Metaphors in Counselor Education and Supervision provides counselor educators and supervisors with creative applications of metaphors to help students and supervisees who struggle with abstract clinical concepts or foundational clinical skills. This teaching and supervision guide provides a variety of metaphors to clarify different areas of counselor education and supervision, including but not limited to case conceptualization, self-care, the counseling process, countertransference, suicide assessments, and advocacy. Each metaphor is accompanied by ethical and cultural considerations, group supervision modifications, and alternative uses to help emphasize diversity and ethics. This book will prepare supervisees and students with unique methods for teaching and understanding counseling concepts and skills and supply professional counselors with creative and different perspectives to use in practice.

Metaphors in Counselor Education and Supervision provides counselor educators and supervisors with creative applications of metaphors to help students and supervisees who struggle with abstract clinical concepts or foundational clinical skills. This teaching and supervision guide provides a variety of metaphors to clarify different areas of counselor education and supervision, including but not limited to case conceptualization, self-care, the counseling process, countertransference, suicide assessments, and advocacy. Each metaphor is accompanied by ethical and cultural considerations, group supervision modifications, and alternative uses to help emphasize diversity and ethics. This book will prepare supervisees and students with unique methods for teaching and understanding counseling concepts and skills and supply professional counselors with creative and different perspectives to use in practice.

A fascinating reassessment of a turning point in the First World War, revealing its role in shaping the German psyche On May 7, 1915, the Lusitania, a large British luxury liner, was sunk by a German submarine off the Irish coast. Nearly 1,200 people, including 128 American citizens, lost their lives. The sinking of a civilian passenger vessel without warning was a scandal of international scale and helped precipitate the United States' decision to enter the conflict. It also led to the immediate vilification of Germany. Though the ship's sinking has preoccupied historians and the general public for over a century, until now the German side of the story has been largely untold. Drawing on varied German sources, historian Willi Jasper provides a comprehensive reappraisal of the sinking and its aftermath that focuses on the German reaction and psyche. The attack on the Lusitania, he argues, was not simply an escalation of violence but signaled a new ideological, moral, and religious dimension in the struggle between German Kultur and Western civilization.

Richard Wagner has come to be seen as the quintessential artist of the nineteenth-century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, while his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche.

First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas.

Sviatoslav Richter was a dazzling performer but an intensely private man. Though world famous and revered by classical music lovers everywhere, he guarded himself and his thoughts as carefully as his talent. Fascinated, author and filmmaker Bruno Monsaingeon tried vainly for years to interview the enigmatic pianist. Richter eventually yielded, granting Monsaingeon hours of taped conversation, unlimited access to his diaries and notebooks, and, ultimately, his friendship. This book is the product of that friendship.

Richter reveals himself as a man and an artist. Unsentimentally and with his characteristic dry humor and intelligence, the musician describes his poignant childhood and spectacular career, including his tumultuous early days at the Moscow Conservatory and his triumphant 1960 tour of the United States. His laconic recounting of playing in the orchestra at Stalin's surreal, interminable state funeral is riveting. Most important for music lovers, Richter discusses his influences and views on musical interpretation. He describes his encounters with other great Russian performers and composers, including Prokoviev, Shostakovich, Oistrakh, and Gilels. Candid sections from his personal journals offer his sober and unguarded impressions of dozens of performances and recordings--both his own and those of other musicians.

This volume offers readers the sizable pleasure of lingering in the thoughts and words of one of the most important pianists of the twentieth century. Unlike many other star performers, Richter was also an intellectual who had interesting things to say, particularly about the musician's proper role as interpreter of the composer's art. This alone makes the book worth reading. Sviatoslav Richter belongs on the shelves of everyone with a classical music collection and will also appeal to lovers of autobiography and admirers of Russian musical culture.

This is the first literal, word-for-word translation of Wagner's epic masterwork with the full German text. Stewart Spencer's version is at once reliable and readable, adhering closely to the original verse form and to Wagner's poetic intentions. The German text is given in parallel, and Spencer also contributes illuminating footnote and an introductory essay. Other specially commissioned essays discuss the Cycle's musical structure, its philosophical implications, its medieval sources and Wagner's own changing attitude to its meaning. An appendix of Wagner's rejected versions, copious notes on the translation, a glossary of the names of characters in the Ring, an extensive bibliography and reviews of CD- and video-recordings conclude the volume.

