The arts: general topics Books

Book SynopsisShows us how we can refine analytical tools we already possess to understand and enjoy unfamiliar paintings and sculptures. This book helps viewers feel comfortable around art and see aspects of it they could otherwise miss. It discusses how nontraditional works of art are made, and thus how to talk about their composition and formal elements.Trade Review"This book gives real pleasure and offers a genuine learning experience. Right from the beginning, the author engages the reader with the thought that something that seems so incomprehensible to so many (abstract art) can be understood in the same terms as something as concrete, unthreatening, and comprehensible as a pizza."--Raymond Erickson, editor of Schubert's Vienna "Nancy G. Heller is a godsend for the average Joe who wants to understand modern art... Heller's funny, accessible book is filled with terrific color pictures for us to look at and get an idea about our individual aesthetic preferences... There's no dour intellectual jargon and gobbleygook here, just plain talk for plain folks who dig art and want to know why."--Gino Vivinetto, St Petersburg Times "Heller organizes a large body of material coherently. She clearly explains concepts that might otherwise seem novel or complex. She allows space for the critics of the avant-garde... Taken as a whole, Heller's analysis is directed more to creating openness to avant-garde art than to an appreciation or understanding of it. She is not a proselytizer."--Gresham Riley, Philadelphia Inquirer "In this evocatively titled book, Heller simplifies the complexities of modern avant-garde art, making it palatable and accessible to an uninformed audience... [H]er argument will offer baffled museum and gallery visitors a way to appreciate otherwise difficult work."--Library Journal "Heller wants to persuade the bewildered that the emperor of contemporary art does in fact have clothes--confusing and abstract clothes, but clothes nonetheless. She realizes that people dislike contemporary art because it makes them feel stupid, so she shies away from the conceptual in favor of formal aspects that everyone can appreciate ... with jargon-free charm."--Alix Ohlin, The Wilson Quarterly "Heller realizes that a painting is not like a pizza. She also knows, however, that this and the other homely analogies that pepper her introduction to modern art are entirely appropriate for an audience of curious and suspicious neophytes venturing into difficult terrain... The emphasis on difficult and controversial works, which are compared to more traditional works, to each other, and to common things, introduces various ways of interpreting and evaluating art in the context of specific examples... [S]hort, pithy, and intelligent."--ChoiceTable of ContentsPREFACE 6 INTRODUCTION 9 1. EXACTLY WHAT IS "ABSTRACT" ACTS? 13 2. WHY IS A PAINTING LIKE A PIZZA? 21 3. MAKING AETHETIC DECISIONS IN ART AND IN DAILY LIFE 35 4. PAINTINGS THAT PEOPLE LOVE TO HATE 65 5. BENDING--AND BREAKING--THE RULES 83 6. NEW MATERIALS, NEW RULES 101 7. ART INVADES LIFE, AND VICE VERSA 115 8. THE EMOTIONAL IMPACT OF (SOME) ABSRTACT ART 133 9. COMMONSENSE ANSWERS TO SOME OF THE QUESTIONS MOST OFTEN ASKED ABOUT MODERN ART 149 NOTES 173 ACKNOWLEDGMENTS 182 SUGGESTIONS FOR FURTHER READING 184 INDEX 186

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Book SynopsisGustav Mahler's music has provoked extreme responses from the public and from experts. This volume examines the broader political, social, and literary changes reflected in Mahler's music. It examines the composer's Jewish identity, and considers contemporary theories of memory, and the theatricality of Mahler's art and fin-de-siecle politics.Trade Review"The best thing in the [Bard Music] festival could have been enjoyed in the cool quiet of one's study: Ms. Painter's book... The highlight is Mr. Botstein's own essay, a typically virtuosic riff on Theodor W. Adorno's book on Mahler... But the book's other essays--on performance in late-19th-century Central Europe as a political statement on Mahle"s Jewishness, on gender issues and Ms. Painter's own discussion of the mass public gestures in Mahler's big works (especially the 'Symphony of a Thousand) and their connection to socialist cultural policy--are all worth reading. As are the musical analyses and the period reviews."--John Rockwell, The New York Times' "[A] valuable addition to the Mahler library."--BBC Music MagazineTable of ContentsPreface and Acknowledgments xi PART I: CONTEXT AND IDEOLOGIES Whose Gustav Mahler? Reception, Interpretation, and History by LEON BOTSTEIN I Mahler's Theater: The Performative and the Political in Central Europe, 1890-1910 by CHARLES S. MAIER 55 Mahler's Jewish Parable by TALIA PECKER BERIO 87 A Soldier's Sweetheart's Mother's Tale? Mahler's Gendered Musical Discourse by PETER FRANKLIN 111 The Aesthetics of Mass Culture: Mahler's Eighth Symphony and Its Legacy by KAREN PAINTER 127 PART II: ANALYSIS AND AESTHETICS Musical Lyricism as Self-Exploration: Reflections on Mahler's "Ich bin der Welt abhanden gekommen" by CAMILLA BORK AND TRANSLATED BY IRENE ZEDLACHER 159 "... the heart-wrenching sound of farewell": Mahler, Riickert, and the Kindertotenlieder by PETER REVERS AND TRANSLATED BY IRENE ZEDLACHER 173 In Search of Lost Time: Memory and Mahler's Broken Pastoral by THOMAS PEATTIE 185 Aspects of Mahler's Late Style by STEPHEN E. HEFLING 199 PART III: MAHLER'S AMERICAN DEBUT: The Reception of the Fourth and Fifth Symphonies, 1904-1906 by EDITED BY ZOE LANG Introduction 227 Mahler's Fourth Symphony in New York 230 "Gustav Mahler-His Personality and His New Symphony" RICHARD ALDRICH "First Concert of Symphony Orchestra ... Mahler Heard" (New York Times) "What Did It All Mean?..." (The Musical Courier) The American Premiere of Mahler's Fifth Symphony 239 Program Notes, Cincinnati Symphony Orchestra EMMA L. ROEDTER Boston Symphony Orchestra 240 "Gustav Mahler: The Composer ... Boston First Hears ..." AUGUST SPANUTH Program Notes, Boston Symphony Orchestra PHILIP HALE "A Symphony by Mahler for the First Time" HENRY TAYLOR PARKER East Coast Tour 253 "Mahler's Fifth Symphony... " (Philadelphia Evening Bulletin) "A New Symphony by Gustav Mahler... " RICHARD ALDRICH "Fifth Symphony Played ... " (New York Times) "Variations" LEONARD LEIBLING PART IV: MAHLER'S GERMAN-LANGUAGE CRITICS EDITED AND TRANSLATED BY KAREN PAINTER AND BETTINA VARWIG Introduction 267 Mahler As Conductor 272 "Gustav Mahler and the Vienna Court Opera" ELSA BIENENFELD "Gustav Mahler as Organizer" EMIL GUTMANN "Mahler as Director" HERMANN BAHR The First Symphony 283 "A First Symphony" MAX GRAF "Theater & Art Reviews: Second Philharmonic Concert" EDUARD HANSLICK "Viennese Musical Letter" THEODOR HELM "Feuilleton: Philharmonic Concert" ROBERT HIRSCHFELD The Fifth Symphony 298 "Gustav Mahler's Symphony No. 5" ERNST OTTO NODNAGEL "Fourteenth Philharmonic Concert" MAX LOEWENGARD "Feuilleton: Gustav Mahler and His Symphony" MAX KALBECK "Feuilleton: Mahler's 'Fifth"' GUSTAV SCHONAICH The Seventh Symphony 316 "Mahler's 'Seventh Symphony"' FELIX ADLER "Gustav Mahler's 'Seventh"' RICHARD BATKA "Mahler's Seventh Symphony" ELSA BIENENFELD "Feuilleton: Mahler's Seventh Symphony" JULIUS KORNGOLD Das Lied von der Erde 332 "Feuilleton: Das Lied von der Erde" RICHARD SPECHT "Gustav Mahler: Las Lied von der Erde" RUDOLF LOUIS "Fourth Philharmonic Concert: Das Lied von der Erde" FERDINAND PFOHL Obituaries 344 "Gustav Mahler" ROBERT HIRSCHFELD "Gustav Mahler" PAUL BEKKER "Gustav Mahler" ADOLF WEISSMANN "Gustav Mahler" PAUL ZSCHORLICH The Mahler Amsterdam Festival, 1920 357 "The Mahler Festival in Amsterdam" OSKAR BIE "A Musician's journey to Holland" PAUL STEFAN "The Mahler Festival in Amsterdam" GUIDO ADLER "A Second Letter from Amsterdam" OSKAR BIE Notes on Contributors 391

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Book SynopsisJan Bremmer presents a provocative picture of the historical development of beliefs regarding the soul in ancient Greece. He argues that before Homer the Greeks distinguished between two types of soul, both identified with the individual: the free soul, which possessed no psychological attributes and was active only outside the body, as in dreams, swoons, and the afterlife; and the body soul, which endowed a person with life and consciousness. Gradually this concept of two kinds of souls was replaced by the idea of a single soul. In exploring Greek ideas of human souls as well as those of plants and animals, Bremmer illuminates an important stage in the genesis of the Greek mind.Trade Review"Since Erwin Rohde published Psyche in 1893, the theme of the soul and its relation to life before and after the death of the body has interested scholars of ancient Greek religion. Jan Bremmer's contribution to the discussion is likely to become definitive, for its conclusions as well as its procedures... For such a brief book it is unusually clear and comprehensive in its treatment and thorough in its examination of primary sources. It extracts Greek materials from the hands of specialists to situate them in the broad context of humanistic study."--Larry J. Alderink, Journal of the History of Religions

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Book SynopsisCelebrating the flowering of female portraiture, mainly in Florence, beginning in the latter half of the fifteenth century, this is an illustrated volume of paintings, sculpture, medals, and drawings. It includes the finest portraits of women by Filippo Lippi, Domenico Ghirlandaio, Antonio Pollaiuolo, Botticelli, Verrocchio, and Leonardo da Vinci.Trade Review"The catalogue essays give an excellent account of the motives behind the portraits ... the claiming of sexual and family territory, the presentation of the bride as property, and so on."--Robert Hughes, Time "[A] sumptuously illustrated catalogue."--Art Newspaper "The reassuringly glossy catalogue is modestly priced ... and, as an up-to-date work of reference, will easily outlive the exhibition."--Alison Wright, Burlington Magazine "[A] beautifully produced book ... [with] beautiful production values and breathtaking ... illustrations."--Victoria Keller, The Art Book "The book is useful for its emphasis on the social and cultural elements that determined the purpose and aesthetics of the portraits, and for bringing together such a superb collection of examples to aid in our understanding of how female portraiture developed during the Renaissance. The beautiful illustrations ... are a treat for the scholar and casual observer alike."--Lilian H. Zirpolo, Woman's Art JournalTable of ContentsLenders to the Exhibition 7 Forward by Earl A. Powell III 8 Acknowledgments by David Alan Brown 9 Introduction by David Alan Brown 11 Women in Renaissance Florence by Dale Kent 25 Poetic Ideals of Love and Beauty by Victoria Kirkham 49 Portrait of the Lady, 1430-1520 by Joanna Woods-Marsden 63 Costume in Fifteenth-Century Florentine Portraits of Women by Roberta Orsi Landini and Mary Westerman Bulgarella Catalog of the Exhibition 99 Index 231

