The Salon (Volume 4); Or, Letters on Art, Music, Popular Life and Politics
save up to 35% on The Salon (Volume 4); Or, Letters on Art, Music, Popular Life and Politics
Vol 2 – Chapter 17 – Emma by Jane Austen
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The Salon;: Or, Letters on art, music, popular life and politics (The works of Heinrich Heine, tr. … by Charles Godfrey Leland … vol. IV)
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated.1893 Excerpt: … LETTERS ON MUSIC FROM PARIS. i840-1847. SPONTINI AND MEYERBEER. Paris, June 12, 1840. The Chevalier Spontini is at present bombarding the poor Parisians with lithographed letters in order to … |
The Salon (Volume 4); Or, Letters on Art, Music, Popular Life and Politics
check The Salon (Volume 4); Or, Letters on Art, Music, Popular Life and Politics out now!
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Popular Ghosts $120 Haunting has long been a compelling element in popular culture, and has become an influential category in academic engagements with politics, economics, and aesthetics. While recent scholarship has used psychoanalysis and the Gothic as frameworks with which to study haunting, this volume seeks to situate ghosts in the cultural imagination. The chapters in Popular Ghosts are united by the impulse to theorize the cultural work that ghosts do within the trans-historical contexts that comprise our understanding of everyday life. These authors study the theoretical and aesthetic genealogies of the spectral, while also commenting on the multiple everyday spaces that this category occupies. Rather than looking to a single tradition or medium, the essays in Popular Ghosts explore film, novels, photography, television, music, social practices, and political structures from different cultures to reopen the questions that surround our haunted sense of the everyday. |
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Serbian and Greek Art Music $20 Serbian and Greek Art Music is the first ever book in the English language to examine the assimilation and development of western art music in Serbia and Greece during the nineteenth and twentieth centuries. Music education, music life and the creation of the two neighbouring nations since they gained freedom from the Ottomans in the nineteenth century are themes that reverberate through the volume. The book relates the efforts of local musicians to synchronize their musical environment with the West and achieve the inclusion of Serbian and Greek music in western music history, an aim that seemed coherent to overall progress and, at various historical stages, achievable, but has never been realized. Romanou ‘patches up’ this failure with a breadth of research, at a time when the interest in Balkan cultures is becoming increasingly popular among western researchers. Written by seven renowned musicologists, chapters propose new paths of study to scholars of Balkan studies and music of the Balkan people, their culture and Orthodox Christianity, and facilitate a more comprehensive perception of the area. The book stresses the interaction between music and politics, and how these ‘opposite’ terms have been altered by the political upheavals that divided and dislocated the countries’ populations with catastrophic force and high frequency, impeding cultural evolution. |
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A Life in Letters $22.72 A vibrant self-portrait of an artist whose work was his life. In this new collection of F. Scott Fitzgerald’s letters, edited by leading Fitzgerald scholar and biographer Matthew J. Bruccoli, we see through his own words the artistic and emotional maturation of one of America’s most enduring and elegant authors. A Life in Letters is the most comprehensive volume of Fitzgerald’s letters — many of them appearing in print for the first time. The fullness of the selection and the chronological arrangement make this collection the closest thing to an autobiography that Fitzgerald ever wrote. While many readers are familiar with Fitzgerald’s legendary “jazz age” social life and his friendships with Ernest Hemingway, Gertrude Stein, Edmund Wilson, and other famous authors, few are aware of his writings about his life and his views on writing. Letters to his editor Maxwell Perkins illustrate the development of Fitzgerald’s literary sensibility; those to his friend and competitor Ernest Hemingway reveal their difficult relationship. The most poignant letters here were written to his wife, Zelda, from the time of their courtship in Montgomery, Alabama, during World War I to her extended convalescence in a sanatorium near Asheville, North Carolina. Fitzgerald is by turns affectionate and proud in his letters to his daughter, Scottie, at college in the East while he was struggling in Hollywood. For readers who think primarily of Fitzgerald as a hard-drinking playboy for whom writing was effortless, these letters show his serious, painstaking concerns with creating realistic, durable art. |
