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Landscape is now on the agenda in a new way. The increasing
interest in justice, power and the political landscape expresses a
sea change occurring in the meaning of landscape itself, from
landscape as scenery to landscape as polity and place. As Lionella
Scazzosi argues "The meaning of the term 'landscape' has become
broader than that of a view or panorama, which characterized many
national protection laws and policies until the middle of the 20th
century, and that of environment or nature, to which it has often
been limited during the recent years of environmentalist battles."
This is reflected in the new European Landscape Convention, for
which: "'Landscape' means an area, as perceived by people." The
tide thus has turned towards J. B. Jackson's view of landscape as
not "a scenic or ecological entity but as a political or cultural
entity, changing in the course of history." It is in this
socio-political context that it becomes necessary to consider the
role of power, and the importance of justice, in the shaping of the
landscape as an area of practice and performance with both cultural
and environmental implications. This book was previously published
as two special issues of Landscape Research.
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Sarcoidosis (Paperback)
Donald Mitchell, Athol Wells, Stephen Spiro, David Moller
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R1,837
Discovery Miles 18 370
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Ships in 12 - 17 working days
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Highly Commended, BMA Medical Book Awards 2013 Sarcoidosis
represents a major challenge for physicians-not just in respiratory
medicine, but across a range of specialties. This book, with a
multidisciplinary authorship of the highest standard, presents the
most up-to-date thinking on all aspects of the condition, from
epidemiology to clinical manifestations and treatment options. Full
coverage is given to both respiratory and non-respiratory aspects.
The basic science that underlies the disease and its progression is
evaluated in detail, and placed into its correct clinical context.
Possible future advances are covered in a concluding section. The
editors-all leading figures in the field with international
reputations-have compiled the definitive work on the subject in a
single volume. The book is fully comprehensive and evidence based
and will be an essential addition to the bookshelves of all whose
practice involves the care and treatment of patients with
sarcoidosis.
The People's Property? is the first book-length scholarly
examination of how negotiations over the ownership, control, and
peopling of public space are central to the development of
publicity, citizenship, and democracy in urban areas. The book asks
the questions: Why does it matter who owns public property? Who
controls it? Who is in it? Donald Mitchell and Lynn A. Staeheli
answer the questions by focusing on the interplay between property
(in its geographical sense, as a parcel of owned space) and people.
Property rights are often defined as the "right to exclude." It is
important, therefore, to understand who (what individual and
corporate entities, governed by what kinds of regulations and
restrictions) owns publicly accessible property. It is likewise
important to understand the changing bases for excluding some
people and classes of people from otherwise publicly accessible
property. That is to say, it is important to understand how modes
of access and possibilities for association in publicly accessible
space vary for different individuals and different classes of
people, if we are to understand the role public spaces play in
shaping democratic possibilities. In what ways are urban public
spaces "the people's property" - and in what ways are they not?
What does this mean for citizenship and the constitution of an
inclusive, democratic polity? The book develops its argument
through five case studies: protest in Washington DC; struggles over
the Plaza of Santa Fe, NM; homelessness and property redevelopment
in San Diego, CA; the enclosure of public space in a mall in
Syracuse, NY; and community gardens in New York City. Though
empirically focused on the US, the book is of broader interests as
publics in all liberal democracies are under-going rapid
reconsideration and transformation.
The People's Property? is the first book-length scholarly
examination of how negotiations over the ownership, control, and
peopling of public space are central to the development of
publicity, citizenship, and democracy in urban areas. The book asks
the questions: Why does it matter who owns public property? Who
controls it? Who is in it? Donald Mitchell and Lynn A. Staeheli
answer the questions by focusing on the interplay between property
(in its geographical sense, as a parcel of owned space) and people.
Property rights are often defined as the "right to exclude." It is
important, therefore, to understand who (what individual and
corporate entities, governed by what kinds of regulations and
restrictions) owns publicly accessible property. It is likewise
important to understand the changing bases for excluding some
people and classes of people from otherwise publicly accessible
property. That is to say, it is important to understand how modes
of access and possibilities for association in publicly accessible
space vary for different individuals and different classes of
people, if we are to understand the role public spaces play in
shaping democratic possibilities. In what ways are urban public
spaces "the people's property" - and in what ways are they not?
What does this mean for citizenship and the constitution of an
inclusive, democratic polity? The book develops its argument
through five case studies: protest in Washington DC; struggles over
the Plaza of Santa Fe, NM; homelessness and property redevelopment
in San Diego, CA; the enclosure of public space in a mall in
Syracuse, NY; and community gardens in New York City. Though
empirically focused on the US, the book is of broader interests as
publics in all liberal democracies are under-going rapid
reconsideration and transformation.
