David. Cressy
- Published in print:
- 1999
- Published Online:
- September 2011
- ISBN:
- 9780198207818
- eISBN:
- 9780191677809
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198207818.003.0005
- Subject:
- History, British and Irish Early Modern History, Cultural History
This chapter tells the story told by an unmarried servant to a Leicestershire magistrate in 1608. Its ingredients include power and dependency, sex and violence, attempted abortion, attempted murder, ...
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This chapter tells the story told by an unmarried servant to a Leicestershire magistrate in 1608. Its ingredients include power and dependency, sex and violence, attempted abortion, attempted murder, suspected infanticide, and the construction of an exculpatory narrative. The story exposes the relationships of gentility and dependency, coercive male mastery and the vulnerabilities of female domestic service. Other topics exposed in the course of its unfolding include subterfuge and resistance, bribery and forgery, the misuse of literacy, and the threatened misuse of the law. The story even has religious dimensions involving the swearing of oaths, invocation of the Devil, recourse to the Bible, and a popular misrepresentation of the doctrine of predestination. The central character, Rose Arnold of Scraptoft, Leicestershire, told her story to her mother, to her minister, and to a magistrate, before retelling it, after much rehearsal, to the clerks of the diocesan court.Less
This chapter tells the story told by an unmarried servant to a Leicestershire magistrate in 1608. Its ingredients include power and dependency, sex and violence, attempted abortion, attempted murder, suspected infanticide, and the construction of an exculpatory narrative. The story exposes the relationships of gentility and dependency, coercive male mastery and the vulnerabilities of female domestic service. Other topics exposed in the course of its unfolding include subterfuge and resistance, bribery and forgery, the misuse of literacy, and the threatened misuse of the law. The story even has religious dimensions involving the swearing of oaths, invocation of the Devil, recourse to the Bible, and a popular misrepresentation of the doctrine of predestination. The central character, Rose Arnold of Scraptoft, Leicestershire, told her story to her mother, to her minister, and to a magistrate, before retelling it, after much rehearsal, to the clerks of the diocesan court.
Kirstie Blair
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780199273942
- eISBN:
- 9780191706592
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199273942.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This book considers why and how the heart became a vital image in Victorian poetry, and argues that the intense focus on heart imagery in many major Victorian poems highlights anxieties in this ...
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This book considers why and how the heart became a vital image in Victorian poetry, and argues that the intense focus on heart imagery in many major Victorian poems highlights anxieties in this period about the ability of poetry to create affect. In the course of the nineteenth century, new medical investigations into the heart, along with the development of instruments such as the stethoscope, gave the pathological heart a strong presence in popular culture. As poets feared for their own hearts, their poetry embodied concerns about heartsickness in form as well as content. Concerns about the heart's status and its actions fed into the broader discourses of religion, gender, and nationalism, as well as medicine. These discourses are examined through close readings of works by Arnold, Barrett Browning, Tennyson, and others.Less
This book considers why and how the heart became a vital image in Victorian poetry, and argues that the intense focus on heart imagery in many major Victorian poems highlights anxieties in this period about the ability of poetry to create affect. In the course of the nineteenth century, new medical investigations into the heart, along with the development of instruments such as the stethoscope, gave the pathological heart a strong presence in popular culture. As poets feared for their own hearts, their poetry embodied concerns about heartsickness in form as well as content. Concerns about the heart's status and its actions fed into the broader discourses of religion, gender, and nationalism, as well as medicine. These discourses are examined through close readings of works by Arnold, Barrett Browning, Tennyson, and others.
Robert Alicki and Mark Fannes
- Published in print:
- 2001
- Published Online:
- February 2010
- ISBN:
- 9780198504009
- eISBN:
- 9780191708503
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198504009.003.0001
- Subject:
- Physics, Theoretical, Computational, and Statistical Physics
This introductory chapter outlines the basic ideas of the book using two simple examples: the quantum harmonic oscillator as a prototype of an integrable system versus the quantum Arnold cat map ...
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This introductory chapter outlines the basic ideas of the book using two simple examples: the quantum harmonic oscillator as a prototype of an integrable system versus the quantum Arnold cat map leading to quantum chaos and the irrational rotation algebra.Less
This introductory chapter outlines the basic ideas of the book using two simple examples: the quantum harmonic oscillator as a prototype of an integrable system versus the quantum Arnold cat map leading to quantum chaos and the irrational rotation algebra.
Gregory Tate
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199659418
- eISBN:
- 9780191749018
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199659418.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This book examines Victorian poetry's preoccupation with studying the mind. It argues that Victorian poets, inheriting from their Romantic forerunners the belief that subjective thoughts and feelings ...
