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Evil Children in Religion, Literature and Art explores the genesis, development, and religious significance of a literary and iconographic motif, involving a gang of urchins, usually male, who mock or assault a holy or eccentric person, typically an adult. Originating in the biblical tale of Elisha's mockery ( Kings 2.23-24), this motif recurs in literature, hagiography, and art, from antiquity up to our own time, strikingly defying the conventional Judeo-Christian and Romantic image of the child as a symbol of innocence.
A Cruel Theatre of Self-Immolations investigates contemporary
protest self-burnings and their echoes across culture. The book
provides a conceptual frame for the phenomenon and an annotated,
comprehensive timeline of suicide protests by fire, supplemented
with notes on artworks inspired by or devoted to individual cases.
The core of the publication consists of six case studies of these
ultimate acts, augmented with analyses and interpretations hailing
from the visual arts, film, theatre, architecture, and literature.
By examining responses to these events within an interdisciplinary
frame, Ziolkowski highlights the phenomenon's global reach and
creates a broad, yet in-depth, exploration of the problems that
most often prompt these self-burnings, such as religious
discrimination and harassment, war and its horrors, the brutality
and indoctrination of authoritarian regimes and the apathy they
produce, as well as the exploitation of the so-called "subalterns"
and their exclusion from mainstream economic systems. Of interest
to scholars from an array of fields, from theatre and performance,
to visual art, to religion and politics, A Cruel Theatre of
Self-Immolations offers a unique look at voluntary, demonstrative,
and radical performances of shock and subversion.
This first volume of a two-volume Handbook treats a challenging,
largely neglected subject at the crossroads of several academic
fields: biblical studies, reception history of the Bible, and
folklore studies or folkloristics. The Handbook examines the
reception of the Bible in verbal folklores of different cultures
around the globe. This first volume, complete with a general
Introduction, focuses on biblically-derived characters, tales,
motifs, and other elements in Jewish (Mizrahi, Sephardi,
Ashkenazi), Romance (French, Romanian), German,
Nordic/Scandinavian, British, Irish, Slavic (East, West, South),
and Islamic folkloric traditions. The volume contributes to the
understanding of the Hebrew Bible/Old Testament, the New Testament,
and various pseudepigraphic and apocryphal scriptures, and to their
interpretation and elaboration by folk commentators of different
faiths. The book also illuminates the development, artistry, and
"migration" of folktales; opens new areas for investigation in the
reception history of the Bible; and offers insights into the
popular dimensions of Jewish, Christian, and Muslim communities
around the globe, especially regarding how the holy scriptures have
informed those communities' popular imaginations.
This book lists all the similes in the Bible in three different
versions (Greek, Latin and English), noting especially the
variation in the use of introductory words (protheses). There are
over 1000 examples, not counting the predicate and genitive
versions, a significant collection. The Introduction discusses the
parts and types of similes as well as other similar figures of
speech (e.g., analogies, comparisons and metaphors); examples are
provided of prothetic (prosthesis expressed: he runs like a
panther) and non-prothetic types (prothesis implied: he is [like] a
lion in savagery). The Conclusion points out various aspects of
Biblical usage, some differing from those in classical Greek
authors (Homer and Plato). The importance of similes in clarifying
difficult concepts while adding grace to the narrative accounts for
their popularity in philosophical and religious writers.
Illuminates unexplored dimensions of the music-literature
relationship and the sometimes unrecognized talents of certain
famous writers and composers. This book deals with three aspects
that have been neglected in the burgeoning field of music and
literature. The "First Movement" of the book considers writers from
German Romanticism to the present who, like Robert Schumann, first
saw themselves as writers before they turned to composition, or,
like E. T. A. Hoffmann and Anthony Burgess, sought careers in music
before becoming writers. It also considers the few operatic
composers, such as Richard Wagner and Arnold Schoenberg, who wrote
their own libretti. The "Second Movement" turns to literary works
based specifically on musical compositions. This group includes,
first and more generally, prose works whose author chose a
specificmusical form such as sonata or fugue as an organizational
model. And second, it includes novels based structurally or
thematically on specific compositions, such as Bach's Goldberg
Variations. The "Finale" concludes with aunique case: efforts by
modern composers to render musically the compositions described in
detail by Thomas Mann in his novel Doktor Faustus. This book, which
addresses itself to readers interested generally in music and
literature and is written in a reader-friendly style, draws
attention to unexplored dimensions of the music-literature
relationship and to the sometimes unrecognized talents of certain
writers and composers. Theodore Ziolkowski is Professor Emeritus of
German and Comparative Literature, Princeton University.