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Book SynopsisOffers an illustrated compendium of the menagerie of imaginary animals that humans have conjured up over the ages. This book take us on a journey through five thousand years of art, examining the symbolic meanings of such creatures and what they say about the unconscious life of the human mind.Trade Review"This lovely presentation of dragons and other imaginary beasts found in art all over the world makes it clear that humans have an almost innate facility for creating a pretend nature... [A] beautiful book."--Toronto Globe and MailTable of ContentsIntroduction 7 CHAPTER ONE: Symbols, Dreams, Religions 17 CHAPTER TWO: Inventing a Bestiary 45 CHAPTER THREE: Unicorns and Human Hybrids 75 CHAPTER FOUR: Flying Quadrupeds and Dragons 113 CHAPTER FIVE: Influences or Coincidences? 143 CHAPTER SIX: The Fantastic Today 175 Conclusion 191 Bibliography 195 Acknowledgments 197 Index 198 Photograghy Credits 200

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Book SynopsisWhat is the role of the arts in American culture? Is art an essential element? If so, how should we support it? Today, as in the past, artists need the funding, approval, and friendship of patrons whether they are individuals, corporations, governments, or nonprofit foundations. But as Patronizing the Arts shows, these relationships can be problematic, leaving artists patronized--both supported with funds and personal interest, while being condescended to for vocations misperceived as play rather than serious work. In this provocative book, Marjorie Garber looks at the history of patronage, explains how patronage has elevated and damaged the arts in modern culture, and argues for the university as a serious patron of the arts. With clarity and wit, Garber supports rethinking prejudices that oppose art''s role in higher education, rejects assumptions of inequality between the sciences and humanities, and points to similarities between the making of fine art and the making of good science. She examines issues of artistic and monetary value, and transactions between high and popular culture. She even asks how college sports could provide a new way of thinking about arts funding. Using vivid anecdotes and telling details, Garber calls passionately for an increased attention to the arts, not just through government and private support, but as a core aspect of higher education. Compulsively readable, Patronizing the Arts challenges all who value the survival of artistic creation both in the present and future.Trade ReviewOne of Choice's Outstanding Academic Titles for 2009 "The title of Garber's erudite, incisive study contains the crux of her persuasive proposal: though financially supported by foundations, corporations and wealthy individuals, the arts are also deemed 'nonessential.'... Her stimulating analyses, both highly informed and refreshingly unpedantic, will be of great interest to the scholar and general reader who appreciates a salient cultural critique."--Publishers Weekly "Patronizing the Arts ... offers useful information graced with intermittent insight."--Jonathon Keats, Washington Post Book World "In this captivating book, Garber considers the alternative meanings of 'patronize' in reference to artistic endeavors and raises many interesting questions along the way. The central question regards the relationship between patron and artist that most effectively enhances the creative environment... Garber addresses these issues and more in a lively style that takes the reader from a consideration of government funding, to private philanthropy, to a reexamination of the nature of art and how it is created, powerfully arguing art's linkages with science. She finally advocates greater university support of artists, where visions can theoretically be realized in a setting of academic freedom and exploration."--Choice "Although replete with endnotes and intended for academics, Patronizing the Arts is no dry study. Garber peppers her work with literary passages, enlightening etymologies of key words, and derision. Garber is fighting an uphill battle in this book, advocating first for the arts' centrality to the research-driven university and second for their increased priority on university budgets already overwhelmed, especially as the current economic crisis deepens."--David Kaye, The Common ReviewTable of ContentsPreface xi Chapter 1: The Paradox of Patronage 1 Chapter 2: Governing Assumptions 42 Chapter 3: Minding the Business of Art 97 Chapter 4: Arts or Sciences 140 Chapter 5: The University as Patron 178 Notes 197 Index 221

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Book SynopsisSuitable for students of all mathematics and art levels, this title focuses on two mathematical areas: perspective related to drawing man-made forms and fractal geometry related to drawing natural forms. It encourages experimentation and collaboration, and captures the essence of artistic and mathematical creation and discovery.Trade Review"The book goes a long way trying to convey to its audience--through both theory and practice--professional techniques that could not fail but empower students to make accurate, sophisticated drawings. The book presents an elegant fusion of mathematical ideas and practical aspects of fine art."--Cut the Knot "[T]his is an excellent text that I will certainly consider using for a future class. The material on perspective is accessible, thorough and well-written, and the text is designed for a hands-on pedagogy that is well-suited to the intended audience. And as an elementary, but thorough, discussion of both the mathematics and practice of perspective drawing, it deserves a place in any collection of books on mathematics and the arts."--Blake Mellor, Journal of Mathematics and the Arts "The writing is extremely clear, the material is fresh, and the many excellent diagrams clarify the ideas under discussion. The authors use relevant artwork to illustrate the mathematical principles... The exercises are original and promote active learning... This is an excellent work for academic curricula and an outstanding resource for self-study in mathematical perspective, fractals, and the relationship between art and mathematics."--Choice "This is not a book to read passively and, indeed, you will want to read this book with a pencil in hand. The text is designed to be experienced first hand, sketching out examples whilst following the text, as well as doing the exercises at the end of each chapter that develop the material well... Prerequisites for this book are a minimum, effectively being an understanding of basic coordinate geometry. I would recommend this book to anyone who is interested in the interplay between mathematics and art."--George Matthews, Mathematics TodayTable of ContentsPreface vii Acknowledgments ix Chapter 1: Introduction to Perspective and Space Coordinates 1 Artist Vignette: Sherry Stone 9 Chapter 2: Perspective by the Numbers 13 Artist Vignette: Peter Galante 25 Chapter 3: Vanishing Points and Viewpoints 29 Artist Vignette: Jim Rose 39 Chapter 4: Rectangles in One-Point Perspective 43 What's My Line?: A Perspective Game 55 Chapter 5: Two-Point Perspective 59 Artist Vignette: Robert Bosch 77 Chapter 6: Three-Point Perspective and Beyond 85 Artist Vignette: Dick Termes 113 Chapter 7: Anamorphic Art 117 Viewpoints at the Movies: The Hitchcock Zoom 135 Plates follow page 138 Chapter 8: Introduction to Fractal Geometry 139 Artist Vignette: Teri Wagner 157 Chapter 9: Fractal Dimension 161 Artist Vignette: Kerry Mitchell 193 Answers to Selected Exercises 197 Appendix: Information for Instructors 215 Annotated References 223 Index 229

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Book SynopsisReveals the pivotal role of music - musical works and musical culture - in debates about society, self, and culture that forged European modernity through the 'long nineteenth century'. This book argues that from the late 1700s to the early 1900s, music not only reflected but also embodied modern subjectivity.Trade Review"[Steinberg's] analyses--music not as closed art form but as permeable cultural phenomenon--elicit some fruitful and unexpected results... [A] deeply rewarding book."--Peter Quinn, Times Literary Supplement "Michael P. Steinberg's subject is the vast change that came over music in the 19th century, from something couched in public terms--religious or ceremonial--to something that feels essentially private, even when it happens in public. It's a familiar idea, but what makes this book original is the way he complicates it with other historical currents."--Ivan Hewett, BBC Music Magazine "With Listening to Reason: Culture, Subjectivity, and NIneteenth-Century Music, Michael P. Steinberg offers a provocative, intermittently brilliant rooting of nineteenth-century music ... in contemporaneous cultural and intellectual history. Few major German composers of the era go unexamined, and few readers are likely to walk away from the book with their understanding of this repertoire, and the culture from and for which it speaks, unrevised."--Peter Mercer-Taylor, Notes "Listening to Reason is a work of high integrity; it has a great deal to teach. Indeed, it's a book of importance."--Richard Leppert, Beethoven Forum "Michael P. Steinberg has not only made a simultaneous contribution to the fields of cultural history and musicology, he has authoritatively illustrated the importance of their interaction, or the close connection between the questions, theoretical approaches, and methodologies with which they are mutually engaged... Steinberg has made a truly major contribution to our understanding of how musical meaning, values, and creativity in the Austro German sphere were intertwined with the ambient ideological and political tensions."--Jane F. Fulcher, Journal of Modern HistoryTable of ContentsList of Illustrations ix Preface xi INTRODUCTION 1 CHAPTER ONE Staging Subjectivity in the Mozart/Da Ponte Operas 18 Staging Subjectivity 18 Don Giovanni and the Scene of Patricide 23 Le nozze di Figaro and the Scene of Emancipation 39 Cosi'fan tutte and the Scene of Instruction 51 CHAPTER TWO Beethoven: Heroism and Abstraction 59 Heroism and Abstraction 59 Heroism and Anxiety 67 Fidelio 73 The Symphony No.9 84 CHAPTER THREE Canny and Uncanny Histories in Biedermeier Music 94 Biedermeier Music 94 Mendelssohn's Canny Histories 97 Schumann's Uncanny Histories 122 Back to Schubert 131 CHAPTER FOUR The Family Romances of Music Drama 133 The Family Romances of Music Drama 133 Siegmund's Death 142 Subjectivity and Identity 153 CHAPTER FIVE The Voice of the People at the Moment of the Nation 163 People and Nations 163 Brahms, 1868 174 Verdi, 1874 178 Dvorak,1890 186 CHAPTER SIX Minor Modernisms 193 Music Trauma, or, Is There Life after Wagner? 193 Three Fins de Siecle 202 The Road into the Open 220 CHAPTER SEVEN The Musical Unconscious 226 Index 237

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Book SynopsisIn his roles as keyboard virtuoso, conductor, and master teacher, Franz Liszt reinvented the concert experience, advanced an agenda for symphonic and dramatic music, and transmitted the foundations of modern pianism. Placing emphasis on historical contexts, this book aims to advance our understanding of the composer with fresh perspectives.Trade Review"The book is eminently successful, not least because of Leon Botstein's magisterial concluding essay, which is perhaps the best summary of the composer's cultural legacy to have appeared in English... Apparently Liszt, of all 19th-century composers, is served particularly well by the collection format--perhaps due to the remarkable range of his activities."--Choice "This valuable compendium of essays...seeks to explain Liszt's extravagant and sweeping musical presence in Europe within a broader historical context...A compassionately put together tome, its modestly-priced 587 pages are more than deserving of a place in the Liszt fan's bookcase."--Mark Tanner, Classical Music Magazine "This volume is by far the most invigorating and useful anthology of Liszt studies in print."--David Trippett, MLA NotesTable of Contents*FrontMatter, pg. i*Contents, pg. vii*Acknowledgments, pg. xi*Permissions and Credits, pg. xiii*Preface, pg. xv*Liszt, Italy, and the Republic of the Imagination, pg. 3*Heine, Liszt, and the Song of the Future, pg. 39*The Battle Against Instrumental Virtuosity in the Early Nineteenth Century, pg. 75*Prophet and Populace in Liszt's "Beethoven" Cantatas, pg. 113*"Just Two Words. Enormous Success" Liszt's 1838 Vienna Concerts, pg. 167*Liszt, Wagner, and Unfolding Form: Orpheus and the Genesis of Tristan und Isolde, pg. 231*Publishing Paraphrases and Creating Collectors, pg. 255*Liszt on the Artist in Society, pg. 291*The First Biography: Joseph d'Ortigue on Franz Liszt at Age Twenty-Three, pg. 303*Ludwig Rellstab's. Biographical Sketch of Liszt, pg. 335*From the Biographer's Workshop: Lina Ramann's Questionnaires to Liszt, pg. 361*Fetis's Review of the Transcendental Etudes, pg. 427*Heinrich Heine on Liszt, pg. 441*"Even His Critics Must Concede": Press Accounts of Liszt at the Bonn Beethoven Festival, pg. 467*Defending Liszt: Felix Draeseke on the Symphonic Poems, pg. 485*A Mirror to the Nineteenth Century, pg. 517*Index, pg. 569*Notes on the Contributors, pg. 583

