The arts: general topics Books

Book SynopsisRussian theatre director, Vsevolod Meyerhold, has been called the Picasso of modern theatre. A ceaseless experimenter with new forms and techniques and the leader of an aesthetic revolution, he left no body of theoretical writings. What takes their place are the reminiscences and confessions made in conversations with pupils and friends, some of which were recorded by Aleksandr Gladkov during his years of close association with Meyerhold. This book aims to capture the essence of Meyerhold's personality and temperament as revealed in the director's own informal comments about his rich, varied experiences. His notes, made at rehersals, present Meyerhold in action.Table of ContentsWith Meyerhold, Meyerhold speaks: About myself, On the Art of the Actor, on the Art of the Director, On Pushkin, Gogol, Lermontov, Dostoevsky; On Tolstoy, Chekhov, Blok and Mayakovsky; On Stanislasky; On Lensky, Komissarzhevskaya, Duse, Moissi and Others; On Opera and Cahliapin; On Self-retsriction, Improvisation, Rhythm, Associations; On Miscellaneous Subjects. Myerhold rehearses.

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Book SynopsisPlautus was Ancient Rome's greatest comic playwright, Shakespeare drew heavily on his plots, and his legacy is prevalent throughout modern drama. In this expanded edition of his successful book, one of America's foremost Classical scholars introduces performance criticism to the study of Plautus' ancient drama. In addition to the original detailed studies of six of the dramatists's plays, the methodology of performance criticism, the use of conventions, and the nature of comic heroism in Plautus, this edition includes new studies on:* the induction into the world of the play* the scripted imitation of improvisation* Plautus's comments on his previous work* the nature of 'tragicomedy'.

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Book Synopsisrai lu et relu "Rodolphe Bresdim. C'est un beau livre, obscurs-Ia question des reports sur pierre des eaux- et qui aura grand sucd~s. On ne Ie refera plus; on sera fortes, celle de la metamorphose de plusieurs cuivres, oblige de toujours s'y referer. C'est serieux, precis, in- celle de la premiere litho de l'artiste, catalogue 82 telligent. (Neumann n6, complete par une piece de l'ancienne Un des grands interets du livre est une chronologie collection Bonger). II etait bien place pour Ie faire, serieuse, et tres sou vent nouvelle, des gravures et etant lui-meme graveur. lith os (l'auteur a eu raison de ne pas les separer dans II tient a ce qu'on n'oublie pas que, comme son son catalogue). Van Gelder croit-et sans doute les frere aine, l'historien de l'art J. G. van Gelder, il a eu lecteurs avec lui-avoir resolu les problemes si deli- pour modele son pere, grand historien, fondateur du cats du classement anterieur a 1854; apres 1854, les hesi- Musee municipal de La Haye. tations etaient moins nombreuses, mais Van Gelder On a donc ici, redisons-le, un beau travail, serieux, montre qu'on ne peut se fier completement aux indi- honnete, representant plus de dix ans de la vie de son cations confuses de Bresdin lui-meme. auteur, intelligent et particulierement bien informe.Table of ContentsSommaire.- Aperçu chronologique.- Première Partie.- L’homme et l’artiste.- Deuxième Partie Biographie.- Chapitre I Les premières années :Le Fresne, Nogent-le-Rotrou, Paris 1822–1849.- Chapitre II Le séjour à Tulle et ses environs 1849–1851 Le premier séjour à Bordeaux 1851–1852.- Chapitre III Le séjour à Toulouse 1852–1861.- Chapitre IV Le Bon Samaritain 1860–1861.- Chapitre V La deuxième période parisienne 1861.- Chapitre VI Le séjour à Fronsac 1862–1864 Le deuxième séjour à Bordeaux 1864–1869.- Chapitre VII La troisième période parisienne 1869–1873.- Chapitre VIII Le séjour au Canada 1873–1877.- Chapitre IX La quatrième période parisienne 1877–1881.- Chapitre X La fin: Sèvres 1881–1885.- Troisième Partie.- Style et technique dans l’œuvre gravé de Bresdin.- Appendices.- I Notices biographiques.- II La Revue Fantaisiste de 1861.- III La commande d’Hippolyte de Thierry Faletans.- IV Les péripéties du Bon Samaritain.- V Les reports sur pierre de huit eaux-fortes de Bresdin.- VI L’art de l’eau-forte et de la lithographie chez Bresdin.- VII Les tirages posthumes de lithographies et d’eaux-fortes de Bresdin.- VIII L’œuvre de Bresdin jugée par treize de ses contemporains.- IX Vingt-cinq lettres de Rodolphe Bresdin.

