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This volume brings together twenty-two of the most diverse and stimulating journal articles on classical and romantic performing practice, representing a rich vein of enquiry into epochs of music still very much at the forefront of current concert repertoire. In so doing, it provides a wide range of subject-based scholarship. It also reveals a fascinating window upon the historical performance debate of the last few decades in music where such matters still stimulate controversy.
The past ten years have seen a rapidly growing interest in performing and recording Classical and Romantic music with period instruments; yet the relationship of composers' notation to performing practices during that period has received only sporadic attention from scholars, and many aspects of composers' intentions have remained uncertain. Brown here identifies areas in which musical notation conveyed rather different messages to the musicians for whom it was written than it does to modern performers, and seeks to look beyond the notation to understand how composers might have expected to hear their music realized in performance. There is ample evidence to demonstrate that, in many respects, the sound worlds in which Mozart, Beethoven, Wagner, and Brahms created their music were more radically different from ours than is generally assumed.
A radical, lively departure from received notions about art of the Romantic period For many, the term "neoclassicism" has come to imply discipline, order, restraint, and a certain myopia. Leaving the term behind, this book radically challenges enduring assumptions about the art produced from the late 18th century to the early Victorian period, casting new light on appropriations of the classical body by British artists. It is the first to foreground the intersections of gender, race, and class in discussions of British visual classicism, laying bare artists' alternately politicizing and emphatically sensual engagements with Greco-Roman art. Rather than rely exclusively on subsequent scholarship, the book takes up the poet John Keats (1795-1821) as a theoretical framework. Eschewing the "Golden Age" narrative, which sees J. M. W. Turner (1775-1851) as the pinnacle of the period's artistic achievement, the book examines overlooked artists, such as Henry Howard (1769-1847) and John Graham Lough (1798-1876). The result is a fresh account of underappreciated works of British painting and sculpture. Distributed for the Paul Mellon Centre for Studies in British Art
Examines the role that cinema played in imagining Hong Kong and Taiwan's place in the world
The third volume in this ground-breaking series, Persian Narrative Poetry in the Classical Era, 800-1500: Romantic and Didactic Genres, introduces masterpieces of Persian literature from these seven centuries to an international audience. In the process, it underlines the remarkable tenacity of their malleable tradition: the perennial dialogue and the interconnectedness which binds together a vast and varied literature composed of many threads, romantic and didactic, in many lands, from Anatolia and Iran to India and Central Asia. In its companion volume, Persian Lyric in the Classical Era, 800-1500, the readers of the series will have already met in passing all the mythical and historical figures who appear with far more aplomb on the stage here, with their lives narrated in detail by poets of different caliber from different perspectives. The first two chapters of this volume recount the literary history of the entire period, focusing on didactic and romantic narratives. The central chapters take a closer look at the towering figure of the poet Nezâmi Ganjavi. The final chapter takes the reader to a wider landscape tracing the footsteps of Alexander across the globe, offering insights to the cultural preoccupations refracted in so many versions past and present.
A study guide "Romanticism", excerpted from Gale's acclaimed Literary Movements for Students series. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Literary Movements for Students for all of your research needs.
This book interprets films as visual texts and demonstrates the affinities between Greco-Roman literature and the cinema.
This work argues that Rome is relevant to the Romantic period not as the continuation of an earlier neoclassicism, but rather as a concept that is simultaneously transformed and transformative: transformed in the sense that new models of historical thinking produced a changed understandings of historicity itself.
Love stories have always been at the heart of French cinema, but romantic comedies have, until recently, been absent from it. In 2001, the global success of Amelie catalysed a major development in the Western world's second-largest film industry: the appropriation of the 'Hollywood' romantic comedy genre (or Rom-Com a l'Americaine). In From France with Love, Mary Harrod explores this contemporary phenomenon, examining both local hits and films with international status. Using socio-cultural data, box-office figures and analysis of critical reception, she reveals the ways in which these films mirror shifting attitudes towards gender roles within French society, as well as the increasingly important interrelation between French national cinema and transnational filmmaking paradigms.