Several generations before Schubert, the Lied emerged as domestic entertainment destined to move beyond the home to the symphony hall. This introductory chronicle of this fascinating genre analyzes the Lied in its musical, literary, and cultural contexts--with chapters devoted to focal composers; influence of the Lied on other musical genres; use as a musical commodity and issues of performance. The volume includes a chronology and a comprehensive bibliography.

Essays on the synthesis of the musical and literary arts in German Romanticism. The interrelationship between music and literature reached its zenith during the Romantic era, and nowhere was this relationship more pronounced than in Germany. Many representatives of literary and philosophical German Romanticism held music to be the highest and most expressive, quintessentially Romantic art form, able to convey what cannot be expressed in words: the ineffable and metaphysical. The influence was reciprocal, with literature providing a rich source of inspiration for German composers of both instrumental and vocal music, giving rise to a wealth of new forms and styles. The essays in this volume are selected from papers presented at an international, interdisciplinary conference held at University College Dublin in December 2000, and include contributions from Germanists, musicologists, comparatists, and performance artists. This interdisciplinarity makes for informed and complementary approaches and arguments. The essays cover not only the "Romantic" nineteenth century (commencing with the early Romanticism of the Jena circle), but also look ahead to the legacy, reception, and continuation of German Romanticism in the modern and postmodern ages. Alongside new readings of familiar and established writers and composers such as Goethe, Hoffmann, Wagner, and Schubert, a case is made for other figures such as Wackenroder, Novalis, Schlegel, Schumann, Brahms, Liszt, and Berlioz, as well as less-known figures such as Ritter, Schneider, and Termen, and for a reconsideration of questions of categorization. The essays will appeal to readers with a wide variety of academic, musical, and literary interests. Siobhan Donovan is a Lecturer in the Department of German at University College Dublin. Robin Elliott is Jean A. Chalmers Chair in Canadian Music at the University of Toronto.

The disappearance of Sir John Franklin's Arctic expedition of 1845 led to many rescue attempts, some by the British government and some by private individuals, as well as a large number of works recounting these expeditions and reflecting on the mystery. Little is known about the author of this 1857 work, James Parsons. He begins this dramatic account by noting that the disappearance of a large and well-equipped party is almost unprecedented in the Arctic: nothing certain was known about Franklin's fate twelve years after the last recorded sighting. Parsons' speculations derive from a knowledge of naval practice, and familiarity with the seas and climate of the Arctic region and the records of earlier expeditions. He offers practical suggestions about a new attempt using steam-boats, but knows that this will be to find out what actually happened, because there could now be no possibility of finding survivors.

Several generations before Schubert, the Lied emerged as domestic entertainment destined to move beyond the home to the symphony hall. This introductory chronicle of this fascinating genre analyzes the Lied in its musical, literary, and cultural contexts--with chapters devoted to focal composers; influence of the Lied on other musical genres; use as a musical commodity and issues of performance. The volume includes a chronology and a comprehensive bibliography.

Four new stories featuring the Sixth Doctor and Peri Brown: 1.1 The Headless Ones by James Parsons and Andrew Stirling-Brown. When a distress call from an unknown source threatens to rip the TARDIS from the vortex, the Doctor and Peri arrive in nineteenth-century Africa hoping to find the cause of the disturbance. Instead, they meet a British expedition searching for a long lost tribe: the B’lemyae… better known to the locals as the Headless Ones. 1.2 Like by Jacqueline Rayner. On the Earth colony world Rusina, the populace strive to be popular. Likes lead to promotions, dislikes leads to demotion – and more recently, something worse. So when the Doctor investigates the truth behind their subscriber-led society, he finds himself about to become very unpopular indeed. 1.3 The Vanity Trap by Stuart Manning. Myrna Kendal used to be a Hollywood film star. Now she spends her life reminiscing on chat shows but there is always one unfinished film she refuses to talk about... at least until the TARDIS interrupts a TV interview, and the Doctor and Peri’s appearance stirs up long-forgotten memories. 1.4 Conflict Theory by Nev Fountain. Concerned by the Doctor’s increasing over-protectiveness, Peri presents him with an ultimatum: either they seek counselling or she leaves the TARDIS permanently. Reluctant to lose one of his closest friends, the Doctor seeks out one of the finest psychoanalysts in the universe: Dr Sigmund Freud. Cast: Colin Baker (The Doctor), Nicola Bryant (Peri Brown), Vivienne Acheampong (Siyanda), Rachel Atkins (Governor Crompton), Rosie Baker (Carolyn Sue), Timothy Blore (Sandis-Fernis), Stephen Critchlow (Jimmy Garfield), Amelia Donkor (Hoffman), Sarah Douglas (Myrna Kendal), Ryan Forde Iosco (Dr Karp), Raj Ghatak (The Complex), Eilidh Loan (Marconi), Deirdre Mullins (Amanda Latimer), George Naylor (Dodo), Javone Prince (Kaylin), Lucy Robinson (Christie), David Sibley (Dr Freud), Hugh Skinner (Lord Oliver Erpingham). Other parts played by members of the cast.

Eric leaves the funeral of his girlfriend, suspected of her murder, to commit suicide. Her ghost appears, telling him of demonic tribes fighting to seize control within the north-east of England. With his friends Taylor and Emma, he investigates these increasing and brutal attacks while the ghost of Grace visits Eric, imparting directions and clues. They confront and battle the unholy forces from Tynemouth to Gateshead and all around. Eric makes a pact with a group of demons in return for saving the soul of Grace. He is given unspeakable supernatural power as they see his use, though Eric soon struggles with the fury and dark hellfire within.The people from all around the north-east soon learn of many increasing murders, torturous killings and hideous deaths around them, and many take refuge in churches and temples. Taylor is distracted by a mysterious stranger, and Emma learns of a connection to events at Holy Island. With the friends separated while the bloody carnage mounts around the north-east, can the northern souls be saved?