Chris Baldick
- Published in print:
- 1990
- Published Online:
- October 2011
- ISBN:
- 9780198122494
- eISBN:
- 9780191671432
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198122494.001.0001
- Subject:
- Literature, 19th-century and Victorian Literature
This book surveys the early history of one of our most important modern myths: the story of Frankenstein and the monster he created from dismembered corpses, as it appeared in fictional and other ...
More
This book surveys the early history of one of our most important modern myths: the story of Frankenstein and the monster he created from dismembered corpses, as it appeared in fictional and other writings before its translation to the cinema screen. It examines the range of meanings that Mary Shelley's Frankenstein offers in the light of the political images of ‘monstrosity’ generated by the French Revolution. Later chapters trace the myth's analogues and protean transformations in subsequent writings, from the tales of Hoffmann and Hawthorne to the novels of Dickens, Melville, Conrad, and Lawrence, taking in the historical and political writings of Carlyle and Marx as well as the science fiction of Stevenson and Wells. The book shows that while the myth did come to be applied metaphorically to technological development, its most powerful associations have centred on relationships between people, in the family, in work, and in politics.Less
This book surveys the early history of one of our most important modern myths: the story of Frankenstein and the monster he created from dismembered corpses, as it appeared in fictional and other writings before its translation to the cinema screen. It examines the range of meanings that Mary Shelley's Frankenstein offers in the light of the political images of ‘monstrosity’ generated by the French Revolution. Later chapters trace the myth's analogues and protean transformations in subsequent writings, from the tales of Hoffmann and Hawthorne to the novels of Dickens, Melville, Conrad, and Lawrence, taking in the historical and political writings of Carlyle and Marx as well as the science fiction of Stevenson and Wells. The book shows that while the myth did come to be applied metaphorically to technological development, its most powerful associations have centred on relationships between people, in the family, in work, and in politics.
Kevin C. Karnes
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195368666
- eISBN:
- 9780199867547
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195368666.003.0005
- Subject:
- Music, History, Western
This chapter argues that Schenker, despite his misgivings about positivist scholarship, appreciated its promise with respect to the study of the creative process. In his earliest essays, he had toyed ...
More
This chapter argues that Schenker, despite his misgivings about positivist scholarship, appreciated its promise with respect to the study of the creative process. In his earliest essays, he had toyed with an array of speculative theories of artistic creativity indebted to Wagner, E. T. A. Hoffmann, and a host of Romantic writers. Sometime around 1895, however, he made a radical turn, disavowing all speculative approaches to the subject and lobbying his readers to assume a self-consciously realistic and empirical perspective by considering only those insights into the compositional act provided by the sketches and reminiscences of practicing composers. This new emphasis in Schenker's writings made clear his newly found sympathies with the positivist spirit famously exemplified in Gustav Nottebohm's studies of Beethoven's sketchbooks. However, this empiricist strain of thought was fleeting; within a decade, Schenker would disavow it and again embrace a purely metaphysical notion of the creative mind.Less
This chapter argues that Schenker, despite his misgivings about positivist scholarship, appreciated its promise with respect to the study of the creative process. In his earliest essays, he had toyed with an array of speculative theories of artistic creativity indebted to Wagner, E. T. A. Hoffmann, and a host of Romantic writers. Sometime around 1895, however, he made a radical turn, disavowing all speculative approaches to the subject and lobbying his readers to assume a self-consciously realistic and empirical perspective by considering only those insights into the compositional act provided by the sketches and reminiscences of practicing composers. This new emphasis in Schenker's writings made clear his newly found sympathies with the positivist spirit famously exemplified in Gustav Nottebohm's studies of Beethoven's sketchbooks. However, this empiricist strain of thought was fleeting; within a decade, Schenker would disavow it and again embrace a purely metaphysical notion of the creative mind.
Vanessa Agnew
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195336665
- eISBN:
- 9780199868544
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195336665.003.0005
- Subject:
- Music, History, Western
Disagreeing with contemporary scholarship that posits an aesthetic break c.1800, this chapter argues that the ancient discourse on musical utility did not come to an end with end of the 18th century. ...
