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As World War II erupted in Europe, the Bueschke family left their home in Poland, fleeing first to Germany and then to Canada and the United States. This is the story of their journey and of the longing for things that were lost or taken along the way.
Inside Pierrot lunaire: Performing the Sprechstimme in Schoenberg's Masterpiece is a handbook on the performance and interpretation of the recitation in Arnold Schoenberg's Pierrot lunaire, op. 21. Presenting a guide for the listener and an aid to the interpreter of the 21 melodramas, the book provides an original English translation of each poem, annotated with references to other poems in the cycle, including some of the texts Schoenberg omitted. The volume also offers an analysis of the Sprechstimme in each melodrama in the context of the surrounding texture and directed by the principles of analysis Schoenberg established in his essays and lectures. Inside Pierrot lunaire makes a case for the importance of the notated pitches in a correct performance of the Sprechstimme. Acclaimed singer Phyllis Bryn-Julson and music theorist Paul Mathews provide a method for performing the Sprechstimme that considers Schoenberg's performing directions, his sometimes-contradictory statements, the recording Schoenberg conducted in 1939, and the burgeoning scholarship on speech-melody. Bryn-Julson and Mathews also examine the role played by Albertine Zehme, the singing actress who commissioned Pierrot, whose part in its creation has been minimized in previous studies. The discussion of Sprechstimme is informed by a genuine oral tradition running from Eduard Steuermann, the pianist who coached Zehme's premiere of the piece, to Ms. Bryn-Julson's own interpretation. The volume also provides a bibliography of sources and an index.
First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
Between ten thousand and twelve thousand Jews tried to escape Nazi genocide by going into hiding. With the help of Jewish and non-Jewish relatives, friends, or people completely unknown to them, these "U-boats," as they came to be known, dared to lead a life underground. Flight and Concealment brings to light their hidden stories. Deftly weaving together personal accounts with a broader comparative look at the experiences of Jews throughout Germany, historian Susanna Schrafstetter tells the story of the Jews in Munich and Upper Bavaria who fled deportation by going underground. Archival sources and interviews with survivors and with the Germans who aided or exploited them reveal a complex, often intimate story of hope, greed, and sometimes betrayal. Flight and Concealment shows the options and strategies for survival of those in hiding and their helpers, and discusses the ways in which some Germans enriched themselves at the expense of the refugees.
Written in a theopoetic key, this book challenges Christian reliance on the motif of promise, especially where promise is regarded as a prerequisite for the experience of hope. It pursues instead an unpromising hope available to the agnostic or belief-fluid members and leaders of faith communities. The book rejects any theological judgement about doubt and hopelessness being sinful. It also rejects any hope which is grounded in a sense of Christian supremacy. Chapter 1 focuses on Ernst Bloch’s antifascist concept of utopian surplus, putting Bloch in conversation with queer theorist José Esteban Muñoz and womanist theologian M. Shawn Copeland. Chapter 2 explores the saudadic and theopoetic hope of Rubem Alves. Chapter 3 turns to the womanist theologies of Delores Williams, Emilie Townes, and A. Elaine Brown Crawford. Finally, chapter 4 engages the post-colonial eschatology of Vítor Westhelle, framing hope as nearby in space, rather than nearby in time. Each chapter offers an unpromising hope that may be tapped into by those who wish to affirm belief-fluidity in their own communities, and by those who wish to speak of hope honestly, whether or not, at any given moment, they believe in God or in the promises of a god.