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Michael Walzer is one of the world’s leading philosophers and political theorists. In addition to his best-known books such as Spheres of Justice, and Just and Unjust Wars, he has contributed to contemporary political debates beyond academia in the New York Times, the New Yorker and Dissent. Reading Walzer is the first book to assess the full range of Walzer’s work. An outstanding team of international contributors consider the following topics in relation to Walzer’s work: the moral standing of nation states individual responsibility and laws governing the conduct of war debates over intervention and non-intervention human and minority rights moral and cultural pluralism equality justice Walzer’s radicalism and role as a critic. All chapters have been specially commissioned for this collection, and Walzer’s responses to his critics makes Reading Walzer essential reading for students of political philosophy and political theory.
The music of the Strauss family – Johann and his three sons, Johann, Josef and Eduard – enjoys enormous popular appeal. Yet existing biographies have failed to do justice to the family's true significance in nineteenth and early twentieth-century musical history. David Wyn Jones addresses this deficiency, engagingly showing that – from Johann's first engagements in the mid-1820s to the death of Eduard in 1916 – the music making of the family was at the centre of Habsburg Viennese society as it moved between dance hall, concert hall and theatre. The Strauss industry at its height was, he demonstrates, greater than any one of the individuals, with serious personal and domestic consequences including affairs, illness, rivalry and fraud. This zesty biography, spanning over a hundred years of history, brings the dynasty brilliantly to life across a large canvas as it offers fresh and revealing insights into the cultural life of Vienna as a whole.
To this day, Johann Strauss, Jr remains one of the most popular composers in his native city of Vienna. In The Legacy of Johann Strauss, Zoë Alexis Lang examines how the reception of Strauss's waltzes played a key role in the construction of twentieth-century Austrian identity. Using press coverage from the centennial celebration of Strauss's birth in Vienna, Lang argues that his music remained popular because it continued to be revitalised by Austrians seeking to define their culture. Revealing the origins of the Vienna Philharmonic's New Year's Concert, Lang considers how Strauss was appropriated as a National Socialist icon in the 1930s and 1940s, and explores the Strauss family's Jewish ancestry, along with the infamous forgery of paperwork about their lineage during the 1940s. This book also includes a case study of Strauss's Emperor Waltz, considering its variegated usage in concerts and films from 1925 to 1953.
Eduard Strauss I (1835–1916), the youngest of the three Strauss brothers – and hence the 'third man' of the family, has always been overshadowed by his siblings Johann II and Josef. However, he was the longest lived and most widely travelled of the three and, as sole conductor and manager of the Strauss Orchestra for thirty years, brought authentic performances of his family's music to audiences in hundreds of towns and cities in Europe and North America. At home in Vienna he made an invaluable contribution to the city's musical and cultural life, while having at the same time to cope with continual tensions and problems within the Strauss family.
The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. He explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music) and "serious" art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in meaning of "popular" provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious. A fresh and persuasive consideration of the genesis of popular music on its own terms, Sounds of the Metropolis breaks new ground in the study of music, cultural sociology, and history.
This book analyzes Leo Strauss's writings on political violence, considering also what he taught in the classroom on this subject.
The volume provides a comprehensive and non-partisan survey of the major themes and problems that constituted Strauss's work.