More
Disagreeing with contemporary scholarship that posits an aesthetic break c.1800, this chapter argues that the ancient discourse on musical utility did not come to an end with end of the 18th century. It shows that music's instrumentality is preserved within Romantic and later conceptions of aesthetic autonomy. Writers and music scholars adopted Orphic claims about the power of music in order to promote serious music, professionalize music scholarship, and advance various social, cultural, and political agendas. The parts played by E. T. A. Hoffmann, Karl Philipp Moritz, and Immanuel Kant are mentioned in the chapter. This came at the price of both other kinds of music and other forms of musical knowledge making. The book concludes with an appeal for disciplinary reconciliation within the present study of music. It also makes a case for broad and dangerous listening.Less
Disagreeing with contemporary scholarship that posits an aesthetic break c.1800, this chapter argues that the ancient discourse on musical utility did not come to an end with end of the 18th century. It shows that music's instrumentality is preserved within Romantic and later conceptions of aesthetic autonomy. Writers and music scholars adopted Orphic claims about the power of music in order to promote serious music, professionalize music scholarship, and advance various social, cultural, and political agendas. The parts played by E. T. A. Hoffmann, Karl Philipp Moritz, and Immanuel Kant are mentioned in the chapter. This came at the price of both other kinds of music and other forms of musical knowledge making. The book concludes with an appeal for disciplinary reconciliation within the present study of music. It also makes a case for broad and dangerous listening.
Julian Johnson
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195372397
- eISBN:
- 9780199870844
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372397.003.0006
- Subject:
- Music, History, Western, Opera
Mahler's symphonies have often been compared to novels, and their method of proceeding likened to that of such writers as Dostoyevsky, Jean Paul, and E. T. A. Hoffmann. This idea is discussed with ...
More
Mahler's symphonies have often been compared to novels, and their method of proceeding likened to that of such writers as Dostoyevsky, Jean Paul, and E. T. A. Hoffmann. This idea is discussed with reference to the theory of Bakhtin. Mahler's relationship to Nietzsche, through his friend Siegfried Lipiner, is explored, while noting his preference for less modern writers. The usual reading of the symphony as a novel is offset by the exploration of alternative narrative models—the idyll, dream, and fairy tale. Where the novel implies a more dramatic and teleological structure, these alternatives exhibit episodic and digressive structures in which the connection between sections is more allusive or tangential. The idea of narrative strategies more generally is considered, focusing on how Mahler's symphonies narrate and, at the same time, undermine their own processes of narration.Less
Mahler's symphonies have often been compared to novels, and their method of proceeding likened to that of such writers as Dostoyevsky, Jean Paul, and E. T. A. Hoffmann. This idea is discussed with reference to the theory of Bakhtin. Mahler's relationship to Nietzsche, through his friend Siegfried Lipiner, is explored, while noting his preference for less modern writers. The usual reading of the symphony as a novel is offset by the exploration of alternative narrative models—the idyll, dream, and fairy tale. Where the novel implies a more dramatic and teleological structure, these alternatives exhibit episodic and digressive structures in which the connection between sections is more allusive or tangential. The idea of narrative strategies more generally is considered, focusing on how Mahler's symphonies narrate and, at the same time, undermine their own processes of narration.
James Mayall
- Published in print:
- 2004
- Published Online:
- January 2012
- ISBN:
- 9780197263129
- eISBN:
- 9780191734861
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263129.003.0007
- Subject:
- History, Cultural History
This chapter presents the text of a lecture on international relations. It discusses Stanley Hoffmann's opinion on the matter which is that international relations is a by-product of America's own ...
More
This chapter presents the text of a lecture on international relations. It discusses Stanley Hoffmann's opinion on the matter which is that international relations is a by-product of America's own rise to world power after 1945 and its somewhat solipsistic identification of its own interests with those of the world as a whole. It suggests that international relations should be considered as the science of uncertainty, of the limits of action, of the ways in which states try to manage but never quite succeeded in eliminating their own insecurity.Less
This chapter presents the text of a lecture on international relations. It discusses Stanley Hoffmann's opinion on the matter which is that international relations is a by-product of America's own rise to world power after 1945 and its somewhat solipsistic identification of its own interests with those of the world as a whole. It suggests that international relations should be considered as the science of uncertainty, of the limits of action, of the ways in which states try to manage but never quite succeeded in eliminating their own insecurity.
Christopher R. Clason (ed.)
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781786941213
- eISBN:
- 9781789629057
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781786941213.001.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
This collection of essays addresses a very broad range of Hoffmann’s most significant works, examining them through the lens of “transgression.” Transgression bears relevance to E. T. A. Hoffmann’s ...