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Book SynopsisPontius Pilate is one of the Bible's best-known villains - but up until the tenth century, artistic imagery appears to have consistently portrayed him as a benevolent Christian and holy symbol of baptism. This book looks at the shifting visual and textual representations of Pilate throughout early Christian and medieval art.Trade Review"I have to admit to being delighted by this latest offering from the director of the Index of Christian Art at Princeton. The path along which Colum Hourihane leads us is copiously illustrated ... and accompanied by scrupulously detailed notes."--Christopher Colven, Art Newspaper "The book ... is splendidly produced and illustrated."--Choice "Pontius Pilate, Anti-Semitism, and the Passion in Medieval Art is likely to stimulate discussion ... for some time to come, so broad is its reach and bounteous its sources. It is a significant accomplishment to begin to bring order to this enormous mass of material; that Hourihane has also produced such a wide-ranging and beautifully illustrated volume is cause for considerable gratitude."--Sarah Lipton, Medieval Review "There is much here to interest the art historian, the medievalist, the church historian, the researcher in the history of anti-Semitism, and the student of the development and transmission of myths and legends."--Sarah Lawson, Art Book "Hourihane has given an admirable, thorough and balanced account of the representation of this enigmatic man, and his book is beautifully produced."--Paul Binski, Journal of Ecclesiastical History "[T]his book is a multifaceted treatment of the iconography of Pontius Pilate and provides a useful compilation of textual and visual representations of his role in the Passion."--Vivian B. Mann, Speculuma Journal of Medieval StudiesTable of ContentsAcknowledgments xi Introduction 1 Chapter 1: T he Historical Background and the Role of the Prefect 6 Chapter 2: Primary Sources for the Study of Pilate 13 Philo of Alexandria 13 Josephus 16 The Bible 22 The Talmud and Midrash 23 Apocryphal Material 25 Chapter 3: E arly Christian Writings and Archaeological Evidence 38 Literary Evidence 38 Archaeological Evidence 40 Chapter 4: P ilate as a Sy mbol of the Law 44 Chapter 5: P ilate in Early Christian Art and Thought 52 The Washing of the Hands 68 Pilate and the Waters of Baptism 72 Pilate, the Christian 80 Conclusions 82 Chapter 6: P ilate and the Passion Sequence: The Sixth to the Eleventh Century 84 Ivories 86 Frescoes 93 Manuscripts 94 The Psalms and Pilate 104 Sculpture 111 Pilate's Wife 126 Chapter 7: T he Jewish Beginnings: Characterization in the Eleventh Century 143 Pilate as a Jew 146 The Praetorium 153 Chapter 8: T he Legal Perspective: The Tw elfth Century 171 Pilate: The Jew and Disputational Literature 181 Identifying Separation 190 Extending His Involvement 199 Pilate and the Titulus 201 Joseph of Arimathea before Pilate 204 Pilate Asked to Guard the Sepulcher 208 Barabbas Released 21 The Legends 214 Strong or Weak and Guilt 215 Ecce Homo 220 Chapter 9: P ilate in the Expansion of the Passion: The Thirteenth Century 227 Extending the Repertoire 238 Bible moralisee 245 The Trials 255 The Interrogation before Annas 259 The Trial before Caiaphas 263 The Trial before Herod Antipas 271 The Flagellation 272 Pilate and the Fate of the Jews 289 The Revisionist Image 293\ Chapter 10: T he Established Image in the Fourteenth and Fifteenth Centuries 296 Popularization 307 Manuscripts, Books, and Prints 308 Pilate and Judas 324 Panel Paintings 328 Pilate as an Instrument of the Passion 346 An Aged Man 349 Pilate and the Symbol of the Dog 357 Pilate's Textual and Visual Characterization 363 Conclusions 371 Appendix A: Images of Pilate in Early Christian and Late Antique Art 375 Appendix B: The Holy Resurrection 383 Notes 391 Index 451 Photography Credits 463 Contents YU ix

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Book SynopsisRichard Wagner (1813-1883) aimed to be more than just a composer. He set out to redefine opera as a total work of art combining the highest aspirations of drama, poetry, the symphony, the visual arts, even religion and philosophy. Equally celebrated and vilified in his own time, Wagner continues to provoke debate today regarding his political legacy as well as his music and aesthetic theories. Wagner and His World examines his works in their intellectual and cultural contexts. Seven original essays investigate such topics as music drama in light of rituals of naming in the composer''s works and the politics of genre; the role of leitmotif in Wagner''s reception; the urge for extinction in Tristan und Isolde as psychology and symbol; Wagner as his own stage director; his conflicted relationship with pianist-composer Franz Liszt; the anti-French satire Eine Kapitulation in the context of the Franco-Prussian War; and responses of Jewish writers and musTrade Review"Offers much stimulating material, presented in kaleidoscopic fashion, that should be required reading for anyone desiring a more profound insight."--Della Couling, Classical Music Magazine "Grey once again has ferreted out themes and original material on the composer which have not been over-exposed in English translation."--Mike Ashman, GramophoneTable of ContentsPreface and Acknowledgments ix Permissions xv PART I: ESSAYS From Page to Stage: Wagner as Regisseur 3 KATHERINE SYER Wagner and Liszt: Elective Affinities 27 KENNETH HAMILTON From Opera to Music Drama: Nominal Loss, Titular Gain 65 LYDIA GOEHR Eine Kapitulation: Aristophanic Operetta as Cultural Warfare 87 in 1870 THOMAS S. GREY A Note on Tristan's Death Wish 123 KAROL BERGER Guides for Wagnerites: Leitmotifs and Wagnerian Listening 133 CHRISTIAN THORAU German Jews and Wagner 151 LEON BOTSTEIN PART II: BIOGRAPHICAL CONTEXTS Wilhelmine Schroder-Devrient and Wagner's Dresden 201 CLAIRE VON GLUMER, HENRY CHORLEY TRANSLATED, INTRODUCED, AND ANNOTATED BY THOMAS S. GREY Catulle Mendes Visits Tribschen 230 CATULLE MENDES TRANSLATED, INTRODUCED, AND ANNOTATED BY THOMAS S. GREY Recollections of Villa Wahnfried from Wagner's American Dentist 237 NEWELL SILL JENKINS INTRODUCED AND ANNOTATED BY THOMAS S. GREY PART III: TOWARD A MUSIC OF THE FUTURE, 1840-1860 The Overture to Tannhauser 251 FRANZ LISZT INTRODUCED, EDITED, AND ANNOTATED BY DAVID TRIPPETT TRANSLATED BY JOHN SULLIVAN DWIGHT Letters to a Young Composer About Wagner 269 JOHANN CHRISTIAN LOBE INTRODUCED, EDITED, AND TRANSLATED BY DAVID TRIPPETT Franz Brendel's Reconciliation Address 311 FRANZ BRENDEL INTRODUCED AND ANNOTATED BY JAMES DEAVILLE TRANSLATED BY JAMES DEAVILLE AND MARY A. CICORA PART IV: WAGNER AND PARIS Wagner Admires Meyerbeer (Les Huguenots) 335 RICHARD WAGNER TRANSLATED, INTRODUCED, AND ANNOTATED BY THOMAS S. GREY Debacle at the Paris Opera: 347 Tannhauser and the French Critics, 1861 OSCAR COMETTANT, PAUL SCUDO TRANSLATED BY THOMAS S. GREY INTRODUCED BY ANNEGRET FAUSER ANNOTATED BY ANNEGRET FAUSER AND THOMAS S. GREY The Revue wagnerienne: Symbolism, Aestheticism, 372 and Germanophilia J. K. HUYSMANS, TEODOR DE WYZEWA, EDOUARD DUJARDIN INTRODUCED BY STEVEN HUEBNER SELECTIONS TRANSLATED BY BRENDAN KING AND CHARLOTTE MANDELL PART V: THE BAYREUTH ERA Press Releases from the Bayreuth Festival, 1876: 391 An Early Attempt at Spin Control J. ZIMMERMANN INTRODUCED, TRANSLATED, AND ANNOTATED BY NICHOLAS VAZSONYI Hanslick contra Wagner: 409 "The Ring Cycle Comes to Vienna" and "Parsifal Literature" EDUARD HANSLICK TRANSLATED, INTRODUCED, AND ANNOTATED BY THOMAS S. GREY Hans von Wolzogen's Parsifal (1887) 426 HANS VON WOLZOGEN TRANSLATED, INTRODUCED, AND EDITED BY MARY A. CICORA Cosima Wagner's Bayreuth 435 RICHARD POHL, ARTHUR SEIDL, EUGEN GURA, ARNOLD SCHERING, HEINRICH CHEVALLEY TRANSLATED BY MARY A. CICORA INTRODUCED AND ANNOTATED BY DAVID BRECKBILL PART VI: THE COMPLETE PROGRAM NOTES OF RICHARD WAGNER Wagner Introduces Wagner (and Beethoven): 479 Program Notes Written for Concert Performances by and of Richard Wagner, 1846-1880 RICHARD WAGNER TRANSLATED, ANNOTATED, AND INTRODUCED BY THOMAS S. GREY Beethoven's Ninth Symphony Beethoven's Eroica Symphony Beethoven's Coriolan Overture Overture to Tannhauser Overture to Der fliegende Hollander Prelude to Lohengrin Tannhauser Lohengrin L. van Beethoven, String Quartet in C-sharp Minor, op. 131 Tristan und Isolde: Prelude to Act 1 Tristan und Isolde: Prelude to Act 1 and Conclusion ("Transfiguration") Die Meistersinger von Nurnberg: Preludes to Acts 1 and 3 Gotterdammerung Die Walkure Parsifal: Prelude to Act 1 Index 523 Notes on the Contributors 539

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Book SynopsisThe National Gallery of Art houses one of the most important collections of French old master paintings outside France. This book catalogues nearly one hundred paintings of the collection, from works by Francois Clouet in the sixteenth century to paintings by Elisabeth Louise Vigee Le Brun in the eighteenth.Trade Review"Each entry is preceded by an admirable biography of the artist and a useful technical note (on the state of conservation of the painting and its successive restorations), its provenance, exhibitions, then the entry itself, notes to the text and main bibliographic references. The photographic reproductions are excellent."--Pierre Rosenberg, Burlington Magazine

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Book SynopsisExamines an array of forgotten images and movie episodes - from a photo of Jimmy Stewart and Olivia de Havilland lying on a picnic blanket in Santa Barbara hills to scenes from films as "Twelve O'Clock High" and "Hold Back the Dawn". This book reveals background of these bits of film and discovers unexpected connections between war and Hollywood.Trade ReviewOne of Choice's Outstanding Academic Titles for 2013 "Beginning with Alfred Eisenstaedt's famous image of a sailor kissing a nurse in Times Square at the end of the Second World War, the art historian Alexander Nemerov's Wartime Kiss examines photos and film stills from the war period and later in the nineteen-forties. Many of the images collected here are lesser-known or obscure, and the more recognizable ones he interprets in surprising ways... By providing the stories behind these images, he examines the ties between war and Hollywood, romance and violence, and provides a glimpse into a particular moment in American history."--New Yorker, Page-Turner blog "As art historian Nemerov reminds us in this exceptional set of reflections on photography and history, photographs bring a lost moment and person directly into our view, so that what was and what is coalesce in eerie combination... Nemerov's radiant meditations cast a penetrating glance into the moments captured in the photos and the larger stories they reflect."--Publishers Weekly "Alexander Nemerov is preoccupied with photographic or cinematic images that trigger 'a piercing, wounding sensation without explanation,' or as Roland Barthes' put it, a punctum... In Wartime Kiss, his speculative study of American movie scenes and photojournalism of World War II, Nemerov 'tries to imagine a different way of writing history' that addresses and tries to illuminate the renegade aspects of the moment that seem to lurk within or just beyond the images... The many pleasures of Wartime Kiss hinge on Nemerov's assemblage of anecdote and related fact."--Ron Slate, On the Seawall "This stunning book defies easy categorization... [A] personal meditation on why we love art and the movies and the enduring power of popular culture to transcend its own moment in time... Nemerov does the world, or at least avid film fans, a great service... Indeed, the book flows in time like a beautifully made movie... Reading Wartime Kiss is something akin to flying."--Farisa Khalid, PopMatters "In this engagingly written, even poetic book, Nemerov views selected images from films and photographs of the 1940s... Through the experience of reading this extraordinary historical meditation, students will learn how they can engage, and engage others, in pursuing a personal and social understanding of history."--Choice "Wartime Kiss is a fascinating introduction to the underlying symbolism, planned and unplanned, of the war. It encourages the reader to look with fresh eyes at old movies and photo stills hidden in private albums or stuffed away in drawers."--Stephen Williams, H-Net ReviewsTable of ContentsIntroduction 1 One Kissing in August 1945 - Belita Jepson-Turner 5 Two Sleeping Beauty - Olivia de Havilland 23 Three When the World Smiled - Margaret Bourke-White 61 Four Sentimental Mysticism - Stovall at Archbury 97 Five Hold Back the Dawn - Olivia de Havilland 127 Acknowledgments 147 Bibliographic Notes 149 Index 169