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This book examines Victorian poetry's preoccupation with studying the mind. It argues that Victorian poets, inheriting from their Romantic forerunners the belief that subjective thoughts and feelings were the most important materials for poetry, used their writing both to give expression to mental processes and to scrutinize and analyse those processes, and it considers why and how psychological analysis became an increasingly important element of poetic theory and practice in the mid-nineteenth century. This development coincided with the rise of the scientific discipline of psychology and with the growing recognition that the workings of the mind could be studied using the analytical methods of science. The writings of Victorian poets often employed similar methods, but, at the same time, the language and tone of their psychological verse, and especially their ambivalent use of terms such as ‘brain’, ‘mind’, and ‘soul’, voiced an unresolved tension, felt throughout Victorian culture, between materialist, physiological theories of psychology and metaphysical or religious accounts of selfhood. This book considers the poetry of Browning, Tennyson, Arnold, Clough, and George Eliot, offering detailed readings of several major Victorian poems (including Amours de Voyage, In Memoriam, Maud, and The Ring and the Book) and presenting new evidence of their authors' interest in contemporary psychological theory. Ranging across lyric verse, epic poetry, and the dramatic monologue, the book explores the ways in which poetry simultaneously drew on, resisted, and contributed to the spread of scientific theories of mind in Victorian Britain.Less
This book examines Victorian poetry's preoccupation with studying the mind. It argues that Victorian poets, inheriting from their Romantic forerunners the belief that subjective thoughts and feelings were the most important materials for poetry, used their writing both to give expression to mental processes and to scrutinize and analyse those processes, and it considers why and how psychological analysis became an increasingly important element of poetic theory and practice in the mid-nineteenth century. This development coincided with the rise of the scientific discipline of psychology and with the growing recognition that the workings of the mind could be studied using the analytical methods of science. The writings of Victorian poets often employed similar methods, but, at the same time, the language and tone of their psychological verse, and especially their ambivalent use of terms such as ‘brain’, ‘mind’, and ‘soul’, voiced an unresolved tension, felt throughout Victorian culture, between materialist, physiological theories of psychology and metaphysical or religious accounts of selfhood. This book considers the poetry of Browning, Tennyson, Arnold, Clough, and George Eliot, offering detailed readings of several major Victorian poems (including Amours de Voyage, In Memoriam, Maud, and The Ring and the Book) and presenting new evidence of their authors' interest in contemporary psychological theory. Ranging across lyric verse, epic poetry, and the dramatic monologue, the book explores the ways in which poetry simultaneously drew on, resisted, and contributed to the spread of scientific theories of mind in Victorian Britain.
Dean Speer
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780813034386
- eISBN:
- 9780813046280
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813034386.001.0001
- Subject:
- Music, Dance
This book provides a look into the careers and teaching philosophies of eighteen of the world's most respected ballet masters, principals, and artistic directors. The author sat down with prominent ...
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This book provides a look into the careers and teaching philosophies of eighteen of the world's most respected ballet masters, principals, and artistic directors. The author sat down with prominent ballet pedagogues and asked each a standard set of questions, including “What do we mean when we say someone has beautiful technique?” and “How did you become a dancer?” Featuring such artists as Peter Boal (Artistic Director of the Pacific Northwest Ballet) and Bene Arnold (first Ballet Mistress of the San Francisco Ballet), this volume offers insights into the nature of both performance and artistic instruction. The author's approach reveals convergences among these world-class talents, despite their varying pedagogical backgrounds and divisions.Less
This book provides a look into the careers and teaching philosophies of eighteen of the world's most respected ballet masters, principals, and artistic directors. The author sat down with prominent ballet pedagogues and asked each a standard set of questions, including “What do we mean when we say someone has beautiful technique?” and “How did you become a dancer?” Featuring such artists as Peter Boal (Artistic Director of the Pacific Northwest Ballet) and Bene Arnold (first Ballet Mistress of the San Francisco Ballet), this volume offers insights into the nature of both performance and artistic instruction. The author's approach reveals convergences among these world-class talents, despite their varying pedagogical backgrounds and divisions.
Nicholas Cook
- Published in print:
- 2007
- Published Online:
- September 2008
- ISBN:
- 9780195170566
- eISBN:
- 9780199871216
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195170566.003.0005
- Subject:
- Music, Ethnomusicology, World Music
A Galician Jew who came to Vienna on a government scholarship, Schenker arrived just as a fully racial anti-semitism was developing; the binary pattern of thought discussed in Chapter 3 became most ...