More
This collection of essays addresses a very broad range of Hoffmann’s most significant works, examining them through the lens of “transgression.” Transgression bears relevance to E. T. A. Hoffmann’s life and professions in 3 ways. First, his official career path was that of jurisprudence; he was active as a lawyer, a judge and eventually as one of the most important magistrates in Berlin. Second, his personal life was marked by numerous conflicts with political and social authorities. Seemingly no matter where he went, he experienced much chaos, grief and impoverishment in leading his always precarious existence. Third, his works explore characters and concepts beyond the boundaries of what was considered aesthetically acceptable. “Normal” bourgeois existence was often juxtaposed to the lives of criminals, sinners, and other deviants, both within the spaces of the known world as well as in supernatural realms. He, perhaps more than any other author of the German Romantic movement, regularly portrayed the dark side of existence in his works, including unconscious psychological phenomena, nightmares, somnambulism, vampirism, mesmerism, Doppelgänger, and other forms of transgressive behavior. It is the intention of this volume to provide a new look at Hoffmann’s very diverse body of work from numerous perspectives, stimulating interest in Hoffmann in English language audiences.Less
This collection of essays addresses a very broad range of Hoffmann’s most significant works, examining them through the lens of “transgression.” Transgression bears relevance to E. T. A. Hoffmann’s life and professions in 3 ways. First, his official career path was that of jurisprudence; he was active as a lawyer, a judge and eventually as one of the most important magistrates in Berlin. Second, his personal life was marked by numerous conflicts with political and social authorities. Seemingly no matter where he went, he experienced much chaos, grief and impoverishment in leading his always precarious existence. Third, his works explore characters and concepts beyond the boundaries of what was considered aesthetically acceptable. “Normal” bourgeois existence was often juxtaposed to the lives of criminals, sinners, and other deviants, both within the spaces of the known world as well as in supernatural realms. He, perhaps more than any other author of the German Romantic movement, regularly portrayed the dark side of existence in his works, including unconscious psychological phenomena, nightmares, somnambulism, vampirism, mesmerism, Doppelgänger, and other forms of transgressive behavior. It is the intention of this volume to provide a new look at Hoffmann’s very diverse body of work from numerous perspectives, stimulating interest in Hoffmann in English language audiences.
Chris Baldick
- Published in print:
- 1990
- Published Online:
- October 2011
- ISBN:
- 9780198122494
- eISBN:
- 9780191671432
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198122494.003.0004
- Subject:
- Literature, 19th-century and Victorian Literature
Mary Shelley was not alone in fictionalizing the various preoccupations that we find at work in Frankenstein. The more familiar home of such Frankensteinian themes, though, lay in the European and ...
More
Mary Shelley was not alone in fictionalizing the various preoccupations that we find at work in Frankenstein. The more familiar home of such Frankensteinian themes, though, lay in the European and American short-story tradition, where the emergent sub-genres of horror story, science fiction, and detective tale mingled productively in the early part of the century. In many of the best tales of E. T. A. Hoffmann and Nathaniel Hawthorne, artists of various kinds discover the destructive and damning qualities of their own creations. What is repeatedly shown in these tales of transgression is how the secret skill that makes the protagonist independent and severs his social ties becomes an obsessional end in itself and masters the master. It is not just that, as a matter of their personal experience, Herman Melville was able to describe actual labour whereas Elizabeth Gaskell could give us only the domestic sickbed or the riot at the factory gates.Less
Mary Shelley was not alone in fictionalizing the various preoccupations that we find at work in Frankenstein. The more familiar home of such Frankensteinian themes, though, lay in the European and American short-story tradition, where the emergent sub-genres of horror story, science fiction, and detective tale mingled productively in the early part of the century. In many of the best tales of E. T. A. Hoffmann and Nathaniel Hawthorne, artists of various kinds discover the destructive and damning qualities of their own creations. What is repeatedly shown in these tales of transgression is how the secret skill that makes the protagonist independent and severs his social ties becomes an obsessional end in itself and masters the master. It is not just that, as a matter of their personal experience, Herman Melville was able to describe actual labour whereas Elizabeth Gaskell could give us only the domestic sickbed or the riot at the factory gates.