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Book SynopsisThe book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. Music and Soviet Power offers cultural history told through documents - both colourfuland representative - with an extensive commentary and annotation throughout. The October Revolution of 1917 tore the fabric of Russian musical life: institutions collapsed, and leading composers emigrated or fell into silence. But in 1932, at the outset of the "socialist realist" period, a new Stalinist music culture was emerging. Between these two dates lies a turbulent period of change which this book charts year by year. It sheds light on the vicious power struggles and ideological wars, the birth of new aesthetic credos, and the gradual increase of Party and state control over music, in the opera houses, the concert halls, the workers' clubs, and on the streets. The book not only provides a detailed and nuanced depiction of the early Soviet musical landscape, but brings it to life by giving voice to the leading actors and commentators of the day. The vibrant public discourse on music is presented through a selection of press articles, reviews and manifestos, all suppliedwith ample commentary. These myriad sources offer a new context for our understanding of Shostakovich, Prokofiev and Myaskovsky, while also showing how Western music was received in the USSR. This, however, is only half the story.The other half emerges from the private dimension of this cultural upheaval, traced through the letters, diaries and memoirs left by composers and other major players in the music world. These materials address the beliefs, motivations and actions of the Russian musical intelligentsia during the painful period of their adjustment to the changing demands of the new state. While following the twists and turns of official policies on music, the authors also offer their own explanations for the outcomes. The book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. Music and Soviet Power offers cultural history told through documents - both colourful and representative - with an extensive commentary and annotation throughout. MARINA FROLOVA-WALKER is Reader in Music History at the University of Cambridge and Fellow of Clare College, Cambridge; JONATHAN WALKER, who has a PhD in Musicology, is a freelance writer, teacher and pianist.Trade Review[A] valuable source for both students and specialists of Soviet history and music. * INT'L JOURNAL OF RUSSIAN STUDIES *Frolova-Walker and Walker have done an admirable job of selecting documents that shed new light on the time period. This is an invaluable source for students of Soviet history and music, and even specialists will find much new material in the range of articles presented here. * REVOLUTIONARY RUSSIA *Highly recommended to those with a specialist or general interest in music [...] or, more broadly, in cultural politics or just politics. * JCES *[A] fascinating and invaluable book [...] It navigates an absorbing way through this difficult and complex period, and presents fresh material that should be made available beyond the confines of academic libraries and their scholars. * MUSICAL TIMES *Few will penetrate the archives as comprehensively as the authors, and the riches they have brought back will help to change and deepen our understanding of early Soviet music. * SCRSS NEWSLETTER *Frolova [sic] and Walker describe these years of relative but tightly circumscribed freedom through the great number of documents they have translated, with excellent introductions and annotations. Some of the authors of these texts are already known, but their work appears here for the first time in a Western language and shows how fiercely the battle was waged on both sides * NRC HANDELSBLAD *[T]o immerse oneself in this collection of manifestos and other cultural polemics is revealing. [...] The apparatus [...] supplies invaluable guideposts. [...] Highly recommended. * CHOICE *Enrich[es] the developing sense of how Soviet artists worked with and against the official dictates of their time, and how they responded to the incidental squabbles and long-term preoccupations with which they had to contend. * TLS *[A] subtly nuanced and painstakingly annotated account of this period unearthing a wealth of documentary information [...] The resulting narrative is extraordinarily vivid, bringing to light much significant material that alters long-established historical preconceptions. * BBC MUSIC MAGAZINE *This is an important book and one that makes compelling reading. With their careful selection and commentary, the authors have brought a level gaze to bear upon dark and difficult times in which optimism and torment seemed to alternate unpredictably. * GRAMOPHONE *Table of ContentsOctober 1917-18 Out of Chaos 1919 Depression and Fever 1920 Bureaucracy on the Rise 1921 Should I stay or should I go? 1922 Just Like the Old Days? 1923 The Birth of ASM and RAPM 1924 ASM in the Ascendant 1925 Equilibrium 1926 Guests from the West 1927 Celebrations 1928 At the Crossroads 1929 "Velikiy perelom" - "The Great Turning Point" 1930 RAPM's Glorious Year? 1931 RAPM's Fortunes Turning 1932 The Rules Change

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Book SynopsisRecent years have seen a wealth of new scholarship on the history of photography, cinema, digital media, and video games, yet less attention has been devoted to earlier forms of visual culture. The nineteenth century witnessed a dramatic proliferation of new technologies, devices, and print processes, which provided growing audiences with access to more visual material than ever before. This volume brings together the best aspects of interdisciplinary scholarship to enhance our understanding of the production, dissemination, and consumption of visual media prior to the predominance of photographic reproduction. By setting these examples against the backdrop of demographic, educational, political, commercial, scientific, and industrial shifts in Central Europe, these essays reveal the diverse ways that innovation in visual culture affected literature, philosophy, journalism, the history of perception, exhibition culture, and the representation of nature and human life in both print and material culture in local, national, transnational, and global contexts.