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A Galician Jew who came to Vienna on a government scholarship, Schenker arrived just as a fully racial anti-semitism was developing; the binary pattern of thought discussed in Chapter 3 became most pernicious when linked to the binary opposition Jew/not Jew. True to the tradition of German cultural conservatism, Schenker constructed his identity through an extreme appropriation of high German culture, while at the same time maintaining his personal adherence to the Jewish tradition. Though attempts to explain Schenker's theory in terms of that tradition are ultimately unconvincing, his situation in an increasingly anti-semitic society explains much about the motivation of Schenker's project and the way it developed. These issues of culture and race are drawn out through comparisons with two of the principal Others of Schenker's cultural and intellectual universe: Richard Wagner, to whom Schenker's entire project can be understood as a response, and Arnold Schoenberg.Less
A Galician Jew who came to Vienna on a government scholarship, Schenker arrived just as a fully racial anti-semitism was developing; the binary pattern of thought discussed in Chapter 3 became most pernicious when linked to the binary opposition Jew/not Jew. True to the tradition of German cultural conservatism, Schenker constructed his identity through an extreme appropriation of high German culture, while at the same time maintaining his personal adherence to the Jewish tradition. Though attempts to explain Schenker's theory in terms of that tradition are ultimately unconvincing, his situation in an increasingly anti-semitic society explains much about the motivation of Schenker's project and the way it developed. These issues of culture and race are drawn out through comparisons with two of the principal Others of Schenker's cultural and intellectual universe: Richard Wagner, to whom Schenker's entire project can be understood as a response, and Arnold Schoenberg.
Michael H. Kater
- Published in print:
- 2000
- Published Online:
- January 2010
- ISBN:
- 9780195099249
- eISBN:
- 9780199870004
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195099249.001.0001
- Subject:
- History, Cultural History
How does creativity thrive in the face of fascism? How can a highly artistic individual function professionally in so threatening a climate? This is a detailed study of the often interrelated careers ...
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How does creativity thrive in the face of fascism? How can a highly artistic individual function professionally in so threatening a climate? This is a detailed study of the often interrelated careers of eight outstanding German composers who lived and worked amid the dictatorship of the Third Reich: Werner Egk, Paul Hindemith, Kurt Weill, Karl Amadeus Hartmann, Carl Orff, Hans Pfitzner, Arnold Schoenberg, and Richard Strauss. This book weighs issues of accommodation and resistance to ask whether these artists corrupted themselves in the service of a criminal regime — and if so, whether this is evident in their music. He also considers the degrees to which the Nazis politically, socially, economically, and aesthetically succeeded in their treatment of these individuals, whose lives and compositions represent diverse responses to totalitarianism.Less
How does creativity thrive in the face of fascism? How can a highly artistic individual function professionally in so threatening a climate? This is a detailed study of the often interrelated careers of eight outstanding German composers who lived and worked amid the dictatorship of the Third Reich: Werner Egk, Paul Hindemith, Kurt Weill, Karl Amadeus Hartmann, Carl Orff, Hans Pfitzner, Arnold Schoenberg, and Richard Strauss. This book weighs issues of accommodation and resistance to ask whether these artists corrupted themselves in the service of a criminal regime — and if so, whether this is evident in their music. He also considers the degrees to which the Nazis politically, socially, economically, and aesthetically succeeded in their treatment of these individuals, whose lives and compositions represent diverse responses to totalitarianism.
David Russell
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780691196923
- eISBN:
- 9781400887903
- Item type:
- book
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691196923.001.0001
- Subject:
- Literature, European Literature
The social practice of tact was an invention of the nineteenth century, a period when Britain was witnessing unprecedented urbanization, industrialization, and population growth. In an era when more ...