Peter Szendy
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780823267057
- eISBN:
- 9780823272303
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823267057.003.0013
- Subject:
- Philosophy, Aesthetics
A general rhetoric of the limbs involved in musical playing opens the perspective of an evolution of the organs glimpsed in E. T. A. Hoffman’s fiction of a piano-playing monkey.
A general rhetoric of the limbs involved in musical playing opens the perspective of an evolution of the organs glimpsed in E. T. A. Hoffman’s fiction of a piano-playing monkey.
Karen Minassian, Ursula Hofstoetter, and Frank Rattay
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199746507
- eISBN:
- 9780199918768
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199746507.003.0010
- Subject:
- Neuroscience, Sensory and Motor Systems, Disorders of the Nervous System
A method for transcutaneous spinal cord stimulation that can be used for noninvasive investigations of lumbar neural circuits' function in human subjects was recently developed. The same technique ...
More
A method for transcutaneous spinal cord stimulation that can be used for noninvasive investigations of lumbar neural circuits' function in human subjects was recently developed. The same technique can be applied as a neuroaugmentative method for the control of spinal spasticity and the enhancement of the neural control of locomotion after spinal cord injury. This chapter describes this novel method for the stimulation of the lumbosacral spinal cord in humans. By elaborating the underlying biophysical principles, it identifies sensory fibers within the posterior roots as the directly stimulated neural structures. The electrophysiology of muscle responses to the electrical stimuli, referred to as “posterior root-muscle reflexes”, is addressed, and their similarity to the soleus Hoffmann reflex is discussed. The potential of transcutaneous spinal cord stimulation to modulate the central state of excitability of lumbar cord circuits, when the stimulation mode is changed from the application of single pulses to trains of stimuli, is illustrated on the basis of two cases.Less
A method for transcutaneous spinal cord stimulation that can be used for noninvasive investigations of lumbar neural circuits' function in human subjects was recently developed. The same technique can be applied as a neuroaugmentative method for the control of spinal spasticity and the enhancement of the neural control of locomotion after spinal cord injury. This chapter describes this novel method for the stimulation of the lumbosacral spinal cord in humans. By elaborating the underlying biophysical principles, it identifies sensory fibers within the posterior roots as the directly stimulated neural structures. The electrophysiology of muscle responses to the electrical stimuli, referred to as “posterior root-muscle reflexes”, is addressed, and their similarity to the soleus Hoffmann reflex is discussed. The potential of transcutaneous spinal cord stimulation to modulate the central state of excitability of lumbar cord circuits, when the stimulation mode is changed from the application of single pulses to trains of stimuli, is illustrated on the basis of two cases.
C. W. Thompson
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199233540
- eISBN:
- 9780191730948
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199233540.003.0005
- Subject:
- Literature, European Literature, 19th-century Literature and Romanticism
In 1830, an emphasis on real and armchair travel for sheer pleasure brought a new emphasis on the varieties of subjective experience which made travel books self‐conscious and frequently humorous ...
More
In 1830, an emphasis on real and armchair travel for sheer pleasure brought a new emphasis on the varieties of subjective experience which made travel books self‐conscious and frequently humorous (absorbing after Sterne, the influence of Heine and Hoffmann), as well as more than ever fragmentary and digressive. This is illustrated by the many feuilletons in contemporary journals, by Gautier's and Nerval's travels, and by the proliferation of pastiches and parodies such as those by Janin, Nodier, and Balzac. But this emphasis on subjectivity also encouraged a strengthening of the links between travel and autobiography inaugurated by Chateaubriand, and this would be seized on by writers such as Custine (Mémoires et voyages, 1830), Lamartine (Voyage en Orient, 1835), and Nerval (Promenades et souvenirs, 1854–5).Less
In 1830, an emphasis on real and armchair travel for sheer pleasure brought a new emphasis on the varieties of subjective experience which made travel books self‐conscious and frequently humorous (absorbing after Sterne, the influence of Heine and Hoffmann), as well as more than ever fragmentary and digressive. This is illustrated by the many feuilletons in contemporary journals, by Gautier's and Nerval's travels, and by the proliferation of pastiches and parodies such as those by Janin, Nodier, and Balzac. But this emphasis on subjectivity also encouraged a strengthening of the links between travel and autobiography inaugurated by Chateaubriand, and this would be seized on by writers such as Custine (Mémoires et voyages, 1830), Lamartine (Voyage en Orient, 1835), and Nerval (Promenades et souvenirs, 1854–5).