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Book SynopsisThis book investigates the success of U.S. nonprofit university centers, where students work alongside investigative reporters, from a professional and educational perspective. Drawing on a detailed investigation of four of the most prominent and renowned centers in the U.S. the IRP Berkeley (UC Berkeley), the Stabile Center (Columbia University), the Workshop (American University), and the New England CIR (Boston University) the newsroom role and the classroom role of university nonprofits is examined. Finding the description of a win-win situation where overstretched newsrooms get extra resources; while students learn from the best an oversimplification, the author explores learning outcomes, student experiences, financial benefits, and quality of the student output. Offering an in-depth analysis of the characteristics, challenges and benefits of different forms of journalistic cooperation, this book will be a useful resource to scholars, students and practitioneTable of ContentsIntroduction: A win-win-situation?; Part I: Turning classrooms into newsrooms; Chapter 1. The teaching hospital model; Chapter 2: Small players in the nonprofit field; Chapter 3: New hybrids enlarging the net; Part II: The centers as newsrooms; Chapter 4: The autonomy of the centers. Triply dependent – but independent?; Chapter 5: The production of the centers; Chapter 6: Not the solution to the journalism crisis; Part III: The centers as classrooms; Chapter 7: What journalism students need to know; Chapter 8: Back to apprenticeships?; Chapter 9: The need of strong universities; Conclusion: Not always a win-win situation; Recommendations for future hybrid projects; List of interviewees

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Book SynopsisThe book is a collection of fifteen introductory essays excerpted from the Annual of Contemporary Art in China, covering the years from 2005 to 2019, showcasing the development and changing landscapes of contemporary art in China.The Annual documents exhibitions, events, creative practices, and critical literature concerning contemporary art in China since 2005. Based on archival documentation and statistics data from these annuals, notable phenomena, events, and discourses from a given year, as well as key works and artists are reviewed in each introduction, with no ideological or market-driven undertone. The author unravels industrial and institutional factors, while also broaching important issues of abstract art, new media art and so on, and probing the historical and socio-cultural context as well. In this regard, the book offers a panorama of contemporary Chinese art and critically engages with the art scene in China, including Hongkong, Taiwan, and among Table of Contents1. Introduction to the Annual (2005) 2. Introduction to the Annual (2006) 3. Introduction to the Annual (2007) 4. Introduction to the Annual (2008) 5. Introduction to the Annual (2009) 6. Introduction to the Annual (2010) 7. Introduction to the Annual (2011) 8. Introduction to the Annual (2012) 9. Introduction to the Annual (2013) 10. Introduction to the Annual (2014) 11. Introduction to the Annual (2015) 12. Introduction to the Annual (2016) 13. Introduction to the Annual (2017) 14. Introduction to the Annual (2018) 15. Introduction to the Annual (2019)

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Book SynopsisWomen in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyoncé, The Carters, Hélène Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explor

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Book SynopsisIn Game Design Deep Dive: Trading and Collectible Card Games, game design analyst Joshua Bycer is back to discuss the deck-building genre, from the original success of Magic: The Gathering to todayâs market with online card games like Hearthstone and Gwent. The design and philosophy of deck builders and tabletop games can be and have been applied to many genres. Looks at the history of popular tabletop card games and collectible card games Discusses how to design and balance your game with low numbers Examines the application of card-based design in other genres Perfect for students and designers to learn about designing deck builders and card-based games.Table of ContentsPreface. Acknowledgments. Social Media: Social Media Contacts. Additional Books. 1 What Is the Goal of Game Design Deep Dive: Trading and Collectible Card Games? 2 The Major Names of TCGs. 3 What Is TCG Design? 4 The Arrival of CCGs. 5 How Monetization Works. 6 Designing Cards. 7 How TCGs/CCGs Influenced Game Design. 8 Balancing the Present and Future of Your Game. 9 The Work Outside the Game. 10 The TCG/CCG Market. 11 Conclusion. Glossary. Index.