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The social practice of tact was an invention of the nineteenth century, a period when Britain was witnessing unprecedented urbanization, industrialization, and population growth. In an era when more and more people lived more closely than ever before with people they knew less and less about, tact was a new mode of feeling one's way with others in complex modern conditions. This book traces how the essay genre came to exemplify this sensuous new ethic and aesthetic. It argues that the essay form provided the resources for the performance of tact in this period and analyzes its techniques in the writings of Charles Lamb, John Stuart Mill, Matthew Arnold, George Eliot, and Walter Pater. The book shows how their essays offer grounds for a claim about the relationship among art, education, and human freedom—an “aesthetic liberalism”—not encompassed by traditional political philosophy or in literary criticism. For these writers, tact is not about codes of politeness but about making an art of ordinary encounters with people and objects and evoking the fullest potential in each new encounter. The book demonstrates how their essays serve as a model for a critical handling of the world that is open to surprises, and from which egalitarian demands for new relationships are made. Offering fresh approaches to thinking about criticism, sociability, politics, and art, the book concludes by following a legacy of essayistic tact to the practice of British psychoanalysts like D. W. Winnicott and Marion Milner.Less
The social practice of tact was an invention of the nineteenth century, a period when Britain was witnessing unprecedented urbanization, industrialization, and population growth. In an era when more and more people lived more closely than ever before with people they knew less and less about, tact was a new mode of feeling one's way with others in complex modern conditions. This book traces how the essay genre came to exemplify this sensuous new ethic and aesthetic. It argues that the essay form provided the resources for the performance of tact in this period and analyzes its techniques in the writings of Charles Lamb, John Stuart Mill, Matthew Arnold, George Eliot, and Walter Pater. The book shows how their essays offer grounds for a claim about the relationship among art, education, and human freedom—an “aesthetic liberalism”—not encompassed by traditional political philosophy or in literary criticism. For these writers, tact is not about codes of politeness but about making an art of ordinary encounters with people and objects and evoking the fullest potential in each new encounter. The book demonstrates how their essays serve as a model for a critical handling of the world that is open to surprises, and from which egalitarian demands for new relationships are made. Offering fresh approaches to thinking about criticism, sociability, politics, and art, the book concludes by following a legacy of essayistic tact to the practice of British psychoanalysts like D. W. Winnicott and Marion Milner.
Meredith Martin
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691152738
- eISBN:
- 9781400842193
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691152738.003.0005
- Subject:
- Literature, Criticism/Theory
This chapter looks closely at the rise of state-funded English education to uncover the disciplinary role that poetry played. It shows how the naturalization of English “meter” was a crucial part of ...
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This chapter looks closely at the rise of state-funded English education to uncover the disciplinary role that poetry played. It shows how the naturalization of English “meter” was a crucial part of the English literary curriculum. “Meter” is placed in quotation marks because the “meter” that emerges in the state-funded classroom has little to do with the prosody wars going on outside its walls. Educational theorist Matthew Arnold's cultural metrics, in which poetry by Shakespeare, for instance, will subtly and intimately transform a student into a good citizen, is replaced by a patriotic pedagogy wherein verses written in rousing rhythms are taught as a naturally felt English “beat.” It suggests that poet and educational theorist Henry Newbolt's figure of the “drum” performed a naturalized rhythm that brought England together as a collective. The collective mass identification with (and proliferation of) patriotic verses created an even sharper divide between the high and low, elite and mass, private and public cultures of poetry in the early twentieth century.Less
This chapter looks closely at the rise of state-funded English education to uncover the disciplinary role that poetry played. It shows how the naturalization of English “meter” was a crucial part of the English literary curriculum. “Meter” is placed in quotation marks because the “meter” that emerges in the state-funded classroom has little to do with the prosody wars going on outside its walls. Educational theorist Matthew Arnold's cultural metrics, in which poetry by Shakespeare, for instance, will subtly and intimately transform a student into a good citizen, is replaced by a patriotic pedagogy wherein verses written in rousing rhythms are taught as a naturally felt English “beat.” It suggests that poet and educational theorist Henry Newbolt's figure of the “drum” performed a naturalized rhythm that brought England together as a collective. The collective mass identification with (and proliferation of) patriotic verses created an even sharper divide between the high and low, elite and mass, private and public cultures of poetry in the early twentieth century.
Maurice Peress
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780195098228
- eISBN:
- 9780199869817
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195098228.003.0006
- Subject:
- Music, History, Western
This chapter introduces Dvorák's American students: Reuben Goldmark, Cook, Maurice Arnold, their music and careers, and describes Dvorák's teaching methods. Dvorák leads a significant student benefit ...
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This chapter introduces Dvorák's American students: Reuben Goldmark, Cook, Maurice Arnold, their music and careers, and describes Dvorák's teaching methods. Dvorák leads a significant student benefit concert at Madison Square Garden that features the celebrated diva known as “Black Patti”, the conservatory orchestra, and a choir from St. Phillips African Episcopal church. The program gives especial attention to the achievements of his African American students whose work is held up as an example of the new American school to come. Dvorák closes the concert with his arrangement of Stephan Foster's “The Old Folks at Home” for the full contingent — choirs, soloists, and orchestra. At this point Cook leaves the conservatory.Less
This chapter introduces Dvorák's American students: Reuben Goldmark, Cook, Maurice Arnold, their music and careers, and describes Dvorák's teaching methods. Dvorák leads a significant student benefit concert at Madison Square Garden that features the celebrated diva known as “Black Patti”, the conservatory orchestra, and a choir from St. Phillips African Episcopal church. The program gives especial attention to the achievements of his African American students whose work is held up as an example of the new American school to come. Dvorák closes the concert with his arrangement of Stephan Foster's “The Old Folks at Home” for the full contingent — choirs, soloists, and orchestra. At this point Cook leaves the conservatory.