An engrossing new biography of Franz Liszt, the musical revolutionary who became the world's first international megastar "Makes a significant contribution to our knowledge of Liszt as a man and superstar. Hilmes shines a light into the shadows behind a life lived in the spotlight."-Andrew Taylor, Times Hungarian composer Franz Liszt (1811-1886) was an anomaly. A virtuoso pianist and electrifying showman, he toured extensively throughout the European continent, bringing sold-out audiences to states of ecstasy while courting scandal with his frequent womanizing. Drawing on new, highly revealing documentary sources, including a veritable treasure trove of previously unexamined material on Liszt's Weimar years, best-selling author Oliver Hilmes shines a spotlight on the extraordinary life and career of this singularly dazzling musical phenomenon. Whereas previous biographies have focused primarily on the composer's musical contributions, Hilmes showcases Liszt the man in all his many shades and personal reinventions: child prodigy, Romantic eccentric, fervent Catholic, actor, lothario, celebrity, businessman, genius, and extravagant show-off. The author immerses the reader in the intrigues of the nineteenth-century European glitterati (including Liszt's powerful patrons, the monstrous Wagner clan) while exploring the true, complex face of the artist and the soul of his music. No other Liszt biography in English is as colorful, witty, and compulsively readable, or reveals as much about the true nature of this extraordinary, outrageous talent.

In the years spanning from 1800 to 1824, Ludwig van Beethoven completed nine symphonies, now considered among the greatest masterpieces of Western music. Yet despite the fact that this time period, located in the wake of the Enlightenment and at the peak of romanticism, was one of rich intellectual exploration and social change, the influence of such threads of thought on Beethoven's work has until now remained hidden beneath the surface of the notes. Beethoven's Symphonies presents a fresh look at the great composer's approach and the ideas that moved him, offering a lively account of the major themes unifying his radically diverse output. Martin Geck opens the book with an enthralling series of cultural, political, and musical motifs that run throughout the symphonies. A leading theme is Beethoven's intense intellectual and emotional engagement with the figure of Napoleon, an engagement that survived even Beethoven's disappointment with Napoleon's decision to be crowned emperor in 1804. Geck also delves into the unique ways in which Beethoven approached beginnings and finales in his symphonies, as well as his innovative use of particular instruments. He then turns to the individual symphonies, tracing elements a pitch, a chord, a musical theme that offer a new way of thinking about each work and will make even the most devoted fans of Beethoven admire the symphonies anew. Offering refreshingly inventive readings of the work of one of history's greatest composers, this book shapes a fascinating picture of the symphonies as a cohesive oeuvre and of Beethoven as a master symphonist.

That Wagner conceived of himself creatively as both man and woman is central to an understanding of his life and art. So argues Jean-Jacques Nattiez in this richly insightful work, where he draws from semiology, music criticism, and psychoanalysis to explore such topics as Wagner's theories of music drama, his anti-Semitism, and his psyche.

Wagner, who wrote the libretti for the operas he composed, maintained that art is the union of the feminine principle, music, and the masculine principle, poetry. In light of this androgynous model, Nattiez reinterprets the Wagnerian canon, especially the Ring of the Nibelung, which is shown to contain a metaphorical transposition of Wagner's conception of the history of music: Siegfried appears as the poet, Brunnhilde, as music, and their union is an androgynous one in which individual identity fades and the lovers revert to a preconflictual, presexual state.

Nattiez traces the androgynous symbol in Wagner's theoretical writings throughout his career. Looking to explain how this idea, so closely bound up with sexuality, took root in Wagner's mind, the author considers the possibility of Freudian and Jungian interpretations. In particular he explores the composer's relationship with his mother, a distant woman who discouraged his interest in the theater, and his stepfather, a loving man whom Wagner suspected was not only his real father but also a Jew. Along with psychoanalysis, Nattiez critically applies various structuralist and feminist theories to Wagner's creative enterprise to demonstrate how the nature of twentieth-century hermeneutics is itself androgynous.