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Book SynopsisAntiquities need to be protected from looting but also from nationalistic identity politics. This title calls for measures to broaden rather than restrict international access to antiquities. It explains how partage broadened access to our ancient heritage and helped create national museums in Cairo, Baghdad, and Kabul.Trade Review"A condemnation of cultural property laws that restrict the international trade in antiquities, the book doubles as a celebration of the world's great border-crossing encyclopedic museums."--Jori Finkel, New York Times "Who Owns Antiquity? is an impassioned argument for what Cuno calls the 'cosmopolitan aspirations' of encyclopedic museums. By this he means not only collecting and showing art from every place and era, but also, and more crucially, the promotion of an essential kind of cultural pluralism... Whatever one makes of Cuno's thesis, it brings into focus some urgent questions--for museums and for archaeology--that have yet to be given much attention."--Hugh Eakin, New York Review of Books "Who Owns Antiquity? by Art Institute of Chicago director James Cuno deals with one of the most sensitive questions in today's art world: Should antiquities be returned to their country of origin? [T]his book provides a lot of worthwhile background."--Wall Street Journal "It would be a mistake to see this deeply felt and carefully reasoned argument as self-serving. The crux of his argument is that modern nation-states have at best a tenuous connection with the ancient cultures in question, and their interests are political rather than scientific...Cuno advocates instead a universal, humanistic approach to the world's shared cultural treasures...Cuno's pleas for a more expansive approach to cultural artifacts must be taken seriously."--Publishers Weekly "[A]n illuminating...book."--Edward Rothstein, New York Times "The author's message is that stewardship, not ownership, is what matters. Trade in antiquities should be dictated not by politics, but by the demands of conservation, knowledge, and access. The argument presented here is thought-provoking. Cuno may be over-optimistic. But you can't help feeling that he is right."--Financial Times "Cuno worries that 'encyclopedic' museums such as the Art Institute and the Louvre, which contain antiquities from around the planet, are endangered by nations that, simply put, want their stuff back -- and don't want any more stuff to leave their borders. In Who Owns Antiquity? Cuno answers his own question this way: All of us do."--Andrew Herrmann, Chicago Sun Times "Chronicles [Cuno's] views about the antiquity trade--a global community enmeshed in a war of ideas. Collectors, museum directors, archeologists, dealers and even nations are in dispute. The battle line is drawn between those who believe that national policies should prevent the looting of archeology sites and those--including a very outspoken Cuno--who think that such policies don't prevent plundering and should be changed to ensure artifacts are globally shared."--Madeline Nusser, Time Out Chicago "I can't remember a book on museums that has generated quite so much publicity and critical comment as this one."--Artknows "Cuno implicitly poses the question: 'Whose nation is it anyway?' ... His is a cogent and powerful argument that he expresses with personal conviction."--Robin Simon, New Statesman "James Cuno, director of the Art institute in Chicago, has written a clear, well-argued...book about the vexed question of how great museums like his should collect ancient objects."--Art Newspaper "Impressive in its grasp of historical and political issues, ranging across anthropology, archaeology, and law, Cuno's book evinces careful thought about the implications of antiquities trafficking across many eras."--American Scholar "[F]ascinating, and extremely helpful in providing a lucid account of changing attitudes to cultural property since the Second World War... Many of his arguments are persuasive."--Literary Review "Who Owns Antiquity? by James Cuno explores the impact of new restrictions being placed on the acquisition of antiquities and how these will affect future museums."--Art and Antiques "[Cuno] argues convincingly that current cultural property laws are too retentionist... It's difficult to disagree with the idea that people benefit when antiquities of other countries can be seen in museums around the world. And the virtues of partage also seem clear. As Cuno points out, the collections at the great museums of the world could not have been put together under our current system of cultural property laws, and the millions of people who have marveled at these collections would be poorer for not having seen them."--Mary Katherine Ascik, The Weekly Standard "Cuno sets his stage for a discussion of an ongoing legalistic international battle dealing with archaeological objects by introducing the case of the Elgin marbles. What superficially may seem a simple matter of 'ethnic nationalism' is described as considerably more complex, dealing with such matters as 'cultural property,' the notion of nation-states, and 'partage'--the sharing of archaeological finds (the author's suggested solution to disputes)... All readers interested in current interaction among museums, academics, collectors, politicians, and so forth will be well informed here."--K. Marantz, Choice "James Cuno's passionate, finely reasoned new book, Who Owns Antiquity? ... is a fresh salvo in the ongoing battle between museums that collect antiquities and modern states that claim to be the legal heirs of ancient societies and cultures... Cuno mobilizes a wealth of anecdotes and examples to support [his] position."--Benjamin Genocchio, Art in America "The book is cogently argued and extremely well documented. The 'select bibliography' is ten pages. It explores in great depth all of the recent turmoil regarding the legal ownership of antiquities... No one involved in the acquisition of antiquities can ill afford to pass this book by as it sets the stage and defines the complexities involved in this heated battle that is sure to rage on for years to come."--Jerome M. Eisenberg, Ph.D., Minerva "Whether or not you agree with Cuno's arguments, I believe this book is an important addition to the discussion on museum collections."--Richard Gerrard, Muse "Cuno raises key issues that need to be addressed."--David W. J. Gill, American Journal of Archaelogy "Art Institute of Chicago director James Cuno's book Who Owns Antiquity?, published May 2008, offers a spirited, cogent defense of encyclopedic museums' right to collect such treasures. The book has provoked equally spirited controversy."--Tom Mullaney, Chicago Artists' News "Overall, Cuno's analysis presents a range of themes, particularly the role of the encyclopedic museum in contemporary society, that will resonate with the museum community and students of museum studies. Nationalistic agendas are set within a compelling theoretical argument that should be read by those engaged in writing as well as following museum and archaeological policies, provided that the reader understands that Cuno's emphasis is on objects and access to them rather than on the more pressing issue of the preservation of archaeological sites and cultural landscapes for a cosmopolitan world community."--Christina Luke, American Anthropologist "Cuno defends the museum side of the issue, and he is well suited to make the case."--Matthew J. Milliner, First Things "Written with vim and verve; copiously and thoughtfully annotated. It is not necessary to agree with everything said, but there is much room for thought."--James Hargrave, Ancient West & EastTable of ContentsPreface ix Afterword x Introduction: The Crux of the Matter 1 CHAPTER ONE: Political Matters 21 CHAPTER TWO: More Political Matters 44 CHAPTER THREE: The Turkish Question 67 CHAPTER FOUR: The Chinese Question 88 CHAPTER FIVE: Identity Matters 121 Epilogue 146 Notes 163 Select Bibliography 207 Index 217

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Book SynopsisBetween the fifteenth and nineteenth centuries, the connections among Africa, the Americas, and Europe transformed world history--through maritime exploration, commercial engagements, human migrations and settlements, political realignments and upheavals, cultural exchanges, and more. This book, the first encyclopedic reference work on Atlantic hisTrade ReviewOne of Choice's Outstanding Academic Titles for 2015 "The authors' analytical, historiographical approaches reveal multidisciplinary themes and trends from regional perspectives ... Highly recommended."--Choice "Designed for scholars and advanced students, this encyclopedic is the first on Atlantic history, a historical perspective for understanding the interactions of people, events, and natural phenomena of the Atlantic Ocean region from the mid-15th century through the mid-19th century."--Choice "Predominantly historical, interlaced with anthropology and economics, this is a very useful book that one will be able to dip into in those odd moments and come out much better informed."--Stewart Rayment, Liberator "The other Princeton books I have reviewed recently have been superbly made and this volume is no exception... For the right audience, those who have a sufficient grounding in the subject, it will earn its keep."--John George Kendall, Reference Reviews "The Princeton Companion to Atlantic History is a helpful guide to the rich scholarship that has emerged in the field of Atlantic history and reflects the field's diversity and variety. The volume makes abundantly clear that Atlantic world historians and scholars are not simply rehashing old-style 'colonial' histories in repackaged form. There is a lot of exciting and intellectually stimulating work being done as the field continues to evolve."--Abigail L. Swingen, Journal of Southern HistoryTable of ContentsPreface vii Alphabetical List of Entries xiii Topical List of Entries xv Contributors xix Maps xxvi Part One 1 Prologue, Joseph C. Miller 3 The Sixteenth Century, Joseph C. Miller 13 The Seventeenth Century, Karen Ordahl Kupperman 26 The Eighteenth Century, Vincent Brown 36 The Nineteenth Century, Laurent Dubois 46 Part Two 55 Alphabetical Entries 57 Index 503