Herbert F. Tucker
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199232987
- eISBN:
- 9780191716447
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199232987.003.0011
- Subject:
- Literature, Poetry
Having rescued the epic muse from the usages of the novel, heroic myth declined towards the fin de siècle into a Victorian museum collectible. The characteristic form for epic after 1870 became the ...
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Having rescued the epic muse from the usages of the novel, heroic myth declined towards the fin de siècle into a Victorian museum collectible. The characteristic form for epic after 1870 became the anthology of tales, organized by deep, reflexive belief in civilized progress. Classical antiquity (Lewis Morris), Ireland and the South Seas (de Vere, Ferguson, Domett), the world's religions (Owen Meredith, Edwin Arnold), natural history and English history too (Blind, Palgrave) — all found place in epics whose plots were folded into the meta-narrative of a progressive evolution that had produced imperial modernity as its crowning vantage. Against this escalation of claims greater poets of the day, Morris and Swinburne, pitched their epic dissent, maintaining in plots of singular catastrophe tragedy's resistance to assimilation by the Gilded Age, and stubbornly enshrining the scandal of tragic joy where the newcomer Yeats might recruit it for fresh political purposes. The epic logic of eclectic retrospect meanwhile bred a scholarly subgenre in comprehensive, multi-volumed literary, national, and anthropological histories.Less
Having rescued the epic muse from the usages of the novel, heroic myth declined towards the fin de siècle into a Victorian museum collectible. The characteristic form for epic after 1870 became the anthology of tales, organized by deep, reflexive belief in civilized progress. Classical antiquity (Lewis Morris), Ireland and the South Seas (de Vere, Ferguson, Domett), the world's religions (Owen Meredith, Edwin Arnold), natural history and English history too (Blind, Palgrave) — all found place in epics whose plots were folded into the meta-narrative of a progressive evolution that had produced imperial modernity as its crowning vantage. Against this escalation of claims greater poets of the day, Morris and Swinburne, pitched their epic dissent, maintaining in plots of singular catastrophe tragedy's resistance to assimilation by the Gilded Age, and stubbornly enshrining the scandal of tragic joy where the newcomer Yeats might recruit it for fresh political purposes. The epic logic of eclectic retrospect meanwhile bred a scholarly subgenre in comprehensive, multi-volumed literary, national, and anthropological histories.
Robert H. F. Carver
- Published in print:
- 2007
- Published Online:
- May 2008
- ISBN:
- 9780199217861
- eISBN:
- 9780191712357
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199217861.003.0006
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter explores the printing of Apuleius' works. In 1464, two German clerics, Konrad Sweynheim and Arnold Pannartz, arrived at the Benedictine monastery of Santa Scolastica in Subiaco, 47 miles ...
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This chapter explores the printing of Apuleius' works. In 1464, two German clerics, Konrad Sweynheim and Arnold Pannartz, arrived at the Benedictine monastery of Santa Scolastica in Subiaco, 47 miles to the east of Rome. What made these new arrivals unique was their baggage. They brought with them items that had never been used before in Italy: cases of movable type, that marvel of 15th-century German ingenuity which had transformed the familiar technology of agricultural extraction (the screw-press) into an engine of reproduction. In 1469, the editio princeps of Apuleius' works appeared (without commentary) in Rome, the colophon being dated 28 February. The folio was edited by Sweynheim and Pannartz's corrector, the Bishop of Aleria (in Corsica), Giovanni Andrea de Bussi (Johannes Andreas de Buxis), and dedicated to no less a personage than Pope Paul II (1464-71) who had appointed him papal librarian in 1467.Less
This chapter explores the printing of Apuleius' works. In 1464, two German clerics, Konrad Sweynheim and Arnold Pannartz, arrived at the Benedictine monastery of Santa Scolastica in Subiaco, 47 miles to the east of Rome. What made these new arrivals unique was their baggage. They brought with them items that had never been used before in Italy: cases of movable type, that marvel of 15th-century German ingenuity which had transformed the familiar technology of agricultural extraction (the screw-press) into an engine of reproduction. In 1469, the editio princeps of Apuleius' works appeared (without commentary) in Rome, the colophon being dated 28 February. The folio was edited by Sweynheim and Pannartz's corrector, the Bishop of Aleria (in Corsica), Giovanni Andrea de Bussi (Johannes Andreas de Buxis), and dedicated to no less a personage than Pope Paul II (1464-71) who had appointed him papal librarian in 1467.