James Loeb (1867-1933), one of the great patrons and
philanthropists of his time, left many enduring legacies both to
America, where he was born and educated, and to his ancestral
Germany, where he spent the second half of his life. Organized in
celebration of the sesquicentenary of his birth, the James Loeb
Biennial Conferences were convened to commemorate his achievements
in four areas: the Loeb Classical Library (2017), collection and
connoisseurship (2019), psychology and medicine (2021), and music
(2023). The subject of the inaugural conference was the legacy for
which Loeb is best known and the only one to which he attached his
name-the Loeb Classical Library, and the three series it has
inspired: the I Tatti Renaissance Library, the Dumbarton Oaks
Medieval Library, and the Murty Classical Library of India.
Including discussions by the four General Editors of each Library's
unique history, mission, operations, and challenges, the papers
collected in The Loeb Classical Library and Its Progeny also take
stock of these series in light of more general themes and questions
bearing on translations of "classical" texts and their audiences in
a variety of societies past, present, and future.
The premise of Fallen Animals is that some how and in some way The
Fall of Adam and Eve as related in the Bible has affected all
living beings from the largest to the smallest, from the oldest to
the youngest, regardless of gender and geography. The movement from
the blissful arena of the Garden of Eden to the uncertain reality
of exile altered in an overt or nuanced fashion the attitudes,
perceptions, and consciousness of animals and humanity alike.
Interpretations of these reformulations as well as the original
story of the Paradise Garden have been told and retold for
millennia in a variety of cultural contexts, languages, societies,
and religious environments. Throughout all those retellings,
animals have been a constant presence positively and negatively,
actively and passively, from the creation of birds, fish, and
mammals to the agency of the serpent in the Fall narrative. The
serpent in the Garden of Eden is but one example of the ambivalence
which has characterized the human-animal relationship over the
centuries, both across, and within, cultures, societies and
traditions. The book examines the interpretations, functions and
interactions of the Fall - physical, moral, artistic and otherwise
- as represented through animals, or through human-animal
interactions.
Soviet Heroic Poetry in Context discusses key issues surrounding
the composition and recording of folklore as well as its often
intensely political aspect and its preoccupation with chimerical
cultural authority. These issues are dramatically displayed in
Soviet epic compositions of the 1930s and 1940s, the so-called
noviny ("new songs"), which took their formal inspiration largely
from traditional Russian epic songs, byliny ("songs of the past"),
and their narrative content from contemporary, political, and other
events in Stalinist Russia. The story of the noviny is at once
complex and comprehensible. While it may be tempting to interpret
the excrescences of Stalinism as unique aberrations, the reality
was often more complicated. The noviny were not simply the result
of political fiat, an episode in an ideological vacuum. Their
emergence occurred in part because of specific trends and
controversies that marked European folklore collection and
publication from at least the late eighteenth century on, as well
as developments in Russian folkloristics from the mid-nineteenth
century on that assumed exaggerated proportions. The demise of the
noviny was equally mediated by a host of political and theoretical
considerations. This study tells the story of the rise and fall of
the noviny in all its cultural richness and pathos, an instructive
tale of the interaction of aesthetics and ideology.
Soviet Heroic Poetry in Context discusses key issues surrounding
the composition and recording of folklore as well as its often
intensely political aspect and its preoccupation with chimerical
cultural authority. These issues are dramatically displayed in
Soviet epic compositions of the 1930s and 1940s, the so-called
noviny ("new songs"), which took their formal inspiration largely
from traditional Russian epic songs, byliny ("songs of the past"),
and their narrative content from contemporary, political, and other
events in Stalinist Russia. The story of the noviny is at once
complex and comprehensible. While it may be tempting to interpret
the excrescences of Stalinism as unique aberrations, the reality
was often more complicated. The noviny were not simply the result
of political fiat, an episode in an ideological vacuum. Their
emergence occurred in part because of specific trends and
controversies that marked European folklore collection and
publication from at least the late eighteenth century on, as well
as developments in Russian folkloristics from the mid-nineteenth
century on that assumed exaggerated proportions. The demise of the
noviny was equally mediated by a host of political and theoretical
considerations. This study tells the story of the rise and fall of
the noviny in all its cultural richness and pathos, an instructive
tale of the interaction of aesthetics and ideology.
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