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Book SynopsisDespite the growth of digital media, traditional FM radio airplay still remains the essential way for musicians to achieve commercial success. This book examines how songs rise, or fail to rise, up the radio airplay charts. It shows that hits spread rapidly across radio because they clearly conform to an identifiable style or genre.Trade Review"There is a lot to recommend about this book. Rossman excels at balancing methodological details to satisfy the academic reader and intuitive explanations of techniques and results for the nonacademic reader. The book also takes on theories from various areas, and the author does not play favorites. It's clear he has a genuine interest in identifying the true mechanisms, which he distills in his writing."--Brandy Aven, ASA Economic Sociology Newsletter "Gabriel Rossman not only breathes life into the perhaps stale world of Top 40 but also offers messages of importance for diffusion research. Students of the mass media and industry dynamics, as well as those interested in diffusion models and mechanisms, will find much food for thought in Climbing the Charts."--David Strang, Administrative Science Quarterly "[B]rilliant."--Megan McArdle, Bloomberg View "Rossman's book is an outstanding example of a new, hybrid genre. It draws promiscuously on a range of methods to build a rich empirical understanding of a particular cultural object and industry... If this book is radio's swan song, it's a good one."--Jacob G. Foster, American Journal of Sociology "Climbing the Charts represents an important contribution to the sociological study of diffusion and music. In the end, we know much more about how innovations diffuse and Rossman updates our understanding of gatekeeping in the music industry."--Alexandre Frenette, SociologicaTable of ContentsList of Figures vii Acknowledgments ix 1 Introduction 1 1.1 The Diffusion of Innovation 2 1.2 The Production of Culture 6 1.3 Organization of the Book 8 2 How Songs Spread 11 2.1 Record Release Dates 12 2.2 Corporate Radio 15 3 Buying Your Way onto the Chart 22 3.1 A History of Payola Scandals 24 3.1.1 The 1950s Scandal and the Rise of Rock and Roll 25 3.1.2 The 1973 Drugola Scandal 27 3.1.3 The Gambino Family and "The Network" in the 1980s 28 3.1.4 Corporate Radio, Professionalized Payola, and the 2005 Spitzer Investigation 30 3.2 Suppressing Payola 35 3.2.1 The Robust Logic of Payola 39 4 Can Radio Stations Break Singles? 44 4.1 The Role of "Opinion Leaders" in Diffusion 45 4.2 The Distribution of Connection in Radio 48 4.3 Diffusion of Pop Songs and Radio Stations 51 4.4 The Role of Influentials for Endogenous Diffusion 53 5 The Dixie Chicks Radio Boycott 59 5.1 Corporate Censorship 60 5.2 Social Movements 63 5.3 Genre 67 6 But Which Chart Do You Climb? 71 6.1 Trends in the Differentiation of Radio Formats 72 6.2 Classification and Art 75 6.3 Crossover 77 6.4 New Genres and Formats 80 6.4.1 Reggaeton Comes to the Mainland 81 6.4.2 The Development of the "Hurban" Format as an Artistic and Market Niche 83 7 The Future of the Chart 91 7.1 General Lessons of the Book for Diffusion of Innovations 95 7.1.1 Particular Lessons for Diffusion in Pop Music Radio 98 7.2 Centralization and Distribution of Decision-making 100 7.3 The Struggle to Control Publicity 108 7.4 Structures of Salient Information 112 7.5 Genre 116 7.6 The Emerging Structure of Popular Culture Industries in the Twenty-first Century 119 Appendix A Datasets 123 Appendix B Robustness to Assumptions about Volume of Airplay Constituting an "Add" 127 Notes 133 Bibliography 155 Index 167 FIGURES 1.1 The Two Ideal Diffusion Curves 3 1.2 The Hirsch Gatekeeping Model 6 2.1 Diffusion Curve for "Umbrella" by Rihanna on Top 40 Stations 12 2.2 Diffusion Curves for Singles on the Rihanna Album Good Girl Gone Bad on Top 40 Stations 13 2.3 Hazards for Singles on the Rihanna Album Good Girl Gone Bad on Top 40 Stations 14 2.4 Illustration of the Corporate "Single Playlist" Hypothesis 17 2.5 Diffusion Curves for "Umbrella" by Rihanna for Top 40 Stations Owned by Various Chains 18 2.6 Distribution of Song Adoption Time Clustering by Corporate Owner 20 3.1 Stories on "Payola" and "Radio" in the New York Times 25 3.2 Exogenous Diffusion Coefficient by Quarter 37 4.1 Distribution of Nominations for Top 40 Stations 49 4.2 Social Network of Top 40 Stations 50 4.3 Typical Adoption Time as a Function of Nominations for Top 40 Stations 52 4.4 Diffusion Curves for Singles on the Black Eyed Peas Album Monkey Business on Top 40 Stations 54 4.5 Top 40 Stations in Social Network Space with Filled Dots for Those Having Played "My Humps" 57 5.1 Daily Spins of Dixie Chicks Songs on Country Stations 60 5.2 Daily Spins of Dixie Chicks Songs on Country Stations by Chain 62 5.3 Daily Spins of Dixie Chicks Songs on Country Stations by 2000 Presidential Vote 66 5.4 Daily Spins of Dixie Chicks Songs by Station Format 69 6.1 Diffusion Curve for "Love Song" by Sara Bareilles in AAA, Hot AC, Mainstream AC, and Top 40 Radio 78 6.2 Diffusion Curve for "Oye Mi Canto" by N.O.R.E., Nina Sky, and Daddy Yankee 82 6.3 Growth in Reggaeton Airplay (with Bootstrapped Confidence Intervals), 2004-2005 84 6.4 Trade Advertisement for the Si TV Cable Channel 87 6.5 Diffusion Curve for "Rompe" by Daddy Yankee on Latin and Hip-Hop Radio 89 B.1 Diffusion Curves for Singles on the Rihanna Album Good Girl Gone Bad on Top 40 Stations with Varying Definitions of an "Add" 128 B.2 Top 40 Stations in Social Network Space with Filled Dots for Those Playing "My Humps" at Least Five Times in the Stated Week 129

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Book SynopsisAs an artist, Edgar Degas (1834-1917) defies easy description. Including essays on Degas' life and work, his sculptural technique and materials, and the story of the sculptures after his death, this title features art-historical and technical discussions of various works in the collection of National Gallery of Art, Washington.Trade Review"Edgar Degas Sculpture is the sumptuously illustrated, richly documented catalogue of the important collection of Degas sculpture in the National Gallery of Art, Washington, D.C... [A] penetrating, eye-opening presentation of Degas' work in this other medium, which too often is relegated to the sideline of his work as a painter."--Choice

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Book SynopsisTaking an approach to medieval art, this title reveals the importance of movement in the physical, emotional, and intellectual experience of art and architecture in the Middle Ages. It offers a collection of interdisciplinary essays that explores a range of rituals, performances, works of art, and texts in which movement is crucial to meaning.Trade Review"Brilliantly produced and abundantly illustrated... [This book is] invested in art's material, corporeal, spatial, and specifically kinetic dimensions."--David S. Areford, Oxford Art Journal

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Book SynopsisPerhaps no twentieth-century composer has provoked a varied reaction among the music-loving public than Jean Sibelius (1865-1957). This book focuses on the position occupied by Sibelius in the Western musical tradition.Trade Review"The connection between Sibelius and the Russian tradition--an influence that went in both directions--is the subject of an excellent essay by Philip Ross Bullock in the book accompanying the festival, Jean Sibelius and His World, from Princeton University Press."--Zachary Woolfe, New York Times "As this collection shows, there is a resurgence of interest in the music of Jean Sibelius... [T]he book is full of useful information."--Choice "Jean Sibelius and His World ends with English translations of a number of important primary documents... Perhaps the most important document is Theodor Adorno's critique 'Goss on Sibelius.' I have read about these documents in many Sibelius essays, here and elsewhere, so we owe a debt of gratitude to Daniel Grimley for making them available in translation. This book represents the high level of current Sibelius scholarship and should be a welcome addition to academic music libraries."--Carl Rafikonen, Notes "[T]his is a fine collection of essays that advances Sibelius research significantly. It bears the title Sibelius and his World, but it also does an excellent job of alerting the reader to Sibelius's relevance to our world."--Derek B. Scott, Music and LettersTable of ContentsAcknowledgments and Permissions vii Sibelius, Finland, and the Idea of Landscape ix PART I: ESSAYS Sibelius and the Russian Traditions by PHILIP ROSS BULLOCK 3 From Heaven's Floor to the Composer's Desk: Sibelius's Musical Manuscripts and Compositional Process by TIMO VIRTANEN 58 Theatrical Sibelius: The Melodramatic Lizard by JEFFREY KALLBERG 74 The Wings of a Butterfly: Sibelius and the Problems of Musical Modernity by TOMI MAKELA 89 "Thor's Hammer": Sibelius and British Music Critics, 1905-1957 by BYRON ADAMS 125 Jean Sibelius and His American Connections by GLENDA DAWN GOSS 158 Art and the Ideology of Nature: Sibelius, Hamsun, Adorno by MAX PADDISON 173 Storms, Symphonies, Silence: Sibelius's Tempest Music 186 and the Invention of Late Style by DANIEL M. GRIMLEY 186 Waving from the Periphery: Sibelius, Aalto, and the Finnish Pavilions SARAH MENIN 227 Old Masters: Jean Sibelius and Richard Strauss in the Twentieth Century by LEON BOTSTEIN PART II: DOCUMENTS 256 Selections from Adolf Paul's A Book About a Human Being 307 TRANSLATED BY ANNIKA LINDSKOG INTRODUCED BY DANIEL M. GRIMLEY Some Viewpoints Concerning Folk Music and Its Influence on the Musical Arts by JEAN SIBELIUS 315 TRANSLATED FROM THE SWEDISH BY MARGARETA MARTIN INTRODUCED BY DANIEL M. GRIMLEY Selection from Erik Furuhjelm's Jean Sibelius: A Survey of His Life and Music 326 TRANSLATED BY MARGARETA MARTIN INTRODUCED BY DANIEL M. GRIMLEY Adorno on Sibelius 331 TRANSLATED BY SUSAN H. GILLESPIE INTRODUCED BY DANIEL M. GRIMLEY Monumentalizing Sibelius: Eila Hiltunen and the Sibelius Memorial Controversy 338 INTRODUCED AND TRANSLATED BY DANIEL M. GRIMLEY Index 355 Notes on the Contributors 368

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Book SynopsisOffers a contribution to the study of the arts of East Asia. This book features the essays that address a range of subjects, building bridges in many directions, from early jades and bronzes through traditional painting and prints, to photography, cinema, and modern museum practice.Trade Review"This festschrift, gargantuan in size and scope, features 39 essays by international authorities that treat East Asian art from pit dwellings in 5000 BCE to 21st century films."--Choice

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Book SynopsisTrade Review"A Choice Outstanding Academic Title of the Year""This is a must-read for art historians, museum curators and those who are studying to enter these fields, as a buyer or a viewer might ask about it after this read (because the subject is particularly communicative)." * Pennsylvania Literary Journal *"Bedell shows how subtly and certainly sentimentalism pervades the work of nineteenth-century American artists. She shows that sentimentalism, by pulling on heartstrings, by creating sympathetic ties, was a force that artists used to their own ends as they went about their work of making appealing art. "---Karen Zukowski, Nineteenth Century

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Book SynopsisFocusing on the art of Henri Fantin-Latour (1836-1904) and his colleagues Gustave Courbet, Edgar Degas, Edouard Manet, Frederic Bazille, and Pierre-Auguste Renoir, this book argues for the importance of the group as a defining subject of nineteenth-century French painting.Trade Review"[S]cholarly, exact, and closely argued."--Julian Barnes, London Review of Books "[Fellow Men] is a most meticulous and wide-ranging study."--Choice "Bridget Alsdorf has written a fluent, carefully considered book... Staying admirably close to the paintings and the preparatory drawings for each, Alsdorf exposes many of the contradictions that linger around Fantin-Latour's oeuvre, often signaling these in crisply aphoristic terms."--Anne Leonard, Nineteenth-Century French Studies "It is the great virtue of Alsdorf's study that she is able to penetrate the mysterious solemnity of such a work, and to demonstrate how Fantin's group portraits, for all their apparent dignity and restraint, are riven by conflicts that help to sharpen an understanding of artistic identity and bourgeois masculinity in the formative decades of cultural modernity."--Neil F. McWilliam, caa.reviews "[The book is] an invaluable addition to the literature not only on Fantin-Latour but on the subject of group portraiture. Perhaps the most effective service it performs for Fantin's group portraits is to force us to look at them anew and see them in all their complexity, awkwardness and discomfort, to tease out the many contradictions at their heart."--Rachel Sloan, Burlington MagazineTable of ContentsAcknowledgments ix Introduction 1 Chapter 1 The Self in Group Portraiture 19 * In Homage 21 *Moi et Delacroix 39 * Manet: "One in a thousand, or alone" 56 * Degas: Relational Portraiture 61 Chapter 2 A Crisis of Pride 68 * Mutual Admiration Society 70 * Courbet's Studio 74 * To Truth! 79 * Mirror, Mirror 82 Chapter 3 Studio of the Self 105 * Solitary Confinement 111 * Velazquez's Mirror 131 * Bazille's Studio 144 * Secret Societies 149 Chapter 4 Deviance and Disappearance 156 *Les Vilains Bonshommes 160 * Courbet / Fantin / Pelletan 178 * In Absentia 189 * Manet's Crowd 193 * Rimbaud the Bourgeois 198 Chapter 5 The Irregularists 203 * Renoir's Society 206 * An Impressionist's Studio 215 * Degas, Odd Man In 217 Conclusion 228 Notes 243 Selected Bibliography 309 Index 323