Holly Watkins
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226594705
- eISBN:
- 9780226594842
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226594842.003.0002
- Subject:
- Music, Philosophy of Music
Chapter 1, “Reanimating Musical Organicism,” revisits the legacy of organicism to discover fresh critical potential in a discourse currently maligned as a relic of Austro-German aesthetic values. ...
More
Chapter 1, “Reanimating Musical Organicism,” revisits the legacy of organicism to discover fresh critical potential in a discourse currently maligned as a relic of Austro-German aesthetic values. Even a casual perusal of the primary literature shows that organicism was always beset by internal tensions, many of which stem from the peculiarities of the organisms that typically served as this literature’s inspiration: plants. Touching on figures ranging from Immanuel Kant, Johann Wolfgang von Goethe, and Theodor Adorno to the music critics Christian Friedrich Michaelis, E. T. A. Hoffmann, and Eduard Hanslick, the chapter shows that organicist writings, many of which compared the real-time unfolding of musical works such as Beethoven’s Fifth Symphony and Wagner’s Tristan und Isolde to plant growth, continue to raise questions about the lives and identities of both organisms and artifacts as well as the relationships between these different expressions of vitality. Drawing on the social systems theory of Niklas Luhmann, whose conceptual and analytical tools deftly mediate between organic and cultural modes of organization, the chapter offers a series of novel perspectives on the quasi-organic traits of musical form and stylistic change in eighteenth- and nineteenth-century music.Less
Chapter 1, “Reanimating Musical Organicism,” revisits the legacy of organicism to discover fresh critical potential in a discourse currently maligned as a relic of Austro-German aesthetic values. Even a casual perusal of the primary literature shows that organicism was always beset by internal tensions, many of which stem from the peculiarities of the organisms that typically served as this literature’s inspiration: plants. Touching on figures ranging from Immanuel Kant, Johann Wolfgang von Goethe, and Theodor Adorno to the music critics Christian Friedrich Michaelis, E. T. A. Hoffmann, and Eduard Hanslick, the chapter shows that organicist writings, many of which compared the real-time unfolding of musical works such as Beethoven’s Fifth Symphony and Wagner’s Tristan und Isolde to plant growth, continue to raise questions about the lives and identities of both organisms and artifacts as well as the relationships between these different expressions of vitality. Drawing on the social systems theory of Niklas Luhmann, whose conceptual and analytical tools deftly mediate between organic and cultural modes of organization, the chapter offers a series of novel perspectives on the quasi-organic traits of musical form and stylistic change in eighteenth- and nineteenth-century music.
Holly Watkins
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226594705
- eISBN:
- 9780226594842
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226594842.003.0005
- Subject:
- Music, Philosophy of Music
Chapter 4, “The Floral Poetics of Schumann’s Blumenstück, op. 19,” explores how flowers, as supreme representatives of nonhuman beauty, were woven into nineteenth-century notions of gender, art, and ...
More
Chapter 4, “The Floral Poetics of Schumann’s Blumenstück, op. 19,” explores how flowers, as supreme representatives of nonhuman beauty, were woven into nineteenth-century notions of gender, art, and transcendence. Schumann’s piano piece Blumenstück (1839) has been viewed as a straightforward effort to appeal to amateur consumers—especially female consumers—of domestic piano music. The piece’s mixed aesthetic status is closely linked to the similarly ambivalent standing of flowers (and the genre of flower painting to which Schumann’s title alludes) in early nineteenth-century Germany. Yet flowers also constituted a remarkably evocative symbol in Romantic literature. Sentimental and Romantic discourses of the flower converged in the trope of Blumensprache (the language of flowers), a signifying practice developed in popular manuals cataloguing the meanings of flowers and referenced in the more esoteric settings of Schumann’s criticism, E. T. A. Hoffmann’s tales, and Heinrich Heine’s poetry. In each of these venues, flowers served as nonhuman conduits for imaginary travel between mundane and transcendent realms. Drawing on the work of Friedrich Kittler, the chapter elaborates on related dualities in Schumann’s Blumenstück, a piece that conflates aesthetic categories in a manner that undermines traditional notions of both organicism and generic classification.Less
Chapter 4, “The Floral Poetics of Schumann’s Blumenstück, op. 19,” explores how flowers, as supreme representatives of nonhuman beauty, were woven into nineteenth-century notions of gender, art, and transcendence. Schumann’s piano piece Blumenstück (1839) has been viewed as a straightforward effort to appeal to amateur consumers—especially female consumers—of domestic piano music. The piece’s mixed aesthetic status is closely linked to the similarly ambivalent standing of flowers (and the genre of flower painting to which Schumann’s title alludes) in early nineteenth-century Germany. Yet flowers also constituted a remarkably evocative symbol in Romantic literature. Sentimental and Romantic discourses of the flower converged in the trope of Blumensprache (the language of flowers), a signifying practice developed in popular manuals cataloguing the meanings of flowers and referenced in the more esoteric settings of Schumann’s criticism, E. T. A. Hoffmann’s tales, and Heinrich Heine’s poetry. In each of these venues, flowers served as nonhuman conduits for imaginary travel between mundane and transcendent realms. Drawing on the work of Friedrich Kittler, the chapter elaborates on related dualities in Schumann’s Blumenstück, a piece that conflates aesthetic categories in a manner that undermines traditional notions of both organicism and generic classification.
