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Western music reached China nearly four centuries ago, with the arrival of Christian missionaries, yet only within the last century has Chinese music absorbed its influence. As China and the West demonstrates, the emergence of “Westernized” music from China—concurrent with the technological advances that have made global culture widely accessible—has not established a prominent presence in the West. China and the West brings together essays on centuries of Sino-Western musical exchange by musicologists, ethnomusicologists, and music theorists from around the world. It opens with a look at theoretical approaches of prior studies of musical encounters and a comprehensive survey of the intercultural and cross-cultural theoretical frameworks—exoticism, orientalism, globalization, transculturation, and hybridization—that inform these essays. Part I focuses on the actual encounters between Chinese and European musicians, their instruments and institutions, and the compositions inspired by these encounters, while Part II examines theatricalized and mediated East-West cultural exchanges, which often drew on stereotypical tropes, resulting in performances more inventive than accurate. Part III looks at the musical language, sonority, and subject matters of “intercultural” compositions by Eastern and Western composers. Essays in Part IV address reception studies and consider the ways in which differences are articulated in musical discourse by actors serving different purposes, whether self-promotion, commercial marketing, or modes of nationalistic—even propagandistic—expression. The volume’s extensive bibliography of secondary sources will be invaluable to scholars of music, contemporary Chinese culture, and the globalization of culture.
Essays on a variety of medieval women, which will grant readers a more complete view of medieval women’s lives broadly speaking. These essays largely take a new perspective on their subjects, pushing readers to reconsider preconceived notions about medieval women, authority, and geography. This book will expand the knowledge base of our readers by introducing them to non-canonical and non-European subjects.
The term 'Augustinianism' has been used by scholars for over a century to refer to trends in medieval philosophy, theology, and politics, which had a major effect on the transformations of European culture and society from the Middle Ages to the onset of modernity. Yet in each of these three disciplines 'Augustinianism' means something different, and the lack of clarity only increases when the debates over the relationship between a late medieval Augustinianism and Martin Luther are considered as well. Based on historical, philological, and iconographic analysis, this study adopts a hermeneutical approach drawn from philosophical hermeneutics, religious studies, and literary and sociological theory to argue for a historical, as distinct from a philosophical or theological referent for the term 'Augustinianism'. The interpretation of Augustine and of a late medieval Augustinianism can only be based historically on the newly created image of Augustine discerned in the writings of the Augustinian Hermits in the early fourteenth century. Recognising the diverse dimensions of this created image is requisite to a historical understanding of Augustine's late medieval reception and impact. Understanding Augustine as a 'created' saint has implications for a wider understanding of Augustine's influence stretching on beyond the later Middle Ages up until the present day.
This is a collection of twenty-two essays by an eminent philosopher, critic, and theorist that appeared between 1971 and 1992. The book interrogates the theory and practice of representation as it is carried out by both linguistic and graphic signs, and thus the complex relation between language and image, between perception and conception.
Covers receipts and expenditures of appropriations and other funds.
The last two decades have witnessed the growing participation in theological dialogues of non-institutional (free church) movements. This poses a serious challenge to 21st century ecumenism, since ecclesial realities and internal diversity of these movements impede fruitful dialogue in the classical manner. The present volume addresses fundamental aspects of this challenge by a critical study of an exemplary case of such dialogues, the International Roman Catholic-Classical Pentecostal Dialogue (1972-2007). This unique study builds both on primary archival sources and on earlier research on the IRCCPD. After providing an ecumenical profile of the Classical Pentecostal dialogue partner, Creemers demonstrates how fair representation of the Classical Pentecostal movement has been pursued in the course of the dialogue. Next, he gives attention to the ecumenical method of the IRCCPD. First, the development of a dialogue method hinging on “hard questions” is traced, which has allowed a balanced theological exchange between the dialogue partners. Regarding theological method, it is demonstrated that both partners showed a willingness to experiment together by integrating sources of theological knowledge typically distrusted in their own traditions. In conclusion, the analyses are integrated in an overview of challenges and opportunities for dialogue with the Classical Pentecostal movement in the context of ongoing discussions on ecumenical method.
Poetry on Stage focuses on exchanges between the writers of the Italian neo-avant-garde with the actors, directors, and playwrights of the Nuovo Teatro. The book sheds light on a forgotten chapter of twentieth-century Italian literature, arguing that the theatre was the ideal incubator for stylistic and linguistic experiments and a means through which authors could establish direct contact with their audience and verify solutions to the practical and theoretical problems raised by their stances in politics and poetics. A robust analysis of a number of exemplary texts grounds these issues in the plays and poems produced at the time and connects them with the experimentations subsequently carried out by some of the same artists. In-depth interviews with four of the most influential figures in the field – critic Valentina Valentini, actor and director Pippo Di Marca, author Giuliano Scabia, and the late poet Nanni Balestrini – conclude the volume, providing invaluable first-hand testimony that brings to life the people and controversies discussed.