Originally published in 1997.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

One of Germany's leading historians presents an ambitious and masterful account of the years encompassing the two world wars Characterized by global war, political revolution and national crises, the period between 1914 and 1945 was one of the most horrifying eras in the history of the West. A noted scholar of modern German history, Heinrich August Winkler examines how and why Germany so radically broke with the normative project of the West and unleashed devastation across the world. In this total history of the thirty years between the start of World War One and the dropping of atomic bombs on Hiroshima and Nagasaki, Winkler blends historical narrative with political analysis and encompasses military strategy, national identity, class conflict, economic development and cultural change. The book includes astutely observed chapters on the United States, Japan, Russia, Britain, and the other European powers, and Winkler's distinctly European perspective offers insights beyond the accounts written by his British and American counterparts. As Germany takes its place at the helm of a unified Europe, Winkler's fascinating account will be widely read and debated for years to come.

That Wagner conceived of himself creatively as both man and woman is central to an understanding of his life and art. So argues Jean-Jacques Nattiez in this richly insightful work, where he draws from semiology, music criticism, and psychoanalysis to explore such topics as Wagner's theories of music drama, his anti-Semitism, and his psyche. Wagner, who wrote the libretti for the operas he composed, maintained that art is the union of the feminine principle, music, and the masculine principle, poetry. In light of this androgynous model, Nattiez reinterprets the Wagnerian canon, especially the Ring of the Nibelung, which is shown to contain a metaphorical transposition of Wagner's conception of the history of music: Siegfried appears as the poet, Brunnhilde, as music, and their union is an androgynous one in which individual identity fades and the lovers revert to a preconflictual, presexual state. Nattiez traces the androgynous symbol in Wagner's theoretical writings throughout his career. Looking to explain how this idea, so closely bound up with sexuality, took root in Wagner's mind, the author considers the possibility of Freudian and Jungian interpretations. In particular he explores the composer's relationship with his mother, a distant woman who discouraged his interest in the theater, and his stepfather, a loving man whom Wagner suspected was not only his real father but also a Jew. Along with psychoanalysis, Nattiez critically applies various structuralist and feminist theories to Wagner's creative enterprise to demonstrate how the nature of twentieth-century hermeneutics is itself androgynous. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Despite the voluminous literature on Wagner's operas, little has been published that does justice to all the elements of their performance. This book, addressed to both specialists and the opera-going public, brings together a team of authorities from around the world to examine the performance history and reception of Wagner's works in Europe and America. Essays on conducting, singing, production, and stage design of Wagner's works explore the revolutionary nature of the composer's demands on his interpreters. The book raises profound aesthetic questions about the realization of opera on the stage: the authority of the composer vis-a-vis the director and the audience; the sanctity of the text, score and stage directions; and the role of art itself in society. These issues are discussed both theoretically and, referring to specific productions, in terms of their practical consequences. The volume also considers the explosion in popularity of Wagner's music dramas and their ability to assume new meanings - on stage and in recordings - for successive generations.It looks at the often vociferous debate over vocal and conducting styles, at the origins of Bayreuth, and at the impact of Wagner on the musical life of New York and Vienna. The book is certain to raise the level of discussion about opera production generally and to enhance our enjoyment of Wagner's works in the opera house. Barry Millington is author of the Vintage Master Musicans volume on Wagner. Stewart Spencer is editor of 'Wagner', the journal of the Wagner Society. Together they have edited the 'Selected Letters of Richard Wagner'.

An enthralling new biography of the woman behind Bayreuth In this meticulously researched book, Oliver Hilmes paints a fascinating and revealing picture of the extraordinary Cosima Wagner-illegitimate daughter of Franz Liszt, wife of the conductor Hans von Bulow, then mistress and subsequently wife of Richard Wagner. After Wagner's death in 1883 Cosima played a crucial role in the promulgation and politicization of his works, assuming control of the Bayreuth Festival and transforming it into a shrine to German nationalism. The High Priestess of the Wagnerian cult, Cosima lived on for almost fifty years, crafting the image of Richard Wagner through her organizational ability and ideological tenacity. The first book to make use of the available documentation at Bayreuth, this biography explores the achievements of this remarkable and obsessive woman while illuminating a still-hidden chapter of European cultural history.