Daniel J. Levine
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199916061
- eISBN:
- 9780199980246
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199916061.003.0001
- Subject:
- Political Science, Political Theory
This chapter develops the themes of the book along the lines discussed above: its goals, and the key concepts it advances to achieve them. It sets out the longstanding challenge of sustainable ...
More
This chapter develops the themes of the book along the lines discussed above: its goals, and the key concepts it advances to achieve them. It sets out the longstanding challenge of sustainable critique in light of the problem of reification. It also surveys the effects of reification across eight decades of IR scholarship, framing and summarizing the case studies undertaken in Chapters 3-5.Less
This chapter develops the themes of the book along the lines discussed above: its goals, and the key concepts it advances to achieve them. It sets out the longstanding challenge of sustainable critique in light of the problem of reification. It also surveys the effects of reification across eight decades of IR scholarship, framing and summarizing the case studies undertaken in Chapters 3-5.
Neil Cornwell
- Published in print:
- 2010
- Published Online:
- July 2012
- ISBN:
- 9780719082092
- eISBN:
- 9781781702062
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719082092.003.0002
- Subject:
- Literature, European Literature
This chapter investigates the musical story through Odoevsky's fictional ‘biography’ of Johann Sebastian Bach, and preceding works, particularly in the writings of E.T.A. Hoffmann. It aims to examine ...
More
This chapter investigates the musical story through Odoevsky's fictional ‘biography’ of Johann Sebastian Bach, and preceding works, particularly in the writings of E.T.A. Hoffmann. It aims to examine an early prose work by Boris Pasternak, his Suboctave Story (written in 1916–17, but first published only in 1977). Pasternak's never quite completed novella, this chapter argues, may be dependent to a considerable extent on Odoevsky's depiction of the young Bach and his creation of musical atmosphere.Less
This chapter investigates the musical story through Odoevsky's fictional ‘biography’ of Johann Sebastian Bach, and preceding works, particularly in the writings of E.T.A. Hoffmann. It aims to examine an early prose work by Boris Pasternak, his Suboctave Story (written in 1916–17, but first published only in 1977). Pasternak's never quite completed novella, this chapter argues, may be dependent to a considerable extent on Odoevsky's depiction of the young Bach and his creation of musical atmosphere.
- Published in print:
- 2009
- Published Online:
- June 2013
- ISBN:
- 9780804760324
- eISBN:
- 9780804772877
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804760324.003.0008
- Subject:
- Literature, Criticism/Theory
This chapter presents an alchemical reading of E. T. A. Hoffmann's 1815 tale “The Sandman.” For the modern critic, this text has become inextricable from Freud's 1919 essay “Das Unheimliche” (“The ...
More
This chapter presents an alchemical reading of E. T. A. Hoffmann's 1815 tale “The Sandman.” For the modern critic, this text has become inextricable from Freud's 1919 essay “Das Unheimliche” (“The Uncanny”). Separated by a century, both texts were written with an eye toward the second part of the tale, the explosive trauma caused to Nathanael by Olympia, the automaton, and by the evil barometer seller Coppola. Given Freud's interest in repression, it would seem particularly important to concentrate on the protagonist's early life as it emerges in the tale and in Freud's analysis.Less
This chapter presents an alchemical reading of E. T. A. Hoffmann's 1815 tale “The Sandman.” For the modern critic, this text has become inextricable from Freud's 1919 essay “Das Unheimliche” (“The Uncanny”). Separated by a century, both texts were written with an eye toward the second part of the tale, the explosive trauma caused to Nathanael by Olympia, the automaton, and by the evil barometer seller Coppola. Given Freud's interest in repression, it would seem particularly important to concentrate on the protagonist's early life as it emerges in the tale and in Freud's analysis.
