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In a book addressing those interested in the transformation of monarchy into the modern state and in intersections of gender and political power, Katherine Crawford examines the roles of female regents in early modern France. The reigns of child kings loosened the normative structure in which adult males headed the body politic, setting the stage for innovative claims to authority made on gendered terms. When assuming the regency, Catherine de Medicis presented herself as dutiful mother, devoted widow, and benign peacemaker, masking her political power. In subsequent regencies, Marie de Medicis and Anne of Austria developed strategies that naturalized a regendering of political structures. They succeeded so thoroughly that Philippe d'Orleans found that this rhetoric at first supported but ultimately undermined his authority. Regencies demonstrated that power did not necessarily work from the places, bodies, or genders in which it was presumed to reside. While broadening the terms of monarchy, regencies involving complex negotiations among child kings, queen mothers, and royal uncles made clear that the state continued regardless of the king--a point not lost on the Revolutionaries or irrelevant to the fate of Marie-Antoinette.
This book analyzes the economic challenges facing symphony orchestras and contrasts the experience of orchestras in the United States (where there is little direct government support) and abroad (where governments typically provide large direct subsidies). Robert J. Flanagan explains the tension between artistic excellence and financial jeopardy that confronts most symphony orchestras. He analyzes three complementary strategies for addressing orchestras' economic challenges—raising performance revenues, slowing the growth of performance expenses, and increasing nonperformance income—and demonstrates that none of the three strategies alone is likely to provide economic security for orchestras.
An innovative analysis of the representational strategies that constructed Catherine de’ Medici and sought to explain her behaviour and motivations.
The Process That Is the World grapples with John Cage not just as a composer, but as a philosopher advocating for an ontology of difference in keeping with the kind posited by Gilles Deleuze. Cage's philosophy is not simply a novel method for composition, but an extensive argument about the nature of reality itself, the construction of subjects within that reality, and the manner in which subjectivity and a self-creative world exist in productive tension with one another. Over the course of the study, these themes are developed in the realms of the ontology of a musical work, performance practices, ethics, and eventually a study of Cagean politics and the connection between aesthetic experience and the generation of new forms of collective becoming-together. The vision of Cage that emerges through this study is not simply that of the maverick composer or the “inventor of genius,” but of a thinker and artist responding to insights about the world-as-process as it extends through the philosophical, artistic, and ethical registers: the world as potential for variance, reinvention, and permanent revolution.
The Pulpit Commentary was first published between 1880 and 1919 and is a highly respected work written by conservative, trustworthy men. Containing over 22,000 pages and 95,000 entries, it is one of the largest and best-selling homiletic commentary sets of all time. It was directed by editors Joseph Exell and Henry Donald Maurice Spence-Jones and utilized more than 100 authors over a 30-year span. When reading this commentary, it is not difficult to see why it has remained a favorite amongst pastors for more than 100 years. There are three key elements which set this apart from its contemporaries, the first being that it gives an exposition, or verse-by-verse, annotation of each verse in the Bible. The second element is that it explores the framework of the text, the homiletics. Finally, it supplies the homilies with multiple model sermons from various authors. Also included is a translation as well as historical and geographical information. The Evangelical Magazine and Missionary Chronicle declared, “This commentary bids fair to take a conspicuous place among the ever-multiplying aids to the study of the Holy Scriptures. It will revive the great work of Lange, and will far exceed the Speaker's Commentary in the bulk and fullness of its material. The peculiarity of the Pulpit Commentary is that it offers special assistance to the preacher: first by giving him a critical and exegetical exposition of the text of Scripture, and then providing him with succinct and helpful directions as to the preachable aspects of the chapter and paragraph already explained." The print edition of this set typically retails for more than $1,000 making the current offered price a very good bargain. Due to its size, it has been broken up into nine separate volumes: Volume 1 Genesis to Joshua Volume 2 Judges to 2 Kings Volume 3 1 Chronicles to Job Volume 4 Psalms to Song of Songs Volume 5 Isaiah to Daniel Volume 6 Hosea to Malachi Volume 7 Matthew to John Volume 8 Act to Philippians Volume 9 Colossians to Revelation The footnotes have been placed in line with the text with each footnote number enclosed in red brackets (i.e.: []) and the text in green. There is also a linked table of contents at the beginning of each volume for ease of navigation. Key Features * Over 22,000 pages with more than 95,000 entries * One of the largest and exhaustive commentary sets of its kind * Contributions from over 100 authors * Expositions—with thorough verse-by-verse commentary of each verse of the Bible * Homiletics—with the framework or overall look of the text * Homilies—four to six sample sermons from various authors * Detailed information on Biblical customs * Historical and geographical information * Translations of key Hebrew and Greek words All 23 Volumes of the printed version are included in these nine volumes. 1. Genesis/Exodus 2. Leviticus/Numbers 3. Deuteronomy/Joshua/Judges 4. Ruth/1&2 Samuel 5. 1&2 Kings 6. 1&2 Chronicles 7. Ezra/Nehemiah/Esther/Job 8. Psalms 9. Proverbs/Ecclesiastes/Song of Solomon 10. Isaiah 11. Jeremiah/Lamentations 12. Ezekiel 13. Daniel/Hosea/Joel 14. Amos - Malachi 15. Matthew 16. Mark/Luke 17. John 18. Acts/Romans 19. 1&2 Corinthians 20. Galatians - Colossians 21. 1&2 Thessalonians - James 22. 1&2 Peter - Revelation
Exploiting the turbulence and strife of sixteenth-century France, the House of Guise arose from a provincial power base to establish themselves as dominant political players in France and indeed Europe, marrying within royal and princely circles and occupying the most important ecclesiastical and military positions. Propelled by ambitions derived from their position as cadets of a minor sovereign house, they represent a cadre of early modern elites who are difficult to categorise neatly: neither fully sovereign princes nor fully subject nobility. They might have spent most of their time in one state, France, but their interests were always ’trans-national’; contested spaces far from the major centres of monarchical power - from the Ardennes to the Italian peninsula - were frequent theatres of activity for semi-sovereign border families such as the Lorraine-Guise. This nexus of activity, and the interplay between princely status and representation, is the subject of this book. The essays in this collection approach Guise aims, ambitions and self-fashioning using this ’trans-national’ dimension as context: their desire for increased royal (rather than merely princely) power and prestige, and the use of representation (visual and literary) in order to achieve it. Guise claims to thrones and territories from Jerusalem to Naples are explored, alongside the Guise ’dream of Italy’, with in-depth studies of Henry of Lorraine, fifth Duke of Guise, and his attempts in the mid-seventeenth century to gain a throne in Naples. The combination of the violence and drama of their lives at the centres of European power and their adroit use of publicity ensured that versions of their strongly delineated images were appropriated by chroniclers, playwrights and artists, in which they sometimes featured as they would have wished, as heroes and heroines, frequently as villains, and ultimately as characters in the narratives of national heritage.