War II began. And the medieval Church was a driving force behind the growth of Western technology--Cistercian monasteries were virtual factories, whose water wheels cut wood, forged iron, and crushed olives. Lienhard illustrates his themes through inventors, mathematicians, and engineers--with stories of the canoe, the DC-3, the Hoover Dam, the diode, and the sewing machine. We gain new insight as to who we are, through the familiar machines and technologies that are central to our lives.
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Stavans, Ilan. Other Diaspora Jewish Literatures Since 1492. Redaktor Martin Goodman. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199280322.013.0025.
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Since their expulsion from the Iberian Peninsula in 1492, the dissemination of the Jews in Europe, northern Africa, Asia, the Middle East, and the Americas has resulted not only in the production of a literature in modern Jewish languages and dialects such as Yiddish, Hebrew, Ladino, Judaeo-Italian, and Judaeo-Arabic, but also in a Jewish literature delivered in virtually every major Western tongue. These literatures in non-Jewish languages obviously fit into their respective national canons: Jewish-Portuguese authors are part of Portuguese letters, Jewish-Polish authors part of Polish letters, and so on. Five centuries after the expulsion from Spain in 1492, and more than 200 years after the Haskalah, an abundance of fiction and poetry by Jews in non-Jewish languages around the globe is produced regularly. And a solid body of literary criticism that attempts to examine its ambivalence at the national and international levels goes hand in hand with it.
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Adler, Eric. The Battle of the Classics. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197518786.001.0001.
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The Battle of the Classics criticizes contemporary apologetics for the humanities and presents a historically informed case for a decidedly different approach to rescuing the humanistic disciplines in American higher education. It uses the so-called Battle of the Classics of the late nineteenth and early twentieth centuries as a springboard for crafting a novel foundation for the humanistic tradition. The book argues that current defences of the humanities rely on the humanistic disciplines as inculcators of certain poorly defined skills such as “critical thinking.” It finds fault with this conventional approach, arguing that humanists cannot hope to save their disciplines without arguing in favor of particular humanities content. As the lackluster defenses of the classical humanities in the late nineteenth century help prove, instrumental apologetics are bound to fail. All the same, the book shows that proponents of the Great Books favor a curriculum that is too intellectually narrow for the twenty-first century. The Battle of the Classics thus lays out a substance-based approach to undergraduate education that will revive the humanities while steering clear of overreliance on the Western canon. The book envisions a global humanities based on the examination of masterworks from manifold cultures as the heart of an intellectually and morally sound education.
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Robinson, Harlow. Lewis Milestone. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178332.001.0001.
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This book tells the remarkable personal and professional story of Lewis Milestone (1895-1980), one of the most prolific, creative and respected film directors of Hollywood’s Golden Age. Among his many films are the classics All Quiet on the Western Front, Of Mice and Men, A Walk in the Sun, Pork Chop Hill, the original Ocean’s Eleven and Mutiny on the Bounty, starring Marlon Brando. Born in Ukraine, he came to America as a teenager and learned about film in the U.S. Army in World War I. By the early 1920s he was editing silent films in Hollywood, and soon graduated to shooting his own features. His films were nominated for 28 different Academy Awards during a career that lasted 40 years. Among the many stars whom he directed were Barbara Stanwyck, Ingrid Bergman, Gregory Peck, Errol Flynn, Gary Cooper, Frank Sinatra, Joan Crawford and Kirk Douglas. Providing biographical information, production history and critical analysis, this first major scholarly study of Milestone places his films in a political, cultural and cinematic context. Also discussed in depth, using newly available archival material, is Milestone’s experience during the Hollywood Blacklist period, when he was one of the first prominent Hollywood figures to fall under suspicion for his alleged Communist sympathies. Drawing on his personal papers at the AMPAS library, my book gives Milestone the honored place herichly deserves in the American film canon.
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Phillips, Lynne. Genders, Spaces, Places. Oxford University Press, 2017. http://dx.doi.org/10.1093/acrefore/9780190846626.013.193.
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The concepts of gender, space, and place have significant social and political implications for the kind of world that people inhabit and the kinds of lives we can lead. That there has been a transformation in thinking about these concepts is indicated in references today to pluralized (and polymorphic) spaces, to the waxing, and waning of distinctions between space and place, and to the idea that gender, space, and place are something produced rather than simply lived in, or ventured into. These subtle shifts hint at a complex history of ideas about what constitutes gender, space, and/or place and how we might understand the connections and disjunctures between and among them. The theoretical roots of space act as the starting point for discussion, since these have a longer historical record than work which also explicitly includes gender. Western conceptions of space have drawn primarily from early Greek philosophers and mathematicians, and these conceptions indicate an early distinction between a philosophy of space and a pre-scientific notion of space. From here, the development of feminist methods has become essential for revealing how spatial thinking informs ideas about gender. These methods include deconstructing canons, asking the profoundly spatial question of “Where are the women?” and “ungendering” space. These methodological strategies reveal the extent to which the central concerns of feminism today have spatial and place-based dimensions.