Anna Powell
- Published in print:
- 2007
- Published Online:
- March 2012
- ISBN:
- 9780748632824
- eISBN:
- 9780748651139
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748632824.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter considers dreams as the most familiar cinematic altered state and criticises psychoanalytical dream-work through Deleuze-Guattarian schizoanalysis. It explains why Gilles Deleuze and ...
More
This chapter considers dreams as the most familiar cinematic altered state and criticises psychoanalytical dream-work through Deleuze-Guattarian schizoanalysis. It explains why Gilles Deleuze and Félix Guattari refuted psychoanalytic dream-work as a critical technique and why Deleuze prefers a Bergsonian approach to film dreams. The chapter provides a critical analysis of several relevant films including Alfred Hitchcock's 1945 Spellbound, Michael Powell and Emeric Pressburger's 1951 The Tales of Hoffmann and David Lynch's 2001 Mulholland Drive.Less
This chapter considers dreams as the most familiar cinematic altered state and criticises psychoanalytical dream-work through Deleuze-Guattarian schizoanalysis. It explains why Gilles Deleuze and Félix Guattari refuted psychoanalytic dream-work as a critical technique and why Deleuze prefers a Bergsonian approach to film dreams. The chapter provides a critical analysis of several relevant films including Alfred Hitchcock's 1945 Spellbound, Michael Powell and Emeric Pressburger's 1951 The Tales of Hoffmann and David Lynch's 2001 Mulholland Drive.
Neta Stahl
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199760008
- eISBN:
- 9780199979561
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199760008.003.0004
- Subject:
- Religion, Judaism
Yoel Hoffmann (1937–) is one of the most important contemporary Israeli writers. This chapter demonstrates that Hoffmann's works provide a unique model for representing the figure of Jesus. In his ...
More
Yoel Hoffmann (1937–) is one of the most important contemporary Israeli writers. This chapter demonstrates that Hoffmann's works provide a unique model for representing the figure of Jesus. In his works, Hoffmann puts forth a model in which Jesus is presented not as an Other, but rather as a figure that heals the estrangement of the Others. Jesus is a main theme in most of Hoffmann's prose-poetry work, but frequently he appears not as a protagonist, but rather as a metaphor symbolizing a certain mode of existence. Hoffmann colors the triviality of the mundane with the presence of Jesus in order to confer an aura of sanctity onto the world of his protagonists.Less
Yoel Hoffmann (1937–) is one of the most important contemporary Israeli writers. This chapter demonstrates that Hoffmann's works provide a unique model for representing the figure of Jesus. In his works, Hoffmann puts forth a model in which Jesus is presented not as an Other, but rather as a figure that heals the estrangement of the Others. Jesus is a main theme in most of Hoffmann's prose-poetry work, but frequently he appears not as a protagonist, but rather as a metaphor symbolizing a certain mode of existence. Hoffmann colors the triviality of the mundane with the presence of Jesus in order to confer an aura of sanctity onto the world of his protagonists.
Richard Parrish
- Published in print:
- 2003
- Published Online:
- July 2012
- ISBN:
- 9780719066061
- eISBN:
- 9781781700501
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719066061.003.0003
- Subject:
- Political Science, European Union
This chapter investigates the theoretical basis for European Union (EU) sports law and policy. The arguments forwarded by intergovernmentalists and neofunctionalists are reviewed. Hoffmann's ...
