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Winner of both the Pulitzer Prize and the Grawemeyer Award, Aaron Jay Kernis achieved recognition as one of the leading composers of his generation while still in his thirties. Since then his eloquent yet accessible style, emphasis on melody, and willingness to engage popular as well as classical forms has brought him widespread acclaim and admiring audiences. Leta Miller's biography offers the first survey of the composer's life and work. Immersed in music by middle school, and later training under Theodore Antoniou, John Adams, Jacob Druckman, and others, Kernis rejected the idea of distancing his work from worldly concerns and dared to compose on political themes. His Second Symphony , from 1991, engaged with the first Gulf War; 1993's Still Moment with Hymn was a reaction to the Bosnian Genocide; and the next year's Colored Field and 1995's Lament and Prayer dealt with the Holocaust. Yet Kernis also used sources as disparate as futurist agitprop and children's games to display humor in his work. Miller's analysis addresses not only Kernis's wide range of subjects but also the eclecticism that has baffled critics, analyzing his dedication to synthesis and the themes consistent in his work. Informed and engaging, Aaron Jay Kernis gives a rare mid-career portrait of a major American cultural figure. Publication of this book was supported by a grant from the Henry and Edna Binkele Classical Music Fund
26 concepts pour comprendre la création sur Internet
Ce livre présente un répertoire de vingt-six concepts qui décrivent de manière synthétique les enjeux théoriques et critiques autour de la création hypermédiatique, plus spécifiquement les œuvres artistiques et littéraires conçues pour une diffusion sur Internet. Il accompagne une exposition virtuelle du même nom, produite et diffusée par le Laboratoire NT2 de l’UQAM.
2000, no. 1 through current issue
Ab Imperio Quarterly is an international humanities and social sciences peer-reviewed journal dedicated to studies in new imperial history and the interdisciplinary and comparative study of nationalism and nationalities in the post-Soviet space. The journal has been published since June 2000, four times a year. The languages of publication are English and Russian with summaries, respectively, in Russian and English. Ab Imperio pursues a policy of thematic issues within annual programs. Ab Imperio serves as an international forum for scholars reflecting on historical and contemporary encounters with diversity in composite societies.
Foundlings in Nineteenth-Century New York City
In the nineteenth century, foundlingschildren abandoned by their desperately poor, typically unmarried mothers, usually shortly after birthwere commonplace in European society. There were asylums in every major city to house abandoned babies, and writers made them the heroes of their fiction, most notably Charles Dickens's Oliver Twist. In American cities before the Civil War the situation was different, with foundlings relegated to the poorhouse instead of institutions designed specifically for their care. By the eve of the Civil War, New York City in particular had an epidemic of foundlings on its hands due to the rapid and often interlinked phenomena of urban development, population growth, immigration, and mass poverty. Only then did the city's leaders begin to worry about the welfare and future of its abandoned children.
In Abandoned, Julie Miller offers a fascinating, frustrating, and often heartbreaking history of a once devastating, now forgotten social problem that wracked America's biggest metropolis, New York City. Filled with anecdotes and personal stories, Miller traces the shift in attitudes toward foundlings from ignorance, apathy, and sometimes pity for the children and their mothers to that of recognition of the problem as a sign of urban moral decline and in need of systematic intervention. Assistance came from public officials and religious reformers who constructed four institutions: the Nursery and Child's Hospital's foundling asylum, the New York Infant Asylum, the New York Foundling Asylum, and the public Infant Hospital, located on Randall's Island in the East River.
Ultimately, the foundling asylums were unable to significantly improve children's lives, and by the early twentieth century, three out of the four foundling asylums had closed, as adoption took the place of abandonment and foster care took the place of institutions. Today the word foundling has been largely forgotten. Fortunately, Abandoned rescues its history from obscurity.
Sympathy and Privacy in the Postwar African American White-Life Novel
Abandoning the Black Hero is the first book to examine the postwar African American white-life novel—novels with white protagonists written by African Americans. These fascinating works have been understudied despite having been written by such defining figures in the tradition as Richard Wright, Zora Neale Hurston, James Baldwin, Ann Petry, and Chester Himes, as well as lesser known but formerly best-selling authors Willard Motley and Frank Yerby.
John C. Charles argues that these fictions have been overlooked because they deviate from two critical suppositions: that black literature is always about black life and that when it represents whiteness, it must attack white supremacy. The authors are, however, quite sympathetic in the treatment of their white protagonists, which Charles contends should be read not as a failure of racial pride but instead as a strategy for claiming creative freedom, expansive moral authority, and critical agency.
In an era when “Negro writers” were expected to protest, their sympathetic treatment of white suffering grants these authors a degree of racial privacy previously unavailable to them. White writers, after all, have the privilege of racial privacy because they are never pressured to write only about white life. Charles reveals that the freedom to abandon the “Negro problem” encouraged these authors to explore a range of new genres and themes, generating a strikingly diverse body of novels that significantly revise our understanding of mid-twentieth-century black writing.
This is the first genuine etymological dictionary of Old Chinese written in any language. As such, it constitutes a milestone in research on the evolution of the Sinitic language group. Whereas previous studies have emphasized the structure of the Chinese characters, this pathbreaking dictionary places primary emphasis on the sounds and meanings of Sinitic roots. Based on more than three decades of intensive investigation in primary and secondary sources, this completely new dictionary places Old Chinese squarely within the Sino-Tibetan language family (including close consideration of numerous Tiberto-Burman languages), while paying due regard to other language families such as Austroasiatic, Miao-Yao (Hmong-Mien), and Kam-Tai. Designed for use by nonspecialists and specialists alike, the dictionary is highly accessible, being arranged in alphabetical order and possessed of numerous innovative lexicographical features. Each entry offers one or more possible etymologies as well as reconstructed pronunciations and other relevant data. Words that are morphologically related are grouped together into "word families" that attempt to make explicit the derivational or other etymological processes that relate them. The dictionary is preceded by a substantive and significant introduction that outlines the author’s views on the linguistic position of Chinese within Asia and details the phonological and morphological properties, to the degree they are known, of the earliest stages of the Chinese language and its ancestor. This introduction, because it both summarizes and synthesizes earlier work and makes several original contributions, functions as a useful reference work all on its own.
In this concise study, Nicole Brenez argues for Abel Ferrara's place in a line of grand inventors who have blurred distinctions between industry and avant-garde film, including Orson Welles, Monte Hellman, and Nicholas Ray. Rather than merely reworking genre film, Brenez understands Ferrara's oeuvre as formulating new archetypes that depict the evil of the modern world. Focusing as much on the human figure as on elements of storytelling, she argues that films such as Bad Lieutenant express this evil through visionary characters struggling against the inadmissible (inadmissible behavior, morality, images, and narratives).