The third volume of the annotated selected letters of composer
Benjamin Britten covers the years 1946-51, during which he wrote
many of his best-known works, founded and developed the English
Opera Group and the Aldeburgh Festival, and toured widely in Europe
and the United States as a pianist and conductor. Correspondents
include librettists Ronald Duncan (The Rape of Lucretia), Eric
Crozier (Albert Herring, Saint Nicolas, The Little Sweep) and E. M.
Forster (Billy Budd); conductor Ernest Ansermet and composer Lennox
Berkeley; publishers Ralph Hawkes and Erwin Stein of Boosey &
Hawkes; and the celebrated tenor Peter Pears, Britten's partner.
Among friends in the United States are Christopher Isherwood,
Elizabeth Mayer and Aaron Copland, and there is a significant
meeting with Igor Stravinsky. This often startling and innovative
period is vividly evoked by the comprehensive and scholarly
annotations, which offer a wide range of detailed information
fascinating for both the Britten specialist and the general reader.
Donald Mitchell contributes a challenging introduction exploring
the interaction of life and work in Britten's creativity, and an
essay examining for the first time, through their correspondence,
the complex relationship between the composer and the writer Edward
Sackville-West.
The composer's final decade sees a new outpouring of creativity.
The sixth and final volume of the annotated selected letters of
Benjamin Britten, edited by Philip Reed and Mervyn Cooke, covers
the composer's last decade. The genesis, composition and premieres
of major stage works such as Owen Wingrave, commissioned by BBC
Television, and Death in Venice are fully documented, as are the
church parables, The Burning Fiery Furnace and The Prodigal Son.
Important concert works from this period include the powerful
Brecht setting, Children's Crusade, the Third Cello Suite (for
Rostropovich), Canticles IV and V (both settings of poetry by T. S.
Eliot), Phaedra (for Janet Baker) and the Third String Quartet,
with its haunting echoes of Death in Venice. As in previous
volumes, Britten's letters to his life partner and principal
interpreter, the tenor Peter Pears, remain central. Other
significant correspondents include theQueen and Queen Mother;
librettists William Plomer and Myfanwy Piper; artistic
collaborators Frederick Ashton, Colin Graham and John Piper;
musicians Janet Baker, Dietrich Fischer-Dieskau and Mstislav
Rostropovich; and composers Oliver Knussen, Dmitri Shostakovich and
William Walton. The volume also traces the conversion of Snape
Maltings into the Aldeburgh Festival's principal concert venue, its
destruction by fire on the opening night of the 1969 Festival and
its miraculous rebuilding in time for the following year's
Festival, as well as major concert tours by Britten and Pears to
New York, Canada, South America, Moscow and Leningrad, Australia,
and New Zealand. Close attention is paid to Britten's final years,
when his failed heart surgery left him a near invalid. Published in
association with The Britten-Pears Foundation.
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Sarcoidosis (Hardcover, New)
Donald Mitchell, Athol Wells, Stephen Spiro, David Moller
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R7,028
Discovery Miles 70 280
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Ships in 12 - 17 working days
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Highly Commended, BMA Medical Book Awards 2013 Sarcoidosis
represents a major challenge for physicians-not just in respiratory
medicine, but across a range of specialties. This book, with a
multidisciplinary authorship of the highest standard, presents the
most up-to-date thinking on all aspects of the condition, from
epidemiology to clinical manifestations and treatment options. Full
coverage is given to both respiratory and non-respiratory aspects.
The basic science that underlies the disease and its progression is
evaluated in detail, and placed into its correct clinical context.
Possible future advances are covered in a concluding section. The
editors-all leading figures in the field with international
reputations-have compiled the definitive work on the subject in a
single volume. The book is fully comprehensive and evidence based
and will be an essential addition to the bookshelves of all whose
practice involves the care and treatment of patients with
sarcoidosis.
Donald Mitchell's second book on the life and work of Gustav Mahler
examines the fruitful years of the First to the Fourth Symphonies,
as well as the earlier song cycles from the Gesellen lieder to the
magical Ruckert songs. A work of painstaking and imaginative
scholarship presented in eminently readable language. MUSICAL
QUARTERLY Mitchell has amassed and processed an imposing amount of
material, most of it new... It includes a section on Mahler and
Freud, discusses Bach's influence on Mahler, and reproduces
contemporary criticism... Invaluable for Mahler scholars and
lovers. ECONOMIST Donald Mitchell's second book on the life and
work of Gustav Mahler focuses principally on Mahler's first
settings of Wunderhorn texts, volumes I and II of the Lieder und
Gesaenge; his first song-cycle, the Lieder eines fahrenden
Gesellen; and the later orchestral settings of Wunderhorn poems.