Michael H. Kater
- Published in print:
- 2000
- Published Online:
- January 2010
- ISBN:
- 9780195099249
- eISBN:
- 9780199870004
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195099249.003.0007
- Subject:
- History, Cultural History
This chapter begins by discussing some of the inconsistencies in the biographies of Arnold Schoenberg. It mentions the ambiguities regarding his nationality. It talks about the problems that he faced ...
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This chapter begins by discussing some of the inconsistencies in the biographies of Arnold Schoenberg. It mentions the ambiguities regarding his nationality. It talks about the problems that he faced in finding economic security. It tells of his experiences and reputation as a teacher and as a composer. It examines his style and methods of teaching and composing. It discusses his experiences in the United States as well as in Europe.Less
This chapter begins by discussing some of the inconsistencies in the biographies of Arnold Schoenberg. It mentions the ambiguities regarding his nationality. It talks about the problems that he faced in finding economic security. It tells of his experiences and reputation as a teacher and as a composer. It examines his style and methods of teaching and composing. It discusses his experiences in the United States as well as in Europe.
Herbert F. Tucker
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199232987
- eISBN:
- 9780191716447
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199232987.003.0009
- Subject:
- Literature, Poetry
This chapter on the spasmodic movement of the 1850s reaches back across the 1840s to Bailey and Horne as the heralds of a New-Age epic universalism burned clean in the white heat of imaginative ...
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This chapter on the spasmodic movement of the 1850s reaches back across the 1840s to Bailey and Horne as the heralds of a New-Age epic universalism burned clean in the white heat of imaginative sensationalism. Fusing lyric with epic and the intensity of the moment with the fullness of time, spasmody had nowhere to go in the 1850s except systematic Spasmodism, as championed by Gilfillan's puffery, exemplified by Smith's diligence, critiqued from within by Dobell's melancholy, then outmoded at a stroke by the brilliance of Aytoun's satire, and all within the space of a few years. What was authentic in the movement survived parodic exposure, though, and went on to fertilize the best new poetry of the decade: Arnold's against his will, Tennyson's under monodramatic cover, and above all Barrett Browning's, which made an honest epic of spasmody by repoliticizing on feminist terms its hitherto vapid, often inherently totalitarian, poetics of emancipation.Less
This chapter on the spasmodic movement of the 1850s reaches back across the 1840s to Bailey and Horne as the heralds of a New-Age epic universalism burned clean in the white heat of imaginative sensationalism. Fusing lyric with epic and the intensity of the moment with the fullness of time, spasmody had nowhere to go in the 1850s except systematic Spasmodism, as championed by Gilfillan's puffery, exemplified by Smith's diligence, critiqued from within by Dobell's melancholy, then outmoded at a stroke by the brilliance of Aytoun's satire, and all within the space of a few years. What was authentic in the movement survived parodic exposure, though, and went on to fertilize the best new poetry of the decade: Arnold's against his will, Tennyson's under monodramatic cover, and above all Barrett Browning's, which made an honest epic of spasmody by repoliticizing on feminist terms its hitherto vapid, often inherently totalitarian, poetics of emancipation.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0019
- Subject:
- Music, History, Western
One hears much of the noble work that Henry Wood did for young British composers; the list of “first performances” at the “Promenade Concerts” by British composers, usually young and unknown, ...
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One hears much of the noble work that Henry Wood did for young British composers; the list of “first performances” at the “Promenade Concerts” by British composers, usually young and unknown, occupies several pages. Henry went out into the highways and hedges and invited all and sundry to the banquet, in the hopes that occasionally a guest would appear wearing the wedding garment—then the Woodian policy was justified. A scheme that was responsible for the first appearance of such works as Edward Elgar's Pomp and Circumstance marches, Arnold Bax's In the Faery Hills, Roger Quilter's Children's Overture, and, in England, of Balfour Gardiner's Shepherd Fennel's Dance would justify itself even if all the other novelties had been still-born. A publisher who had to show a balance sheet would be quite satisfied if he had as many good sellers on his catalogue as appear in the list of “Prom Premières.”Less
One hears much of the noble work that Henry Wood did for young British composers; the list of “first performances” at the “Promenade Concerts” by British composers, usually young and unknown, occupies several pages. Henry went out into the highways and hedges and invited all and sundry to the banquet, in the hopes that occasionally a guest would appear wearing the wedding garment—then the Woodian policy was justified. A scheme that was responsible for the first appearance of such works as Edward Elgar's Pomp and Circumstance marches, Arnold Bax's In the Faery Hills, Roger Quilter's Children's Overture, and, in England, of Balfour Gardiner's Shepherd Fennel's Dance would justify itself even if all the other novelties had been still-born. A publisher who had to show a balance sheet would be quite satisfied if he had as many good sellers on his catalogue as appear in the list of “Prom Premières.”