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Book SynopsisThis book delves into the notion of intimacy as a defining feature of podcasting, examining the concept of intimacy itself and how the public sphere explores the relationships created and maintained through podcasts.The book situates textual analysis of specific American podcasts within podcast criticism, monetization, and production advice. Through analysis of these sources'' self-descriptions, the text builds a podcasting-specific framework for intimacy and uses that framework to interpret how podcasting imagines the connections it forms within communities. Instead of intimacy being inherent, the book argues that podcasting constructs intimacy and uses it to define the quality of its own mediation.This book will be of interest to scholars and students of New and Digital Media, Media Studies, Communication Studies, Journalism, Literature, Cultural Studies, and American Studies.The Open Access version of this book, available at www.taylorfrancis.com, has been ma

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Book SynopsisPedagogical Opportunities of the Review Genre unleashes the pedagogical potential of the review genre, reframing the act of reviewing of cultural products as a communicative practice from a pedagogical perspective.Negotiating between traditions of journalism and media studies and pedagogy, the author presents a novel approach that will increase the readersâ understanding of an activity that is on the increase in an era where 'everyone can be a critic'. She identifies, describes, and develops genre-based pedagogies in formal, non-formal, and informal contexts of learning and teaching, in order to recontextualize the review as a form of learning and rethink of its potential as an inclusive, engaging, and a transformative critical cultural practice.This innovative and truly interdisciplinary study will interest students and researchers in the areas of media literacy, digital media, media and communication studies, cultural studies, sociology of arts, and pedagogical studies â in particular, cultural journalism and criticism, audience studies, cultural production, and cultural mediation, as well as critical media pedagogy and literacy studies.

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Book SynopsisThis study investigates the idea and practice of liveness in modern music. Understanding what makes music live in an ever-changing musical and technological terrain is one of the more complex and timely challenges facing scholars of current music, where liveness is typically understood to represent performance and to stand in opposition to recording, amplification, and other methods of electronically mediating music. The book argues that liveness itself emerges from dynamic tensions inherent in mediated musical contextsâtensions between music as an acoustic human utterance, and musical sound as something produced or altered by machines. Sanden analyzes liveness in mediatized music (music for which electronic mediation plays an intrinsically defining role), exploring the role this concept plays in defining musical meaning. In discussions of music from both popular and classical traditions, Sanden demonstrates how liveness is performed by acts of human expression in productive tension with the electronic machines involved in making this music, whether on stage or on recording. Liveness is not a fixed ontological state that exists in the absence of electronic mediation, but rather a dynamically performed assertion of human presence within a technological network of communication. This book provides new insights into how the ideas of performance and liveness continue to permeate the perception and reception of even highly mediatized music within a society so deeply invested, on every level, with the use of electronic technologies.Table of Contents 1. Introduction 2. A Theory of Liveness in Mediatized Music 3. Hearing Glenn Gould’s Body: Corporeal Liveness in Recorded Music 4. Reconsidering Fidelity: Authenticity, Historicism, and Liveness in the Music of The White Stripes 5. Interactive Liveness in Live Electronic Music 6. Virtual Liveness and Sounding Cyborgs: John Oswald’s "Vane" 7. Performing Cyborgs: The Flaying of Marsyas and Turntablism 8. Conclusion Notes References Index

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Book SynopsisAdopting and transforming the Romantic fascination with mountains, modernism in the German-speaking lands claimed the Alps as a space both of resistance and of escape. This new ''cult of mountains'' reacted to the symptoms and alienating forces associated with modern culture, defining and reinforcing models of subjectivity based on renewed wholeness and an aggressive attitude to physical and mental health. The arts were critical to this project, none more so than music, which occupied a similar space in Austro-German culture: autonomous, pure, sublime. In Modernism and the Cult of Mountains opera serves as a nexus, shedding light on the circulation of contesting ideas about politics, nature, technology and aesthetics. Morris investigates operatic representations of the high mountains in German modernism, showing how the liminal quality of the landscape forms the backdrop for opera''s reflexive engagement with the identity and limits of its constituent media, not least music. This opeTrade Review'Christopher Morris takes the cult of mountains as an unusual and fascinating point of view from which to consider anew some of the creative tensions at the core of German modernism, including such hotly debated themes as the place of the aesthetic in modernist thought and the role of music in early-twentieth-century German culture. This original and exciting book will interest not only musicologists, but also film scholars, cultural historians, and anyone interested in the relationship between art, culture and society.' Emanuele Senici, University of Rome La Sapienza, Italy 'With Modernism and the cult of mountains, Christopher Morris provides a most interesting contribution both to the lively field of opera studies and to the investigation of German modernism.' Die TheaterforschungTable of ContentsIntroduction; Chapter 1 Across the Abyss: Tiefland on Stage; Chapter 2 Nature and Nostalgia: The Last Tone Poem; Chapter 3 Thoroughly Modern Mountains; Chapter 4 The Voice of the Glacier; Chapter 5 A Last Refuge: Tiefland on Screen; Chapter 6 Conclusion and Afterword;

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