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From its origins in the Elizabethan Protestant Reformation, to its final extinction amidst the guns of the First World War, the art of Funerary Violin was characterised by many unique and frequently misunderstood qualities that set it apart from all other forms of music. Despite its enormous influence on classical music generally and on the Romantic Movement in particular, this music has almost entirely vanished. In a series of 'funerary purges', the art of funerary violin was condemned as 'the music of the devil' and the Guild of Funerary Violinists driven into silence or clandestine activity. This is the music that, despite all attempts at suppression, has haunted Europe's collective unconscious for more than a century. Now Rohan Kriwaczek reveals its incredible history. Painstakingly pieced together from a handful of fragments and unsubstantiated and often unspoken rumours, and making use of a number of extraordinary recent discoveries, An Incomplete History of the Art of Funerary Violin celebrates a unique musical tradition that refuses to die.
“Strange and clever . . . Some inspired thinking about real issues like the slippery nature of the Internet and relationships between artists and their fans” (Flagpole). Centered around the hypothetical death of a real-life musician and performance artist—Amanda Palmer of Dresden Dolls fame—this book imagines the fallout of her demise. Upon hearing news of Amanda’s death, her fans began posting their own writing, artwork, and thoughts onto the Internet, eventually creating their own genre called the Palmeresque. By collecting a selection of these submissions in one place and providing commentary, On the Many Deaths of Amanda Palmer explores issues of authorship, celebrity, popular culture, marketing strategies, the corruption of art, and the essential questions of modern media. “A postmodern Russian nesting doll of realities, complete with poems, charts, and censored text, this book is successful on many levels: creepy and fun when accepted at face value; tantalizing when looked at as evidence in a murder mystery; insightful in its commentary on modern celebrity and culture . . . Coy, engaging, and delightfully imagined.” —Publishers Weekly (starred review)
Why should there only be literary scholarship about authors who actually lived, and texts which exist? Where are the articles on Enoch Campion, Linus Withold, Redondo Panza, Darshan Singh, or Heidi B. Morton? That none of these are real authors should be no impediment to interpreting their invented writings. In the first collection of its kind, The Anthology of Babel publishes academic articles by scholars on authors, books, and movements that are completely invented. Blurring the lines between scholarship and creative writing, The Anthology of Babel inaugurates a completely new literary genre perfectly attuned to the era we live in, a project evocative of Jorge-Louis Borges, Umberto Eco, and Italo Calvino.
Exploring the paranormal through musical phenomena, this encyclopedia covers a range of anomalies, from musical mediumship to locations throughout the world where music has been heard with no obvious source. Other manifestations, such as the abilities of musical savants and the anesthetic use of music during surgical procedures, are included with a focus on paraphysical aspects. Entries describe examples from earliest history up to the present--interpretation is left to the reader. Broader themes and concepts are discussed in appendices, with additional references provided for further study.
Prepare to be even more revolted, flabbergasted, appalled and entertained by this incredible follow-up collection of bizarre but absolutely true trivia. Nothing is too distasteful for this astonishing compendium, including scores of eclectic lists to amuse, astonish and appal your friends. Entries include: 10 Road-kill Recipes History’s 10 Most Murderous Regimes 10 Historic Sex Toys 10 People who Married Their Nieces 10 Deaths by Sex 10 People Killed by Falling Animals 10 Ancient Remedies Containing Body Parts 10 Flatalogical Facts 8 Most Violent National Anthems 15 Premature Obituaries 10 Unusual Royal Deaths 10 Cruel and Unusual Punishments 10 Notable Executions 12 Elizabethan Insults
During the late eighteenth century, a musical–cultural phenomenon swept the globe. The English square piano—invented in the early 1760s by an entrepreneurial German guitar maker in London—not only became an indispensable part of social life, but also inspired the creation of an expressive and scintillating repertoire. Square pianos reinforced music as life’s counterpoint, and were played by royalty, by musicians of the highest calibre and by aspiring amateurs alike. On Sunday, 13 May 1787, a square piano departed from Portsmouth on board the Sirius, the flagship of the First Fleet, bound for Botany Bay. Who made the First Fleet piano, and when was it made? Who owned it? Who played it, and who listened? What music did the instrument sound out, and within what contexts was its voice heard? What became of the First Fleet piano after its arrival on antipodean soil, and who played a part in the instrument’s subsequent history? Two extant instruments contend for the title ‘First Fleet piano’; which of these made the epic journey to Botany Bay in 1787–88? The First Fleet Piano: A Musician’s View answers these questions, and provides tantalising glimpses of social and cultural life both in Georgian England and in the early colony at Sydney Cove. The First Fleet piano is placed within the musical and social contexts for which it was created, and narratives of the individuals whose lives have been touched by the instrument are woven together into an account of the First Fleet piano’s conjunction with the forces of history. View ‘The First Fleet Piano: Volume Two Appendices’. Note: Volume 1 and 2 are sold as a set ($180 for both) and cannot be purchased separately.
This Compendium gives an outline of the historical, philosophical and ethical aspects of the return of cultural objects (e.g. cultural objects displaced during war or in colonial contexts), cites past and present cases (Maya Temple Facade, Nigerian Bronzes, United States of America v. Schultz, Parthenon Marbles and many more) and analyses legal issues (bona fide, relevant UNESCO and UNIDROIT Conventions, Supreme Court Decisions, procedure for requests etc.). It is a landmark publication that bears testament to the ways in which peoples have lost their entire cultural heritage and analyses the issue of its return and restitution by providing a wide range of perspectives on this subject. Essential reading for students, specialists, scholars and decision-makers as well as those interested in these topics.
A beautifully packaged edition of one of García Márquez's most beloved novels, with never-before-seen color illustrations by the Chilean artist Luisa Rivera and an interior design created by the author's son, Gonzalo García Barcha. In their youth, Florentino Ariza and Fermina Daza fall passionately in love. When Fermina eventually chooses to marry a wealthy, well-born doctor, Florentino is devastated, but he is a romantic. As he rises in his business career he whiles away the years in 622 affairs—yet he reserves his heart for Fermina. Her husband dies at last, and Florentino purposefully attends the funeral. Fifty years, nine months, and four days after he first declared his love for Fermina, he will do so again.
The frames of classical art are often seen as marginal to the images that they surround. Traditional art history has tended to view framing devices as supplementary 'ornaments'. Likewise, classical archaeologists have often treated them as tools for taxonomic analysis. This book not only argues for the integral role of framing within Graeco-Roman art, but also explores the relationship between the frames of classical antiquity and those of more modern art and aesthetics. Contributors combine close formal analysis with more theoretical approaches: chapters examine framing devices across multiple media (including vase and fresco painting, relief and free-standing sculpture, mosaics, manuscripts and inscriptions), structuring analysis around the themes of 'framing pictorial space', 'framing bodies', 'framing the sacred' and 'framing texts'. The result is a new cultural history of framing - one that probes the sophisticated and playful ways in which frames could support, delimit, shape and even interrogate the images contained within.