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0026
- Subject:
- Music, History, Western
A new edition of The English Hymnal was brought out in 1933. It had the invaluable advice and help of Martin Shaw, and was able to introduce some of his fine tunes that were not extant in 1906. In ...
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A new edition of The English Hymnal was brought out in 1933. It had the invaluable advice and help of Martin Shaw, and was able to introduce some of his fine tunes that were not extant in 1906. In many hymnals the first idea of the musical editors seems to have been to include as many new tunes by the editor himself and his friends as possible. The new book was also to contain a large proportion of plainsong. This task was undertaken by one of the committee, Mr W. J. Birkbeck. His accompaniments were remade to more modern and more sensible ideas by Dr J. H. Arnold. The preparation of the book employed the help of various friends, especially Nicholas Gatty and Gustav Holst, in finding neglected tunes and the true versions of others that had been “disfigured” into dullness in modern hymnals and indebted to Robert Bridges's “Yattendon Hymnal” and George Woodward's “Songs of Syon.”Less
A new edition of The English Hymnal was brought out in 1933. It had the invaluable advice and help of Martin Shaw, and was able to introduce some of his fine tunes that were not extant in 1906. In many hymnals the first idea of the musical editors seems to have been to include as many new tunes by the editor himself and his friends as possible. The new book was also to contain a large proportion of plainsong. This task was undertaken by one of the committee, Mr W. J. Birkbeck. His accompaniments were remade to more modern and more sensible ideas by Dr J. H. Arnold. The preparation of the book employed the help of various friends, especially Nicholas Gatty and Gustav Holst, in finding neglected tunes and the true versions of others that had been “disfigured” into dullness in modern hymnals and indebted to Robert Bridges's “Yattendon Hymnal” and George Woodward's “Songs of Syon.”
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0035
- Subject:
- Music, History, Western
In terms of development and harmony, Arnold Schoenberg's method is among the major turning points of musical thought in the twentieth century. During the 1920s he created the 12-tone technique, a ...
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In terms of development and harmony, Arnold Schoenberg's method is among the major turning points of musical thought in the twentieth century. During the 1920s he created the 12-tone technique, a compositional method that was influential. It manipulated an ordered series of all 12 notes in the chromatic scale. Schoenberg also coined the developing variation term, and was the first composer in the modern era to embrace ways of creating motifs without compromising the melodic idea. Early in his career, he was widely known for his success in simultaneously extending the traditionally opposed Romantic styles of Johannes Brahms and Richard Wagner. Schoenberg would later come to personify innovations in atonality, which would become the most controversial feature of art music in the twentieth century.Less
In terms of development and harmony, Arnold Schoenberg's method is among the major turning points of musical thought in the twentieth century. During the 1920s he created the 12-tone technique, a compositional method that was influential. It manipulated an ordered series of all 12 notes in the chromatic scale. Schoenberg also coined the developing variation term, and was the first composer in the modern era to embrace ways of creating motifs without compromising the melodic idea. Early in his career, he was widely known for his success in simultaneously extending the traditionally opposed Romantic styles of Johannes Brahms and Richard Wagner. Schoenberg would later come to personify innovations in atonality, which would become the most controversial feature of art music in the twentieth century.
R. D. Anderson
- Published in print:
- 2004
- Published Online:
- January 2010
- ISBN:
- 9780198206606
- eISBN:
- 9780191717307
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198206606.003.0007
- Subject:
- History, European Modern History
The original Humboldtian ideal of Bildung was modified in the early 19th century by the growth of disciplinary specialization and of natural science and medicine. But the Berlin model of university ...