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Book SynopsisPresents a study of an important genre of Ming-dynasty Chinese painting in which landscapes are actually disguised portraits that celebrate an individual and his achievements, ambitions, and tastes in an open effort to win recognition, support, and social status.Trade Review"A detailed and insightful essay on a type of occasional painting popular in later China... In addition to its erudition, this book is a most enjoyable read."--Patricia Eichenbaum Karetzky, Bulletin of the School of Oriental and African StudiesTable of ContentsForeword 7 Preface and Acknowledgments 9 List of Illustrations 11 Chapter One 15 Early Commemorative Landscape in the Song Dynasty Chapter Two 41 Conspicuous Seclusion Chapter Three 79 What's in a Name? The Biehao Painting Notes 111 Selected Bibliography 117 Glossary of Chinese Names and Terms 125 Index 131

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Book SynopsisCatalogs more than four hundred decorative objects in the Robert Lehman Collection at The Metropolitan Museum of Art, including painted enamels, snuffboxes, porcelain, pottery, ceramics, jewelry, furniture, cast metal, and textiles from throughout Europe and Asia, with the majority dating from the late seventh century to the twentieth century.Trade Review"This is a handsome and authoritative volume."--Choice

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Book SynopsisHistory of music theory, there has been only a small handful of figures who have produced work of comparable stature. This book is of almost fifty pieces gathers, corrects, and annotates virtually everything of significance that author has written.Trade Review"A car won't run unless it's engineered correctly, and the same applies to a piece of music. And Babbit always insists that the whole point of structure in music is that it can be heard: you may have to listen at full stretch, but it will be worth it. Rather like this book--difficult stuff, but intellectually rigorous and undeniably honest."--Martin Cotton, BBC Music Magazine "It's the book's role as an encapsulation of Babbitt's formalistic way of thinking about music which matters, and this is rendered suitably ambiguous by an intriguing disparity in the types of essay included. These veer between the extremes of the coolly technical and the warmly biographical (and autobiographical). We might not get Babbitt's views on what compositions represent in terms of emotion or feeling, but there is plenty of vivid characterization when it comes to people and places."--Arnold Whittall, Musical Times "Milton Babbitt's musical world is not a simple one... That's also true of Babbitt's written output... But it's witty too, as you'd expect from the composer of such titles as Joy Of Sextets."--Andy Hamilton, The Wire "Milton Babbitt, at eighty-nine, has been handsomely, if belatedly, served by this collection of forty-three essays testifying to his seminal presence in musical history... Overall the enterprise is a fine assemblage of scattered writings which will surprise even aficionados by its range."--Jonathan Harvey, Times Literary SupplementTable of ContentsAcknowledgments vii Preface ix The String Quartets of Bartok (1949) 1 Review of Leibowitz, Schoenberg et son ecole (1950) 10 Review of Le Systeme Dodecaphonique (1950) 16 Review of Salzer, Structural Hearing (1952) 22 Tintinnabulation of the Crochets (Review of Halsey Stevens, The Life and Music of Bartok) (1953) 31 Musical America's Several Generations (1954) 34 Some Aspects of Twelve-Tone Composition (1955) 38 The Composer as Specialist (1958) 48 Twelve-Tone Invariants as Compositional Determinants (1960) 55 The Revolution in Sound: Electronic Music (1960) 70 Past and Present Concepts of the Nature and Limits of Music (1961) 78 Set Structure as a Compositional Determinant (1961) 86 Twelve-Tone Rhythmic Structure and the Electronic Medium (1962) 109 Reply to George Perle's "Babbitt, Lewin, and Schoenberg: A Critique" (1963) 141 Remarks on the Recent Stravinsky (1964) 147 The Synthesis, Perception, and Specification of Musical Time (1964) 172 An Introduction to the R.C.A. Synthesizer (1964) 178 The Structure and Function of Musical Theory (1965) 191 The Uses of Computers in Musicological Research (1965) 202 Edgard Varese: A Few Observations of His Music (1966) 213 Three Essays on Schoenberg (1968) 222 On Relata I (1970) 237 Contribution to "The Composer in Academia: Reflections on a Theme of Stravinsky" (1970) 259 Memorial for Matyas Seiber (1970) 263 Stravinsky Memorial (1971) 264 Contemporary Musical Composition and Musical Theory as Contemporary Intellectual History (1972) 270 Memorial for Stefan Wolpe (1972) 308 Since Schoenberg (1974) 310 Celebrative Speech for the Schoenberg Centennial (1976) 335 Responses: A First Approximation (1976) 341 Introduction to Marion Bauer, Twentieth Century Music (1978) 367 Foreword to David Epstein, Beyond Orpheus (1979) 371 Memorial for Ben Weber (1979) 377 Memorial for Robert Miller (1981) 380 The More than the Sounds of Music (1984) 383 I Remember Roger (1985) 388 "All the Things They Are": Comments on Kern (1985) 395 Memorial for Hans Keller (1986) 399 Stravinsky's Verticals and Schoenberg's Diagonal: A Twist of Fate (1987) 404 On Having Been and Still Being an American Composer (1989) 428 A Life of Learning (1991) 437 Brave New Worlds (1994) 459 My Vienna Triangle (1999) 466 Index 489

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Book SynopsisAnalyzes the changing trends in how composers acquired their skills and earned their living, examining such impacts as demographic developments and modes of transportation. This book offers insight into the diversity of composers' economic aspirations, the strategies through which they pursued success, and the emergence of copyright protection.Trade Review"Scherer has broken new ground with his exciting interdisciplinary approach and use of massive quantitative and qualitative data--the scale of this achievement cannot be overstated."--Siobhan McAndrew, Business History "This new book by F.M. Scherer explores aspects of the music business in Western Europe during the eighteenth and early nineteenth centuries, and asks the question of how classical composers there made the transition from feudal to capitalist society... Scherer brings a much-needed sense of maturity and respectability to the study of music and commerce... Scherer's work on the economics of music publishing is especially informative... Anyone interested in the rise of market practices in Europe will enjoy [this book], especially if they like casual music."--James P. Kraft, Enterprise & SocietyTable of ContentsList of Figures and Tables vii Foreword ix Chapter One Introduction 1 Chapter Two The Political, Social, and Economic Milieu 14 Chapter Three Music Composition as a Profession 53 Chapter Four Composers' Backgrounds, Aspirations, and Economic Rewards 79 Chapter Five The Geography of Composer Supply and Demand 117 Chapter Six Changes in Transportation and Composers' Mobility 142 Chapter Seven The Economics of Music Publishing 155 Chapter Eight Conclusion 197 Appendix to Chapter One A Currency Conversion Matrix 203 Appendix to Chapter Four Consumption Outlays of Robert and Clara Schumann, 1841 210 Notes 215 References 249 Index 259

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Book SynopsisCamille Saint-Sans - perhaps the foremost French musical figure of the late nineteenth century and a composer who wrote in every musical genre, from opera and the symphony to film music - is now being rediscovered after a century of modernism overshadowed his importance. This book deconstructs the multiple realities behind the man and his music.Trade Review"This study of a versatile, tasteful and often endearing composer, and a serious, playful and sometimes prickly man, may be thoroughly recommended."--Classical Music Magazine "This compilation of masterful scholarship is likely to become a preeminent source for information on Saint-Saens."--Choice "Jann Pasler's edited collection thus offers a significant contribution to Saint-Saens studies, and to the field of nineteenth- and early twentieth century French music as a whole."--Helen Abbott, French Studies "[T]his book represents [quite an] achievement. Saint-Saens is revealed and yet remains intensely private: the book speaks volumes on the composer's life, views, working methods, and cultural and social status."--Clair Rowden, H-France ReviewTable of ContentsAcknowledgments and Permissions viii Introduction: Deconstructing Saint-Saens xi PART I SAINT-SAENS THE PERSON Camille Saint-Saens in (Semi-)Private 2 MITCHELL MORRIS Saint-Saens, The Playful 8 PAUL VIARDOT Inspired by the Skies? Saint-Saens, Amateur Astronomer 12 LEO HOUZIAUX Changes on the Moon, Optical Illusions, The Stars 17 CAMILLE SAINT-SAENS Business and Politics, with Humor: Saint-Saens and Auguste Durand 26 JANN PASLER Rivals and Friends: Saint-Saens, Massenet, and Thais 33 JEAN-CHRISTOPHE BRANGER Massenet-Saint-Saens Correspondence 40 CAMILLE SAINT-SAENS, JULES AND LOUISE MASSENET Saint-Saens and Lecocq: An Unwavering Friendship 48 YVES GERARD PART II SAINT-SAENS THE MUSICIAN Saint-Saens and the Performer's Prestige 56 DANA GOOLEY Le Ma'itre and the "Strange Woman," Marie Jaell: Two Virtuoso-Composers in Resonance 85 FLORENCE LAUNAY AND JANN PASLER Saint-Saens's Improvisations on the Organ (1862) 102 WILLIAM PETERSON Providing Direction for French Music: Saint-Saens and the Societe Nationale 109 MICHAEL STRASSER Saint-Saens as President of the Societe des Compositeurs (1887-1891) 118 LAURE SCHNAPPER Saint-Saens at the Societe des Concerts du Conservatoire de Paris (1903-1904) 125 D. KERN HOLOMAN PART III SAINT-SAENS THE GLOBETROTTER Saint-Saens: The Traveling Musician 134 STEPHANE LETEURE Saint-Saens in Germany 142 MICHAEL STEGEMANN Saint-Saens in England: His Organ Symphony 161 SABINA TELLER RATNER Analytical and Historical Programme for His New Symphony in C Minor and Major 167 CAMILLE SAINT-SAENS Saint-Saens, "Algerian by Adoption" 173 JANN PASLER Friendship and Music in Indochina 184 JANN PASLER Saint-Saens in New York 191 CAROLYN GUZSKI Saint-Saens and Latin America 201 CAROL A. HESS PART IV SAINT-SAENS, AESTHETICS PAST AND PRESENT What's in a Song? Saint-Saens's Melodies 210 ANNEGRET FAUSER Saint-Saens and the Ancient World: From Africa to Greece 232 JANN PASLER Saint-Saens, Writer 260 MAIRE-GABRIELLE SORET Saint-Saens and Rameau's Keyboard Music 266 KATHARINE ELLIS Preface, Rameau's Pieces de Clavecin (Durand, 1895) 271 CAMILLE SAINT-SAENS Lyres and Citharas of Antiquity 275 MARIE-GABRIELLE SORET Ancient Lyres and Citharas 280 CAMILLE SAINT-SAENS Saint-Saens and d'Indy in Dialogue 287 JANN PASLER PART V SAINT-SAENS IN THE 20TH CENTURY Saint-Saens's Advocacy of Music Education in Elementary School 304 JANN PASLER Report of M. Saint-Saens 309 CAMILLE SAINT-SAENS Saint-Saens and the Future of Music 312 BYRON ADAMS AND JANN PASLER Musical Evolution 318 CAMILLE SAINT-SAENS The Fox in the Henhouse, or Saint-Saens at the SMI 324 MICHEL DUCHESNEAU Saint-Saens, Ravel, and Their Piano Concertos: Sounding Out a Legacy 334 MICHAEL J. PURI Saint-Saens and Silent Film / Sound Film and Saint-Saens 357 MARTIN MARKS Beyond the Conceits of the Avant-Garde: Saint-Saens, Romain Rolland, and the Musical Culture of the Nineteenth Century 370 LEON BOTSTEIN Index 405 Notes on the Contributors 419