More
This chapter investigates the theoretical basis for European Union (EU) sports law and policy. The arguments forwarded by intergovernmentalists and neofunctionalists are reviewed. Hoffmann's obstinate nation state restricted itself to uncontroversial economic integration. Milward argues that the EU became an external support system for Europe's nations. Moravcsik's accounts of European integration focus on the preferences and power of the member states. Neofunctionalism remains clearly distinct from the intergovernmentalist camp in that neofunctionalism de-emphasises state capabilities in the regional integration process. Sabatier's Advocacy Coalition Framework (ACF) focus on competing advocacy coalitions within policy subsystems effectively captures the real nature of EU governance. He identifies a number of factors affecting the development of policy within a subsystem. The focus on the role of political institutions in shaping policy is the concern of new institutionalism. The interplay between actors and institutions creates policy-specific governance regimes within policy subsystems.Less
This chapter investigates the theoretical basis for European Union (EU) sports law and policy. The arguments forwarded by intergovernmentalists and neofunctionalists are reviewed. Hoffmann's obstinate nation state restricted itself to uncontroversial economic integration. Milward argues that the EU became an external support system for Europe's nations. Moravcsik's accounts of European integration focus on the preferences and power of the member states. Neofunctionalism remains clearly distinct from the intergovernmentalist camp in that neofunctionalism de-emphasises state capabilities in the regional integration process. Sabatier's Advocacy Coalition Framework (ACF) focus on competing advocacy coalitions within policy subsystems effectively captures the real nature of EU governance. He identifies a number of factors affecting the development of policy within a subsystem. The focus on the role of political institutions in shaping policy is the concern of new institutionalism. The interplay between actors and institutions creates policy-specific governance regimes within policy subsystems.
Ralph Mitchell Siegel
- Published in print:
- 2012
- Published Online:
- March 2015
- ISBN:
- 9780199734344
- eISBN:
- 9780190255862
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199734344.003.0002
- Subject:
- Psychology, Cognitive Neuroscience
In this chapter, the author describes the Salk Institute where he performs his experiments on monkeys to understand the nature of consciousness. Named after Jonas Salk, the Institute employs ...
More
In this chapter, the author describes the Salk Institute where he performs his experiments on monkeys to understand the nature of consciousness. Named after Jonas Salk, the Institute employs hard-nosed, aggressive, extremely competitive, and brilliant scientists who have continued to articulate and define its ideal. The author cites three men who have contributed to the Salk Institute's progress: Frederic de Hoffmann, Renato Dulbecco, and Francis Crick.Less
In this chapter, the author describes the Salk Institute where he performs his experiments on monkeys to understand the nature of consciousness. Named after Jonas Salk, the Institute employs hard-nosed, aggressive, extremely competitive, and brilliant scientists who have continued to articulate and define its ideal. The author cites three men who have contributed to the Salk Institute's progress: Frederic de Hoffmann, Renato Dulbecco, and Francis Crick.
Linda Hutcheon and Michael Hutcheon
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780226255590
- eISBN:
- 9780226255620
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226255620.003.0002
- Subject:
- Music, History, Western
This chapter uses as an illustration the late life and last works of a seemingly unlikely candidate for inclusion in a study of canonical composers: Jacques Offenbach (1818–1880), the master of the ...
More
This chapter uses as an illustration the late life and last works of a seemingly unlikely candidate for inclusion in a study of canonical composers: Jacques Offenbach (1818–1880), the master of the satirical French operetta form. In his last years, he sought to complete the work he wanted to be his serious legacy, the opera Les Contes d’Hoffmann. Through the many difficulties he encountered in doing so, his story introduces the kinds of the challenges faced by the four core composers of this study: aesthetic/generational (Verdi), political (Strauss), ambition/expectations (Messiaen), health/impairment (Britten). The critical reception of last works, both in general and in particular, is examined in the context of the long history of “late style” discourse, with its contrasting evaluative models of old age decline and apotheosis. With the rise of musical modernism and cultural modernity—and their aesthetic of progress and innovation—came an expectation of change and experiment that brought yet other artistic challenges.Less
This chapter uses as an illustration the late life and last works of a seemingly unlikely candidate for inclusion in a study of canonical composers: Jacques Offenbach (1818–1880), the master of the satirical French operetta form. In his last years, he sought to complete the work he wanted to be his serious legacy, the opera Les Contes d’Hoffmann. Through the many difficulties he encountered in doing so, his story introduces the kinds of the challenges faced by the four core composers of this study: aesthetic/generational (Verdi), political (Strauss), ambition/expectations (Messiaen), health/impairment (Britten). The critical reception of last works, both in general and in particular, is examined in the context of the long history of “late style” discourse, with its contrasting evaluative models of old age decline and apotheosis. With the rise of musical modernism and cultural modernity—and their aesthetic of progress and innovation—came an expectation of change and experiment that brought yet other artistic challenges.
