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Im Mai 1926 erschoss in Paris ein jüdischer Emigrant aus der Ukraine, der Uhrmacher Scholem Schwarzbard, den ehemaligen Präsidenten der Ukrainischen Nationalrepublik, Symon Petljura. Siebzehn Monate später wurde Schwarzbard von einem Pariser Gericht freigesprochen, obwohl er die Tat gestanden und nicht auf mildernde Umstände plädiert hatte. Das Attentat und der Prozess, in dem die tausendfachen Morde an den Juden der Ukraine im Jahr 1919 zur Sprache kamen, erregten öffentliche Aufmerksamkeit in Frankreich und der gesamten Welt. Sie schlugen sich wesentlich auf die Beziehungen zwischen Juden und Ukrainern, den zwei größten staatenlosen nationalen Minderheiten Europas, nieder.Der Band vereint neu entdeckte Archivalien in acht Sprachen sowie journalistische Beiträge aus französischen, deutschen, ukrainischen, russischen, hebräischen, jiddischen und amerikanischen Zeitungen und Zeitschriften. Damit wird diese historische Episode aus zahlreichen Perspektiven beleuchtet. Eine ausführliche Einleitung und ein umfassender Anmerkungsapparat setzen diese komplizierte und vielschichtige Geschichte in ihren historischen Kontext und helfen Lesern den Ablauf der Geschehnisse und deren Bedeutung für die unterschiedlichen Gruppen zu verstehen, die wesentlichen Anteil an ihnen hatten.
As an American author who chose to live in Europe, Henry James frequentlywrote about cultural differences between the Old and New World. Theplight of bewildered Americans adrift on a sea of European sophisticationbecame a regular theme in his fiction.This collection of twenty-four papers from some of the world's leadingJames scholars offers a comprehensive picture of the author's crossculturalaesthetics. It provides detailed analyses of James's perception ofEurope - of its people and places, its history and culture, its artists andthinkers, its aesthetics and its ethics - which ultimately lead to a profoundreevaluation of his writing.With in-depth analysis of his works of fiction, his autobiographical andpersonal writings, and his critical works, the collection is a major contribution to current thinking about James, transtextuality and cultural appropriation.
Twenty-one essays examining the relationship of surrealist thought to architectural theory and practice.
Triple Entendre discusses the rise and spread of background music in contexts as diverse as office workplaces, shopping malls, and musical performance. Hervé Vanel examines background music in several guises, beginning with Erik Satie's "Furniture Music" of the late 1910s and early 1920s, which first demonstrated the idea of a music not meant to be listened to and was later considered a precedent to modern, functional background music. Vanel argues that when the Muzak Corporation's commercialized ambient music became a predominant feature of modern life in the 1940s--both as a brand and a genre of background music--it also became a powerful instrument of social engineering in an advanced capitalist society. Different kinds of music were developed to encourage or incite greater productivity in the workplace, more energetic shopping, or more animated socializing. Vanel's discussion culminates in the creative response of the composer John Cage to the pervasiveness and power of background music in contemporary society. Cage neither opposed nor rejected Muzak, but literally answered its challenge by formulating a parallel concept that he called "Muzak-Plus." Forty years after Satie presented his work to general critical puzzlement, Cage saw how background music could be combined with mid-century technology and theories of art and performance to create a participatory soundscape on a scale that Satie could not have envisioned, again reconfiguring the listener's stance to music. By examining the subterranean connections existing between these three formulations of a singular idea, Triple Entendre analyzes and challenges the crucial boundary that separates an artistic concept from its actual implementation in life.
"Bringing these writings together for the first time, Salam Pax: The Clandestine Diary of an Ordinary Iraqi provides one of the most gripping accounts of the Iraqi conflict."--Jacket.
The author recounts his experiences in building collections of rare books and manuscripts of French literature, and reveals little-known facts about French artists, composers, and writers.
Jody Blake demonstrates in this book that although the impact of African-American music and dance in France was constant from 1900 to 1930, it was not unchanging. This was due in part to the stylistic development and diversity of African-American music and dance, from the prewar cakewalk and ragtime to the postwar Charleston and jazz. Successive groups of modernists, beginning with the Matisse and Picasso circle in the 1900s and concluding with the Surrealists and Purists in the 1920s, constructed different versions of la musique and la danse negre. Manifested in creative and critical works, these responses to African-American music and dance reflected the modernists' varying artistic agendas and historical climates.