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Book SynopsisCamille Saint-Sans - perhaps the foremost French musical figure of the late nineteenth century and a composer who wrote in every musical genre, from opera and the symphony to film music - is now being rediscovered after a century of modernism overshadowed his importance. This book deconstructs the multiple realities behind the man and his music.Trade Review"This study of a versatile, tasteful and often endearing composer, and a serious, playful and sometimes prickly man, may be thoroughly recommended."--Classical Music Magazine "This compilation of masterful scholarship is likely to become a preeminent source for information on Saint-Saens."--Choice "Jann Pasler's edited collection thus offers a significant contribution to Saint-Saens studies, and to the field of nineteenth- and early twentieth century French music as a whole."--Helen Abbott, French Studies "[T]his book represents [quite an] achievement. Saint-Saens is revealed and yet remains intensely private: the book speaks volumes on the composer's life, views, working methods, and cultural and social status."--Clair Rowden, H-France ReviewTable of ContentsAcknowledgments and Permissions viii Introduction: Deconstructing Saint-Saens xi PART I SAINT-SAENS THE PERSON Camille Saint-Saens in (Semi-)Private 2 MITCHELL MORRIS Saint-Saens, The Playful 8 PAUL VIARDOT Inspired by the Skies? Saint-Saens, Amateur Astronomer 12 LEO HOUZIAUX Changes on the Moon, Optical Illusions, The Stars 17 CAMILLE SAINT-SAENS Business and Politics, with Humor: Saint-Saens and Auguste Durand 26 JANN PASLER Rivals and Friends: Saint-Saens, Massenet, and Thais 33 JEAN-CHRISTOPHE BRANGER Massenet-Saint-Saens Correspondence 40 CAMILLE SAINT-SAENS, JULES AND LOUISE MASSENET Saint-Saens and Lecocq: An Unwavering Friendship 48 YVES GERARD PART II SAINT-SAENS THE MUSICIAN Saint-Saens and the Performer's Prestige 56 DANA GOOLEY Le Ma'itre and the "Strange Woman," Marie Jaell: Two Virtuoso-Composers in Resonance 85 FLORENCE LAUNAY AND JANN PASLER Saint-Saens's Improvisations on the Organ (1862) 102 WILLIAM PETERSON Providing Direction for French Music: Saint-Saens and the Societe Nationale 109 MICHAEL STRASSER Saint-Saens as President of the Societe des Compositeurs (1887-1891) 118 LAURE SCHNAPPER Saint-Saens at the Societe des Concerts du Conservatoire de Paris (1903-1904) 125 D. KERN HOLOMAN PART III SAINT-SAENS THE GLOBETROTTER Saint-Saens: The Traveling Musician 134 STEPHANE LETEURE Saint-Saens in Germany 142 MICHAEL STEGEMANN Saint-Saens in England: His Organ Symphony 161 SABINA TELLER RATNER Analytical and Historical Programme for His New Symphony in C Minor and Major 167 CAMILLE SAINT-SAENS Saint-Saens, "Algerian by Adoption" 173 JANN PASLER Friendship and Music in Indochina 184 JANN PASLER Saint-Saens in New York 191 CAROLYN GUZSKI Saint-Saens and Latin America 201 CAROL A. HESS PART IV SAINT-SAENS, AESTHETICS PAST AND PRESENT What's in a Song? Saint-Saens's Melodies 210 ANNEGRET FAUSER Saint-Saens and the Ancient World: From Africa to Greece 232 JANN PASLER Saint-Saens, Writer 260 MAIRE-GABRIELLE SORET Saint-Saens and Rameau's Keyboard Music 266 KATHARINE ELLIS Preface, Rameau's Pieces de Clavecin (Durand, 1895) 271 CAMILLE SAINT-SAENS Lyres and Citharas of Antiquity 275 MARIE-GABRIELLE SORET Ancient Lyres and Citharas 280 CAMILLE SAINT-SAENS Saint-Saens and d'Indy in Dialogue 287 JANN PASLER PART V SAINT-SAENS IN THE 20TH CENTURY Saint-Saens's Advocacy of Music Education in Elementary School 304 JANN PASLER Report of M. Saint-Saens 309 CAMILLE SAINT-SAENS Saint-Saens and the Future of Music 312 BYRON ADAMS AND JANN PASLER Musical Evolution 318 CAMILLE SAINT-SAENS The Fox in the Henhouse, or Saint-Saens at the SMI 324 MICHEL DUCHESNEAU Saint-Saens, Ravel, and Their Piano Concertos: Sounding Out a Legacy 334 MICHAEL J. PURI Saint-Saens and Silent Film / Sound Film and Saint-Saens 357 MARTIN MARKS Beyond the Conceits of the Avant-Garde: Saint-Saens, Romain Rolland, and the Musical Culture of the Nineteenth Century 370 LEON BOTSTEIN Index 405 Notes on the Contributors 419

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Book SynopsisThe author presents an in-depth look at how democratic values have widened the American arts scene, even as it remains elite and cosmopolitan.Trade Review"A critical guide for new directions in the sociology of the arts."---Amanda Koontz, Contemporary Sociology"Entitled tackles a fascinating new dimension, exploring how the definition of art in the United States has broadened over time while remaining unmistakably elite. . . . [A] powerful theory of artistic legitimation that brings us to a much deeper understanding of art in the United States."---Raquel Jimenez, Contexts Magazine"Entitled [is] an authoritative, eye-opening, and astonishingly detailed look at the power struggle over the boundaries of art, as conducted over approximately the last two centuries of American cultural life."---C. Thi Nguyen, Journal of Aesthetics and Art Criticism"The book is full of startling nuggets."---Josephine Livingstone, Times Literary Supplement"[Entitled] traces the almost 200-year-old story of how the objects and performances that educated Americans today consider art came to be 'sacralized' as art. Weaving together historical research with theoretical insights from the sociology of culture, Entitled narrates the transformation in American elite tastes from quasi-European highbrow snobs to omnivorous cosmopolitans"---Sergio Cabrera, Social Forces

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Book SynopsisTrade Review"This wide-ranging and informative book offers a valuable guide to the nature of aesthetic experience that is rooted in, yet extends beyond, the literature and art of the nineteenth century. A book preoccupied with distance, it manages to cover a great deal of territory."---Alison Byerly, Review 19"That even ordinary readers oscillate between immersion in a fictional world and awareness of their place outside it is an attractive notion. . . . Plotz’s book demonstrates the rich and varied aesthetic effects which artists have discovered within this twilight zone, and how we might similarly use it in our reading approaches."---Milan Terlunen, Oxonian Review"The book marvelously captures the feeling of being in the world. Plotz compellingly and artfully shows why reading feels so integral to living."---Jonathan Farina, Victorian Review"In this lively and thought-provoking account, Plotz invites us to become more aware of our own positions as readers, and reveals the intellectual rewards for doing so."---Jonathan Buckmaster, Dickens Quarterly"Semi-Detached is a challenging and highly rewarding account, which illuminates a central but – until now – underexplored aspect of aesthetic experience."---Karin Koehler, Modern Language Review

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Book SynopsisBrings together an international roster of scholars to explore fresh perspectives on the life and music of Igor Stravinsky. Situating Stravinsky in intellectual and musical contexts, this title includes essays that focuses on one of the important composers of the twentieth century.Trade Review"Framed by Jonathan Cross's stylish response to the theme 'Stravinsky in exile', and Leon Botstein's thoughts on the rewards of considering the composer alongside fellow Russian exile Vladimir Nabokov, the book seeks new angles on Stravinsky and Russia in the years after 1912, and on the role of Russians ... during Stravinsky's time in France... [L]evitz herself can be unsparing in drawing a detailed, warts-and-all portrait of the great composer."--Arnold Whittall, Musical TimesTable of ContentsPreface and Acknowledgments vii A Note on Transliteration and Titles of Works xiv Credits and Permissions xv Stravinsky in Exile JONATHAN CROSS 3 Who Owns Mavra? A Transnational Dispute INTRODUCTION AND NOTES BY TAMARA LEVITZ; TRANSLATIONS BY BRIDGET BEHRMANN, KATYA ERMOLAEV, LAUREL E. FAY, ALEXANDRA GRABARCHUK, AND TAMARA LEVITZ 21 Stravinsky's Russian Library TATIANA BARANOVA MONIGHETTI 61 The Futility of Exhortation: Pleading in Stravinsky's Oedipus Rex and Orpheus GRETCHEN HORLACHER 79 Symphonies and Funeral Games: Lourie's Critique of Stravinsky's Neoclassicism KLARA MORICZ 105 Arthur Lourie's Eurasianist and Neo-Thomist Responses to the Crisis of Art INTRODUCTION AND NOTES BY KLARA MORICZ; TRANSLATION BY BRIDGET BEHRMANN, KATYA ERMOLAEV, YASHA KLOTS, TAMARA LEVITZ, KLARA MORICZ, AND BORIS WOLFSON 127 Igor the Angeleno: The Mexican Connection TAMARA LEVITZ 141 Stravinsky Speaks to the Spanish-Speaking World INTRODUCTION BY LEONORA SAAVEDRA; INTERVIEWS TRANSLATED BY MARIEL FIORI IN COLLABORATION WITH TAMARA LEVITZ; DOCUMENT NOTES BY TAMARA LEVITZ 177 The Poetique musicale: A Counterpoint in Three Voices VALERIE DUFOUR; TRANSLATED BY BRIDGET BEHRMANN AND TAMARA LEVITZ225 Stravinsky: The View from Russia SVETLANA SAVENKO; TRANSLATED BY PHILIPP PENKA 255 Stravinsky's Cold War: Letters About the Composer's Return to Russia, 1960-1963 LETTERS TRANSLATED BY PHILIPP PENKA WITH ALEXANDRA GRABARCHUK; INTRODUCTION, COMMENTARY, AND NOTES BY TAMARA LEVITZ 273 "The Precision of Poetry and the Exactness of Pure Science": The Parallel Lives of Vladimir Nabokov and Igor Stravinsky LEON BOTSTEIN 319 Index 349 Notes on Contributors 365

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Book SynopsisThe Erligang culture is best known for the remains of an immense walled city at Zhengzhou, a smaller site at Panlongcheng in Hubei, and a large-scale bronze industry of remarkable artistic and technological sophistication. This book deals with Erligang culture.Trade Review"This book will stand as a milestone in the study of early Chinese bronzes."--Jianjun Mei, Bulletin of the School of Oriental and African StudiesTable of ContentsContributors 7 Foreword and Acknowledgments 9 Preface 11 INTRODUCTION 1. Erligang Bronzes and the Discovery of the Erligang Culture 19 Robert Bagley 2. Erligang: A Perspective from Panlongcheng Zhang Changping 51 DEFINING THE ERLIGANG CIVILIZATION 3. China's First Empire? Interpreting the Material Record of the Erligang Expansion 67 Wang Haicheng 4. Civilizations and Empires: A Perspective on Erligang from Early Egypt 99 John Baines 5. Erligang: A Tale of Two "Civilizations" 121 Roderick Campbell 6. The Politics of Maps, Pottery, and Archaeology: Hidden Assumptions in Chinese Bronze Age Archaeology 137 Yung-ti Li ERLIGANG AND THE SOUTH 7. Erligang and the Southern Bronze Industries 151 Kyle Steinke 8. Erligang Contacts South of the Yangzi River: The Expansion of Interaction Networks in Early Bronze Age Hunan 173 Robin McNeal PARTING THOUGHTS 9. Bronzes and the History of Chinese Art 191 Maggie Bickford References 213 Index 226 Image Credits 235