The central section of the book explores the extraordinary and
often eccentric chronology of the First, Second and Third
Symphonies' composition, an often minute exploration which reveals
the interpenetration of song and symphony in this period of
Mahler's art, emphasizes the significance for these works of
imagery drawn from the Wunderhorn anthology, and calls attention to
the ambiguous position occupied by much of Mahler's music atthis
time, suspended as it was between the rival claims - and forms - of
symphony and symphonic poem. The final section of the book not only
looks at the Fourth Symphony as the final, perhaps most perfect,
flowering of Mahler's Wunderhorn symphonies, but also investigates
such fascinating topics as the relationship between Mahler and
Berlioz, and the influence of Bach on Mahler's later masterpieces.
This new edition of the book offers an entirelynew preface, in
which Mitchell gives a unique account of the influence of politics,
nationalism and fascism on the reception and rejection of Mahler's
music, after the composer's death until the Mahler Renaissance of
the 1950s and 1960s. It also includes extensive corrigenda and
amplifying addenda, making it clear that the Wunderhorn influence
persisted beyond the end of the period during which the Wunderhorn
anthology was a constant sourceof inspiration. It is completed by
an international bibliography which documents chronologically the
reception and study of his music both in the past, and the
prodigiously different circumstances of the present. DONALD
MITCHELL was Founder Professor of Music at the University of
Sussex. He is well known for his major studies of Mahler, among his
many other books and studies. He was awarded the CBE in 2000.
Without an understanding of the conflicts of Mahler's youth one
cannot truly appreciate the impulses behind the major symphonies
and song cycles of his later years. Available again for a new
generation of Mahlerians, Donald Mitchell's famous study of the
composer's early life and music was greeted as a major advance on
its first appearance in 1958. Revised and updated in the early
1980s, thispaperback edition includes a new introduction by the
author to bring this classic work once again to the forefront of
Mahler studies. From his birth in Bohemia, then part of the mighty
Austro-Hungarian empire, to a surveyof his early works, many now
lost, Gustav Mahler: The Early Years forms an indispensable prelude
to the period of the great compositions. The conflicts which came
to mark Mahler's music and personality had their beginningsin his
childhood and youth. Without understanding the territorial, social
and familial conflicts of this time one cannot truly appreciate the
impulses behind the major symphonies and song cycles of his later
years. DONALD MITCHELL was born in 1925. Two composers have been
central to his writings on music, Gustav Mahler and Benjamin
Britten. His three studies of Mahler, The Early Years (1958), The
Wunderhorn Years (1975), and Songs and Symphonies of Life and Death
(1985), are among the enduring monuments of postwar Mahler
literature. He was founder Professor of Music at the University of
Sussex (1971-76), was visiting Professor atKing's College, London,
and is currently a visiting Professor at the Universities of Sussex
and York.
Landscape is now on the agenda in a new way. The increasing
interest in justice, power and the political landscape expresses a
sea change occurring in the meaning of landscape itself, from
landscape as scenery to landscape as polity and place. As Lionella
Scazzosi argues "The meaning of the term 'landscape' has become
broader than that of a view or panorama, which characterized many
national protection laws and policies until the middle of the 20th
century, and that of environment or nature, to which it has often
been limited during the recent years of environmentalist battles."
This is reflected in the new European Landscape Convention, for
which: "'Landscape' means an area, as perceived by people." The
tide thus has turned towards J. B. Jackson's view of landscape as
not "a scenic or ecological entity but as a political or cultural
entity, changing in the course of history." It is in this
socio-political context that it becomes necessary to consider the
role of power, and the importance of justice, in the shaping of the
landscape as an area of practice and performance with both cultural
and environmental implications. This book was previously published
as two special issues of Landscape Research.
Discovering Mahler is the fourth and final volume of Donald
Mitchell's unique studies of Mahler and his music. It fills the
remaining gaps in the scrutiny of Mahler's works in the series,
principally the Fifth, Sixth and Seventh Symphonies, with the Ninth
and Tenth. Discovering Mahler is the fourth and final volume of
Donald Mitchell's unique studies of Mahler and his music. This new
publication fills the remaining gaps in the scrutiny of Mahler's
works in the series, principally the Fifth, Sixth and Seventh
Symphonies, with the Ninth and Tenth. It begins with a substantial
survey of Mahler's music, commissioned for the sixth edition of
Grove's Dictionary of Music and Musicians (1980), but here printed
in full for the first time. A striking feature throughout this
collection is the examination of the revelatory role of the
performer; this is epitomized in transcripts of significant
conversations about the Fifth and Seventh Symphonies with,
respectively, Riccardo Chailly and Bernard Haitink. The concluding
section consists of major lectures and celebratory essays, some
here published for the first time in English. These form a
fascinating and frequently moving personal testament to a lifetime,
and specifically fifty working years, of discovering Mahler. Donald
Mitchell's three previous studies of Mahler are among the enduring
monuments of postwar Mahler literature. He was awarded the Gustav
Mahler Medal of Honour of the International Gustav Mahler Society
in Vienna in 1987, and was appointed CBE in 2002.
