The original essays in this collection chronicle the transformation of Arnold Schoenberg's works from music as pure art to music as a vehicle of religious and political ideas, during the first half of the twentieth century. This interdisciplinary volume includes contributions from musicologists, music theorists, and scholars of German literature and of Jewish studies.

Contents:
Editors' Introduction. Abstract Polyphonies: The Music of Schoenberg's Nietzschean Moment, William Benjamin. Arnold Schoenberg as Poet and Librettist: Dualism, Epiphany, and Die Jakobsleiter, David Schroeder. Androgyny and the Eternal Feminine in Schoenberg's Oratorio Die Jakobsleiter Jennifer Shaw. Von heute auf morgen: Schoenberg as Social Critic,Stephen Davison. Schoenberg in Shirtsleeves: The Male Choruses, Op. 35, Robert Falck. The Prophet and the Pitchman: Dramatic Structure and Its Musical Elucidation in Moses und Aron, Act I, Scene 2, Edward Latham. Schoenberg's Moses und Aron: A Vanishing Biblical Nation, Bluma Goldstein. Schoenberg Rewrites His Will: A Survivor from Warsaw, Op. 46,David Isadore Lieberman. Texts and Contexts of A Survivor from Warsaw, Op. 46, Camille Crittenden. Returning to a Homeland: Religion and Political Context in Schoenberg's Dreimal tausend Jahre, Naomi Andr. Schoenberg's Modern Psalm, Op.50c, and the Unattainable Ending, Mark Risinger

Enlightenment or Empire is a crucial contribution to our understanding of the culture of European colonialism. The book opens with a bold reconsideration of the relationship between the Enlightenment and colonialism, at the heart of which is an examination of two parallel texts-Captain James Cook's and Georg Foster's accounts of Cook's voyage of 1773. Berman then examines geography, religion, gender, and fiction in the writings of nineteenth-century travelers in Africa. He concludes with a discussion of the alternative anti-colonial traditions of Germany and France. Berman's book is a provocative contribution to current debates about the Enlightenment and its political legacy. In opposition to contemporary critics who argue that the Enlightenment is fully implicated in structures of domination, including colonialism, Berman argues for a more subtle, complex understanding of the political and cultural consequences of the Enlightenment. Russell A. Berman is a professor of German studies and comparative literature at Stanford University. He is the author of The Rise of the Modern German Novel: Crisis and Charisma; Modern Culture and Critical Theory: Art, Politics, and the Legacy of the Frankfurt School; and Cultural Studies of Modern Germany: History, Representation, and Nationhood.

First published in 1951, "The Holy Sinner" explores a subject that fascinated Thomas Mann to the end of his life--the origins of evil and evil's connection with magic. Here Mann uses a medieval legend about 'the exceeding mercy of God and the birth of the blessed Pope Gregory' as he used the Biblical account of Joseph as the basis for "Joseph and His Brothers"--illuminating with his ironic sensibility the notion of original sin and transcendence of evil.

A finely drawn portrayal of the disintegration of Austrian liberal society under the impact of nationalism and anti-semitism, "The Road into the Open" ("Der Weg ins Freie", 1908) is a remarkable novel by a major Austrian writer of the early twentieth century. Set in fin-de-siecle Austria - the cafes, salons, and musical concerts frequented by the Viennese elite - Schnitzler's perceptive exploration of the creative process and the private lives and public aspirations of urban Jewish intellectuals ranks with the highest achievements of Karl Kraus and Robert Musil. The novel's central character, Baron Georg von Wergenthin, is a handsome young composer whose troubled relations with women, musical collaborators, and representatives of the old social order make Schnitzler's book a revealing investigation of individual psychology and social allegory. In his comprehensive introduction, Russell Berman situates the book within the literary and political history of Central Europe and analyzes its relation to psychoanalysis, Marxism, musical aesthetics, and the legacy of European modernism.