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An examination of the role of sound in twentieth-century arts. This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it—to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.
First published in Germany in 1929, The End and the Beginning is a lively personal memoir of a vanished world and of a rebellious, high-spirited young woman's struggle to achieve independence. Born in 1883 into a distinguished and wealthy aristocratic family of the old Austro-Hungarian Empire, Hermynia Zur Muhlen spent much of her childhood travelling in Europe and North Africa with her diplomat father. After five years on her German husband's estate in czarist Russia she broke with both her family and her husband and set out on a precarious career as a professional writer committed to socialism. Besides translating many leading contemporary authors, notably Upton Sinclair, into German, she herself published an impressive number of politically engaged novels, detective stories, short stories, and children's fairy tales. Because of her outspoken opposition to National Socialism, she had to flee her native Austria in 1938 and seek refuge in England, where she died, virtually penniless, in 1951. This revised and corrected translation of Zur Muhlen's memoir - with extensive notes and an essay on the author by Lionel Gossman - will appeal especially to readers interested in women's history, the Central European aristocratic world that came to an end with the First World War, and the culture and politics of the late nineteenth and early twentieth centuries.
In November 1939 Madeleine Blaess, a French-born, British-raised student, set off for Paris to study for a doctorate in Medieval French literature at the Sorbonne. In June 1940, the German invasion cut off her escape route to the ports, preventing her return to Britain. She was forced to remain in France for the duration of the Occupation and in October 1940 began to write a diary. Intended initially as a replacement letter to her parents in York, she wrote it in French and barely missed an entry for almost four years. Madeleine’s diary is unique as she wrote it to record as much as she could about everyday life, people and events so she could use these written traces to rekindle memories later for the family from whom she had been parted. Many diaries of that era focus on the political situation. Madeleine’s diary does reflect and engage with military and political events. It also provides an unprecedented day-by-day account of the struggle to manage material deprivation, physical hardship, mental exhaustion and depression during the Occupation. The diary is also a record of Madeleine’s determination to achieve her ambition to become a university academic at a time when there was little encouragement for women to prioritise education and career over marriage and motherhood. Her diary is edited and translated here for the first time.
A handbook on polyolefins. This second edition includes new material on the structure, morphology and properties of polyolefin (PO) synthesis. It focuses on synthetic advances, the use of additives, special coverage of PO blends, composites and fibres, and surface treatments. It also addresses the problem of interfacial and superficial phenomena.
The J. Paul Getty Museum Journal 18 is a compendium of articles and notes pertaining to the Museum's permanent collections of antiquities, illuminated manuscripts, paintings, and sculpture and works of art. This volume includes a supplement introduced by John Walsh with a fully illustrated checklist of the Getty’s recent acquisitions. Volume 18 includes articles written by Anthony Cutler, David A. Scott, Maya Elston, Ranee Katzenstein, Ariane can Suchtelen, Klaus Fittschen, Peggy Fogelman, and Catherine Hess.
Composer and performer Alvin Lucier brings clarity to the world of experimental music as he takes the reader through more than a hundred groundbreaking musical works, including those of Robert Ashley, John Cage, Charles Ives, Morton Feldman, Philip Glass, Pauline Oliveros, Steve Reich, Christian Wolff, and La Monte Young. Lucier explains in detail how each piece is made, unlocking secrets of the composers' style and technique. The book as a whole charts the progress of American experimental music from the 1950s to the present, covering such topics as indeterminacy, electronics, and minimalism, as well as radical innovations in music for the piano, string quartet, and opera. Clear, approachable and lively, Music 109 is Lucier's indispensable guide to late 20th-century composition. No previous musical knowledge is required, and all readers are welcome.
Although the novel, V oyages el avantures de] aques Masse, caused some thing of a stir during the first half of the eighteenth century, its author, Simon Tyssot de Patot (1655-1738), remained largely unknown in his lifetime, and it is only in this century that he has been recognized as one of the countless soldiers in the vast army of philosophes that assaulted the bastions of religious, political and sodallife in Europe of the late seven 1 teenth and early eighteenth centuries. Tyssot was a Huguenot who lived most of his life in Holland where he pursued a career as professor of mathematics in the sodal and cultural 1 Tyssot and his work seem to have been first brought to the attention of modem writers by the German critics during their investigation of the type of desert island or robinsonade literature that preceded and followed Defoe's Robinson Crusoe. The earliest reference I have found occurs in A. Kippenberg, Robinson in Deutschland bis zur Insel Felsenburg (1713-43), Hanover, 1892, pp. 66-67. Tyssot's name and work appear to have been first linked with the development of socialism in A. Lichtenberger, Le Socialisme au XVIIIe siecle, Paris, 1895, p. 44. Tyssot's Voyages et avantures de]aques Masse was discussed for its literary merits in A. LeBreton, Le Roman au dix huitieme siecle, Paris, 1898. LeBreton did not know that Tyssot was the author.