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A Life In Letters $14.99 A vibrant self-portrait of an artist whose work was his life. In this new collection of F. Scott Fitzgerald’s letters edited by leading Fitzgerald scholar and biographer Matthew J. Bruccoli we see through his own words the artistic and emotional maturation of one of America’s most enduring and elegant authors. A Life in Letters is the most comprehensive volume of Fitzgerald’s letters — many of them appearing in print for the first time. The fullness of the selection and the chronological arrangement make this collection the closest thing to an autobiography that Fitzgerald ever wrote. While many readers are familiar with Fitzgerald’s legendary "jazz age" social life and his friendships with Ernest Hemingway Gertrude Stein Edmund Wilson and other famous authors few are aware of his writings about his life and his views on writing. Letters to his editor Maxwell Perkins illustrate the development of Fitzgerald’s literary sensibility; those to his friend and competitor Ernest Hemingway reveal their difficult relationship. The most poignant letters here were written to his wife Zelda from the time of their courtship in Montgomery Alabama during World War I to her extended convalescence in a sanatorium near Asheville North Carolina. Fitzgerald is by turns affectionate and proud in his letters to his daughter Scottie at college in the East while he was struggling in Hollywood. For readers who think primarily of Fitzgerald as a hard-drinking playboy for whom writing was effortless these letters show his serious painstaking concerns with creating realistic durable art. |
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September 3rd, 2011 at 3:39 am
provocative & interesting read,
This is a straightforward, easy to read, enjoyable and informative book about how samba dance and music moved from a marginalized position to one now considered to be at the “heart” of Brazilian identity. Vianna, a scholar of music, introduces the reader to important samba musicians, intellectuals, and government officials in this story that centers around the rule of Getulio Vargas which began in the 1930s and lasted into the 1950s. Vianna connects samba to ideas of national identity and race, offering insight into why, despite the celebration of samba and Afro-Brazilian roots, Brazilians of African descent continue to face discrimination. This book would make a great read for non-scholars and students alike, who are interested in music, Brazil, and the African diaspora.
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|September 3rd, 2011 at 4:06 am
Are you an academic?,
Then this strenuously researched and exhaustively detailed exegesis is for you. Footnotes in abundance! Dry as the Sahara!
Interested in an accessable overview of the history of the development of Afro/Brasilian music leading to what we now know as “samba”? Then don’t be fooled by the ecstatic dancer on the cover, we’re talking impenetrable doctoral thesis material here.
On that level, it’s a great piece of source material with a lot of history to offer.
Want an informative yet easy read on the subject? Google it and almost any other offering will deliver.
-Carl (aka Carlinhos)…
(…)
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|September 3rd, 2011 at 4:18 am
Interesting, but requires some Brazilian “cultural literacy”,
Halfway through this book, I’d have agreed with the reviewer who complains that the dancer on the cover is misleading. But by the time I finished it, I could see an angle from which the cover was appropriate. Why do we take it for granted that samba and dancers like the one shown symbolize Brazil? — this is the “mystery” of the title. Vianna describes how until the 1930s, samba was just a minor regional music from Rio, in a country with zillions of regional musics. “Brazilian music” of the day wasn’t even folk music, but followed European trends. (If you don’t believe me, check out Brazil’s national anthem on Wikipedia — it sounds like it’s from an Italian opera by Rossini.) In Vianna’s telling, during the 1930s and ’40s samba was transformed into a national symbol as part of a conscious decision to build a “national myth,” in an effort spearheaded by intellectuals like Gilberto Freyre. Another of Vianna’s major arguments is that Brazilian national identity crystallized around the idea of racial mixture, with racial “purity” being regarded as a kind of defect. He provides some occasional interesting tidbits, too, such as that Carmen Miranda was a Portuguese national who never held a Brazilian passport.
As for the book’s being a re-purposed Ph.D. thesis, it’s much better-written than most others in that genre that I’ve read. The academic jargon is mostly in the first and last chapters. That said, though, you could find the book frustrating if you don’t have a certain amount of “cultural literacy” about Brazil, beyond knowledge of recent popular music. The names of authors and other historical figures come fast and furious, with little or no explanation. If you don’t know a little about, e.g., Noel Rosa, Pixinguinha, Heitor Villa-Lobos, and especially Getúlio Vargas, and at least recognize the names of folks like Machado de Assis and Euclides Da Cunha, you might want first to read a book or two about Brazilian cultural and political history before trying this one. Having heard of Frenchmen Blaise Cendrars or Darius Milhaud might also help. From my experience, even after reading several such books and listening to some older styles of music a lot of the name-dropping may go over your head anyway; but you may be less tempted to throw the book at the wall.
At a substantive level, I wished that Vianna had focused a little less on the influence of sociologist Freyre and rather more on the activities of the Vargas regime in elevating samba. The occasional factual error that I could recognize (such as that “Italian operettas by Bellini and Donizetti” were “playing to full houses in Lisbon” in 1808 (@18-19), i.e. when the composers were aged 7 and 10 respectively) made me worry that there were some others that I couldn’t. The translation is generally smooth, though an allusion to a pun in some lyrics of rock group Titãs (@100) assumes you know the original Portuguese the joke is based on (I didn’t). In summary, you’ll be more satisfied if you think of this as a book about Brazilian social history, rather than as a book about music.
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