This book is exceptional amongst those that have appeared so far in
this well-established series, in that it is largely written by
those who worked with the composer and assisted him during the
period in which the opera was composed and first put on the stage.
It will thus remain a source of first-hand information on Britten's
final operatic achievement. Donald Mitchell was Britten's publisher
at the time of Death in Venice and his Introduction includes many
personal observations on the genesis of the work. The latter part
of the book contains essays by T. J. Reed and Patrick Carnegy on
the libretto's source in Thomas Mann's novella and Philip Reed
compares briefly Visconti's cinematic interpretation of the
novella. The volume is richly illustrated with music examples,
sketches and extracts from the autograph score, and pictures from
the first production. It will make an essential reference work and
indispensable companion for opera-goers, students and scholars
alike.
This volume concentrates on the composer's vocal music, including
the late Rueckert Lieder, the 8th Symphony and Das Lied von der
Erde. A monument in Mahler studies, this volume concentrates on the
composer's vocal music and, in particular, on some of his most
famous, most original and best loved compositions: the late
Rueckert orchestral songs and Kindertotenlieder; Das Lied von der
Erde, one of the composer's supreme masterpieces, and the vast
Eighth Symphony. Much new ground is broken but the author bases his
conclusions on a meticulous examination of the principal manuscript
sources, especially those for Das Lied. He offers an unprecedented
exploration of the original Chinese texts for that work and indeed
of the whole Oriental dimension of Mahler's last and greatest
song-cycle. Time and time again, the composer's sketches back up
the author's reading of these massive scores and there will be few
among this book's readers who will not find a familiar passage or
movement sharply illuminated by fresh insights and information. The
scope of the book, despite its concentration, is immensely wide;
and so is the readership it addresses: Mahler scholars, performers,
and general readers. DONALD MITCHELL was Founder Professor of Music
at the University of Sussex. He is currently Visiting Professor at
Sussex and York, and formerly at King's College, London.
This second of two volumes of the letters and diaries of Benjamin
Britten is supplemented by the editors' detailed commentary and
extensive contemporary documentation. The aim is to present a
portrait not only of the composer but of an age.
Volume One of these remarkable letters and diaries opens with a
letter from Britten aged nine to his formidable mother, Edith.
Music is already at the centre of his life, and it accompanies him
through prep and public school and then to London to the Royal
College of Music, where the phenomenally gifted but inexperienced
young composer is plunged into metropolitan life and makes
influential new friends, among them W. H. Auden and Christopher
Isherwood. This was a time of prodigious musical creativity, a
growing awareness of his sexuality, and the dawning of his
political convictions. Most importantly, during this period Britten
met Peter Pears and established the musical and personal
relationship that was to last a lifetime. Volume One comes to a
close in May 1939, when Britten, accompanied by Pears, departs for
North America. The letters and diaries in this illuminating first
volume and its successor are supplemented by the editors' detailed
commentary and by exhaustive contemporary documentation. Together
they constitute a comprehensive portrait not only of the composer
but of an age.
A crucial year in the Britten/Auden relationship, which reshaped
and redefined artistic direction in the immediate pre-war period.
Benjamin Britten and W.H. Auden were key figures of the 1930s, and
here Donald Mitchell traces their lives during one crucial year,
1936. They worked hard to establish themselves, first through the
GPO film unit, in a collaboration which flowered and spilled over
into the theatre, and then radio - a new medium that the liveliest
creative minds of the time were exploring and exploiting. Britten
and Auden also joined forces in works destined for the recital room
and concert hall, among them Our Hunting Fathers, the political
symbolism of which Donald Mitchell examines in depth, and On the
Island, settings of early Auden that comprised Britten's first
important set of songs to English texts. Much use is made of
Britten's private diaries, which he kept on a daily basis, and a
revealing portrait emerges of the two men's relationship, of their
work together in many different fields, and of the reflection
within that work of political ideas current at the time. DONALD
MITCHELL was Britten's close friend and publisher from 1964 until
the end of the composer's life, and his authorised biographer. The
T S Eliot Memorial Lectures delivered in 1979
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