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Book SynopsisIn The Patron's Payoff, Jonathan Nelson and Richard Zeckhauser apply the innovative methods of information economics to the study of art. Their findings, written in highly accessible prose, are surprising and important. Building on three economic concepts--signaling, signposting, and stretching--the book develops the first systematic methodology foTrade ReviewOne of Choice's Outstanding Academic Titles for 2009 "[E]nlightening."--Times Literary Supplement "But the basic point of this book--that a careful study of economic and related social needs can help us further understand the genesis of many works of visual culture--is undeniable, and the editors' and authors' cogent presentation of the possibilities inherent in their approach is masterful. Recognizing the motivations of elites expands our understanding of the roles that visual works could play during the period we now identify as the Italian Renaissance. As a reviewer I congratulate Nelson and Zeckhauser, while continuing to lament art history's inability--in the Renaissance at least--to gain access to a broader understanding of the diverse society and complex and subtle culture that supported the production of these works."--David G. Wilkins, CAA Reviews "In The Patron's Payoff, art historian Jonathan K. Nelson and economist Richard J. Zeckhauser have harnessed their separate disciplines into a new analytical key for understanding the linked motivations of patron and artist or architect in conspicuous commissions... No less than the American financier who donates a museum wing on condition it bears his name, or the merchandiser who endows a university institute named for him, the results of Renaissance patronage had to be, first of all, highly visible."--Judith Harris, California Literary Review "Nelson and Zeckhauser offer historians of art and culture a powerful method for appraising the driving force behind works of art commissioned in the Renaissance... The Patron's Payoff offers and innovative and potent tool for probing how works of art functioned in Renaissance social life."--Michelle O'Malley, Renaissance Quarterly "The book's interdisciplinary approach provides a blueprint for others who might test these concepts with patrons and periods necessarily omitted from this study. Common language and readable prose illuminate the theory and animate the relationships between works of art, patrons, artists, and audience. This book will be useful to art historians, cultural historians, economists, and others interested in the significance of the production and consumption of elite culture."--D.N. Dow, Choice "These are all well-written, interesting, well-researched essays, varying in chronological range and in geographical focus."--Bernadine Barnes, EH.net "[T]his volume is a model of how cross-disciplinary interaction can enrich the understanding of practitioners in two participating disciplines."--Neil De Marchi, Journal of Economic Literature "The Patron's Payoff is impressive not only for its innovative interdisciplinary approach and the compilation of an extensive source material ... the reading [is] very entertaining, and clearly shows that even high-profile science can be attractive and intelligible."--Mila Horky, Sehepunkte "[This] book [is] an innovative examination of art, economics, and communication that should be required reading for all who admire Italy's grand masterpieces as well as those who have made the study of Renaissance art and architecture a profession."--Fredrika Jacobs, European Legacy "One hopes that information economists will gain as much as art historians can from this book."--Sally Hickson, Renaissance and ReformationTable of ContentsIllustrations ix Foreword xiii Preface xvii Introduction 1 Part I: THE COMMISSIONING GAME 15 Chapter One: Main Players: Patrons, Artists, and Audiences 17 Chapter Two: Analytic Framework: Benefits, Costs, and Constraints 37 Chapter Three: Theories of Distinction: Magnificence and Signaling 67 Chapter Four: Selecting and Magnifying Information: Signposting and Stretching 85 Part II: THE PATRON'S PAYOFF 111 Chapter Five: Private Chapels in Florence: A Paradise for Signalers by Jonathan K. Nelson and Richard J. Zeckhauser 113 Chapter Six: Commissioning Familial Remembrance in Fourteenth-Century Florence: Signaling Alberti Patronage at the Church of Santa Croce by Thomas J. Loughman 133 Chapter Seven: Signs of Success: Leone Leoni's Signposting in Sixteenth-Century Milan by Kelley Helmstutler Di Dio 149 Chapter Eight: Mantegna's Madonna della Vittoria and the Rewriting of Gonzaga History by Molly Bourne 166 Chapter Nine: Image Is Everything: Visual Art as Self-Advertising (Europe and America) by Larry Silver 185 Contributors 225 Index 227

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Book SynopsisIn this beautifully illustrated book, eminent art historian John Rosenfield explores the life and art of the Japanese Buddhist monk Hozan Tankai (1629-1716). Through a close examination of sculptures, paintings, ritual implements, and primary documents, the book demonstrates how the Shingon prelate's artistic activities were central to his importanTrade Review"This is a solid, accessible study."--ChoiceTable of ContentsForeword and Acknowledgments 9 Author's Acknowledgments 13 Notes to the Reader 15 Historical Dates and Places 17 Maps 19 Introduction 23 CHAPTER 1 Birth and Training 39 CHAPTER 2 Sacred Mount Ikoma 55 CHAPTER 3 Head Priest 79 CHAPTER 4 Sculpture 93 CHAPTER 5 Pictures 109 CHAPTER 6 Eminence 127 APPENDIX A Hozanji Archive 143 APPENDIX B Shingon Priests 147 Notes 153 Bibliography 161 Glossary 171 Index 191 Image Credits 199

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Book Synopsis"The exhibition is organized by the Centraal Museum Utrecht; the National Gallery of Art, Washington; the Museum of Fine Arts, Houston; and the Sarah Campbell Blaffer Foundation."--Title page verso.Trade Review"Handsomely produced... The catalogue's generously scaled illustrations provide the visual delight that alone will surely attract new audiences to Wtewael's work."--Lisa Rosenthal, Renaissance QuarterlyTable of Contentsxv Directors' Foreword xvi Acknowledgments xix Lenders to the Exhibition xx Introduction: A Surprising and Diverse Life: Joachim Wtewael (1566 - 1638), Liesbeth M. Helmus 1 Desire and Devotion in Wtewael's Art, Anne W. Lowenthal 17 Love and Passion: Wtewael's Personal Statement, Liesbeth M. Helmus 25 Hastening to See Christ: Religious Painting in an Age of Conflict, James Clifton 37 Wtewael's Historical Reputation, Arthur K. Wheelock, Jr. 49 Wtewael as Draftsman, Stijn Alsteens 61 Catalog 194 Essay Notes 201 Bibliography 207 Index 210 Photography Credits

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Book SynopsisTrade Review"A rich, dense, wide-ranging survey whose central figure is the Swiss artist Félix Vallotton. . . . Alsdorf is an admirable close reader of images, clever at picking out, in a mass of bodies, a tiny figure who is doing nothing more than staring back at us, as if, across the centuries, he has spotted us gawking at him and is gawking back."---Julian Barnes, New York Review of Books"Handsomely produced, exhaustively researched, Gawkers combines elegant prose with a knowingness that mimics the sly humour of its key figures. . . and penetrating visual analyses of their works"---Lesley Stevenson, World of Interiors"Alsdorf acts as a knowledgeable guide to Parisian art of the nineteenth century. . . . Gawkers is recommended for enthusiasts of art of this period, as it effectively supplies a missing link for non-francophones, introducing them to the complex social signals and commentary that is present in the art we so often take for granted."---Alexander Adams, Alexander Adams Art"Bridget Alsdorf is a wonderfully clear writer. . . . Gawkers is engaging, thoroughly researched, and generously illustrated."---Heather Saunders, ARLIS/NA Reviews"The crowd as Alsdorf envisions it turns out to be multifaceted, variously dense, and dependent on an unprecedented relationship to the spectacular. For those who follow developments in the field of the history of art in the 19th century, Alsdorf's voice has gradually revealed itself, original, elegant, knowing how to combine descriptive precision and an overall vision of the dimensions of a period. Following her masterful analysis of the portraits of Fantin-Latour from her previous book (Fellow Men, 2013) is this fascinating contribution, with tight argumentation and marvelous illustrations."---Julien Zanetta, Studi Francesi"In this wide-ranging and content-rich study, Alsdorf succeeds in bringing the many facets of badauderie closer to her readers. She elucidates how closely the act of gawking in urban space is intertwined with art's ability to get people to look.… Her methodological approach is also enriching with a view to current affairs: the question of how a medium makes its audience its own subject proves fruitful beyond nineteenth-century Paris."---Michelle Sturm-Müller, 21: Inquiries into Art, History, and the Visual"Alsdorf’s fine monograph allows a fresh perspective on late-nineteenth-century France, on its spectacles and streets, and on the figures which depicted and shaped a rapidly changing world. It is a welcome addition to a growing body of work that seeks to offer a counterpoint to the vision of leisure and flânerie that has dominated discussions of late-nineteenth-century French art, and will no doubt benefit scholarship in French studies, art history, and theatre studies."---Claire Moran, French Studies"[Gawkers] offers a genuinely new way of considering printmaking, its makers and its audiences during an especially rich moment in the medium’s history and is sure to inspire future work in this field."---Britany Salsbury, Print Quarterly

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Book SynopsisTrade Review"[Dow's] musings about dong anthropological fieldwork in Spey Bay add a layer of brilliant reflexivity to her scholarly account."--Barbara J. King, Times Literary SupplementTable of ContentsAcknowledgements ix Prologue: The Sperm Whale's Teeth 1 Introduction: Life in a Nature Reserve 7 // Where the River Meets the Sea 50 1 Ethical Labour 55 // Beginnings 81 2 Future Generations 83 // The Water of Life 103 3 Origin Stories 107 // Arrivals 129 4 Ties That Bind 134 // The Sperm Whale's Teeth Revisited 161 5 Money Talks 164 // You've Been Trumped! 184 6 A Stable Environment 187 Notes 201 Bibliography 217 Index 229

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Book SynopsisThis is the first in-depth historical study of Jan Gossart (ca. 1478-1532), one of the most important painters of the Renaissance in northern Europe. Providing a richly illustrated narrative of the Netherlandish artist's life and art, Marisa Anne Bass shows how Gossart's paintings were part of a larger cultural effort in the Netherlands to assert tTrade Review"[A] fascinating and beautifully produced book... Marisa Anne Bass's fine book can help open up a debate about specific artists, about the role of traditions in the shaping of art, and about the relationship between a sixteenth-century moment and a twentieth-century one, which is long overdue."--Gabriel Josipovici, Times Literary Supplement "A satisfyingly lavishly illustrated, beautifully written and detailed study of one of the Renaissance's most important northern European painters, Jan Gossart."--Karen Shook, Times Higher Education "Totally original as well as lavishly illustrated, Jan Gossart and the Invention of Netherlandish Antiquity is as idiosyncratically informative as it is occasionally spellbinding."--David Marx, David Marx Reviews "This is a rich and rewarding book that wears its learning lightly and is full of insights into place and period. Succinct, well written and very well illustrated, Bass's book provides a stimulating guide to Gossart's work and a fresh perspective on the Renaissance in a specific area of Northern Europe."--Susan Foister, Art Newspaper "This well-documented, richly illustrated book offers an in-depth study of the career of Netherlandish artist Jan Gossart. Bass focuses on the artist's representations of classical and mythological subjects, and for the most part she bases the discussion on primary sources in Latin, Dutch, and French--sources not previously used by art historians and scholars in association with Gossart's works... A well-balanced interplay of visual analyses and historical investigations."--Choice "Beautifully written and full of provocative insights into the humanist ambiance and intellectual network associated with Jan Gossart's mythological paintings."--Maryan W. Ainsworth, Burlington MagazineTable of ContentsAcknowledgments viii Introduction 1 Chapter 1 The Embodied Past 7 Chapter 2 Land 45 Chapter 3 Lineage 75 Chapter 4 Legacy 115 Epilogue 145 Notes 155 Bibliography 183 Index 203 Illustration Credits 213

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