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The original Humboldtian ideal of Bildung was modified in the early 19th century by the growth of disciplinary specialization and of natural science and medicine. But the Berlin model of university organization retained high prestige, and was widely adopted (and adapted) elsewhere, first in southern Germany and Austria, later in Switzerland, Belgium, Holland, and Scandinavia. In Britain, there were different ideals of liberal education at Oxford and Cambridge and in Scotland. Newman's lectures on The Idea of a University, a classic expression of the notion of the liberally educated gentleman, were based on his early experience at Oxford. Matthew Arnold had similar ideas, and this chapter compares his ideal of culture with the writings of Ernest Renan in France and Jacob Burckhardt in Switzerland. All saw the materialist spirit of industrial society as a danger which university culture needed to counteract.Less
The original Humboldtian ideal of Bildung was modified in the early 19th century by the growth of disciplinary specialization and of natural science and medicine. But the Berlin model of university organization retained high prestige, and was widely adopted (and adapted) elsewhere, first in southern Germany and Austria, later in Switzerland, Belgium, Holland, and Scandinavia. In Britain, there were different ideals of liberal education at Oxford and Cambridge and in Scotland. Newman's lectures on The Idea of a University, a classic expression of the notion of the liberally educated gentleman, were based on his early experience at Oxford. Matthew Arnold had similar ideas, and this chapter compares his ideal of culture with the writings of Ernest Renan in France and Jacob Burckhardt in Switzerland. All saw the materialist spirit of industrial society as a danger which university culture needed to counteract.
Robert Wyatt and John Andrew Johnson
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195327113
- eISBN:
- 9780199851249
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195327113.003.0072
- Subject:
- Music, Popular
This chapter presents an excerpt from the book George Gershwin, edited by Merle Armitage focusing on Gershwin's relationship with fellow composer Arnold Schoenberg. The book highlights the little ...
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This chapter presents an excerpt from the book George Gershwin, edited by Merle Armitage focusing on Gershwin's relationship with fellow composer Arnold Schoenberg. The book highlights the little known friendship between Gershwin and Schoenberg. It describes how Gershwin helped to secure Schoenberg's passage from Europe when he fled the Nazis in 1933. Schoenberg also frequently visited the Gershwins in California.Less
This chapter presents an excerpt from the book George Gershwin, edited by Merle Armitage focusing on Gershwin's relationship with fellow composer Arnold Schoenberg. The book highlights the little known friendship between Gershwin and Schoenberg. It describes how Gershwin helped to secure Schoenberg's passage from Europe when he fled the Nazis in 1933. Schoenberg also frequently visited the Gershwins in California.
Seth T. Reno
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781786940834
- eISBN:
- 9781789623185
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781786940834.001.0001
- Subject:
- Literature, Criticism/Theory
Situated at the intersection of affect studies, ecocriticism, aesthetics, and Romantic studies, this book presents a genealogy of love in Romantic-era poetry, science, and philosophy. While feeling ...
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Situated at the intersection of affect studies, ecocriticism, aesthetics, and Romantic studies, this book presents a genealogy of love in Romantic-era poetry, science, and philosophy. While feeling and emotion have been traditional mainstays of Romantic literature, the concept of love is under-studied and under-appreciated, often neglected or dismissed as idealized, illusory, or overly sentimental. However, Seth Reno shows that a particular conception of intellectual love is interwoven with the major literary, scientific, and philosophical discourses of the period. Romantic-era writers conceived of love as integral to broader debates about the nature of life, the biology of the human body, the sociology of human relationships, the philosophy of nature, and the disclosure of being. Amorous Aesthetics traces the development of intellectual love from its first major expression in Baruch Spinoza’s Ethics,through its adoption and adaptation in eighteenth-century moral and natural philosophy, to its emergence as a Romantic tradition in the work of six major poets. From William Wordsworth and John Clare’s love of nature, to Percy Shelley’s radical politics of love, to the more sceptical stances of Felicia Hemans, Alfred Tennyson, and Matthew Arnold, this book shows intellectual love to be a pillar of Romanticism.Less
Situated at the intersection of affect studies, ecocriticism, aesthetics, and Romantic studies, this book presents a genealogy of love in Romantic-era poetry, science, and philosophy. While feeling and emotion have been traditional mainstays of Romantic literature, the concept of love is under-studied and under-appreciated, often neglected or dismissed as idealized, illusory, or overly sentimental. However, Seth Reno shows that a particular conception of intellectual love is interwoven with the major literary, scientific, and philosophical discourses of the period. Romantic-era writers conceived of love as integral to broader debates about the nature of life, the biology of the human body, the sociology of human relationships, the philosophy of nature, and the disclosure of being. Amorous Aesthetics traces the development of intellectual love from its first major expression in Baruch Spinoza’s Ethics,through its adoption and adaptation in eighteenth-century moral and natural philosophy, to its emergence as a Romantic tradition in the work of six major poets. From William Wordsworth and John Clare’s love of nature, to Percy Shelley’s radical politics of love, to the more sceptical stances of Felicia Hemans, Alfred Tennyson, and Matthew Arnold, this book shows intellectual love to be a pillar of Romanticism.
