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Melpomene, muse of Tragedy, has a celestial duty to mankind that no love has ever before challenged. But when a Scottish warrior she has always watched over sacrifices himself for another, she is torn from her path and ready to make her own sacrifice: She will defy fate and her father Zeus to make the ultimate sacrifice and change everything for one courageous Scot... Rowan Stewart is ready and willing to lay down his life for his kinswoman and Queen, but when he awakens after a fatal blow with a beautiful woman crouching over him, he must struggle to understand his new place in his own displaced life. Driven by duty, Rowan strives to keep an oath that will tear him and Melpomene apart forever. But with her love and her life on the line, Melpomene isn't ready to let go. In a journey fraught with Greek Gods, Scottish politics, and fledgling desire, it's a race to see whether love really can conquer all... before it's too late. "I love a story with unexpected twists, striking dialogue and happily ever after endings... Ms. Purington wove together the greatness of Scottish highlanders and Greek gods with seamless believability." ~Reviews by Aithne "The thrusting of Greek gods into Scotland would at first seem like it would be jarring but it works. Melpomene's certainty that Rowan is her true love and Rowan's denial, despite his obvious attraction to her makes good tension." ~ Simply Romance Reviews
Scotland, Britain, Empire takes on a cliché that permeates writing from and about the literature of the Scottish Highlands. Popular and influential in its time, this literature fell into disrepute for circulating a distorted and deforming myth that aided in Scotland's marginalization by consigning Scottish culture into the past while drawing a mist over harsher realities. Kenneth McNeil invokes recent work in postcolonial studies to show how British writers of the Romantic period were actually shaping a more complex national and imperial consciousness. He discusses canonical works--the works of James Macpherson and Sir Walter Scott--and noncanonical and nonliterary works--particularly in the fields of historiography, anthropology, and sociology. This book calls for a rethinking of the "romanticization" of the Highlands and shows that Scottish writing on the Highlands reflects the unique circumstances of a culture simultaneously feeling the weight of imperial "anglobalization" while playing a vital role in its inception. While writers from both sides of the Highland line looked to the traditions, language, and landscape of the Highlands to define their national character, the Highlands were deemed the space of the primitive--like other spaces around the globe brought under imperial sway. But this concern with the value and fate of indigenousness was in fact a turn to the modern.
Through a dizzying array of references to subjects ranging from engineering to poetry, on-the-job experiences in academia and industry, conflicts between working-class and intellectual labor, the privatization of universities, and the contradictions of the modern environment, Joe Amato’s Industrial Poetics mounts a boisterous call for poetry communities to be less invested in artistic self-absorption and more concerned about social responsibility.s Amato focuses on the challenges faced by American poets in creating a poetry that speaks to a public engineered into complacency by those industrial technologies, practices, and patterns of thought that we cannot seem to do without, he brings readers face to face with the conflicting realities of U.S. intellectual, academic, and poetic culture. Formally adventurous and rhetorically lively, Industrial Poetics is best compared with the intellectually exploratory, speculative, risky, polemical work of other contemporary poet-critics including Kathleen Fraser, Joan Retallack, Bruce Andrews, Susan Howe, and Allen Grossman. Amato uses an exhilarating range of structural and rhetorical strategies: conventionally developed argument, abruptly juxtaposed aphorisms, personal narrative, manifesto-like polemic, and documentary reportage. With a critic’s sharply analytical mind, a poet’s verve, and a working-class intellectual’s sense of social justice, Amato addresses the many nonliterary institutions and environments in which poetry is inextricably embedded. By connecting poetry to industry in a lively demonstration against the platitudes and habitudes of the twentieth century, Amato argues for a reenergized and socially forceful poetics---an industrial poetics, rough edges and all. Jed Rasula writes, “I can’t say I pay much attention to talk radio, but this is what I imagine it might be like if the deejay were really smart, enviably well read, yet somehow retained the snarling moxie of the am format.”
List of members in each vol.
As one of the foremost composers, conductors, and pianists of the nineteenth century, Felix Mendelssohn played a fundamental role in the shaping of modern musical tastes through his contributions to the early music revival and the formation of the Austro-German musical canon. His career allows for a remarkable meeting point for critical engagement with a host of crucial issues in the last two centuries of music history, including the relation between musical meaning and social function, programmatic and absolute music, notions of classicism and Romanticism, modernism and historicism. It also serves as a pertinent case-study of the roles political ideology, racism, and musical ignorance may play in creating and perpetuating a composer's posthumous reception. Fittingly, Rethinking Mendelssohn focuses on critical engagement with the composer's music and aesthetics, and on the interpretation of his works in relation to contemporaneous culture. Building on the renaissance in Mendelssohn scholarship of the last two decades, Rethinking Mendelssohn sets a fresh and exciting tone for research on the composer. Opening new ways of understanding Mendelssohn and setting the future direction of Mendelssohn studies, the contributing scholars pay particular attention to Mendelssohn's contested views on the relationship between art and religion, analysis of Mendelssohn's instrumental music in the wake of recent controversies in Formenlehre, and the burgeoning interest in his previously neglected contribution to the German song.
Music played an important role in the social life of nineteenth-century Europe, and music in the home provided a convenient way to entertain and communicate among friends and colleagues. String chamber music, in particular, fostered social interactions that helped build communities within communities. Marie Sumner Lott examines the music available to musical consumers in the nineteenth century, and what that music tells us about their tastes, priorities, and activities. Her social history of chamber music performance places the works of canonic composers such as Schubert, Brahms, and Dvoøák in relation to lesser-known but influential peers. The book explores the dynamic relationships among the active agents involved in the creation of Romantic music and shows how each influenced the others' choices in a rich, collaborative environment. In addition to documenting the ways companies acquired and marketed sheet music, Sumner Lott reveals how the publication and performance of chamber music differed from that of ephemeral piano and song genres or more monumental orchestral and operatic works. Several distinct niche markets existed within the audience for chamber music, and composers created new musical works for their use and enjoyment. Insightful and groundbreaking, The Social Worlds of Nineteenth-Century Chamber Music revises prevailing views of middle-class influence on nineteenth-century musical style and presents new methods for interpreting the meanings of musical works for musicians both past and present.
During the years 1500–1800, European performing arts reveled in a kaleidoscope of Otherness: Middle-Eastern harem women, fortune-telling Spanish 'Gypsies', Incan priests, Barbary pirates, moresca dancers, and more. In this prequel to his 2009 book Musical Exoticism, Ralph P. Locke explores how exotic locales and their inhabitants were characterized in musical genres ranging from instrumental pieces and popular songs to oratorios, ballets, and operas. Locke's study offers new insights into much-loved masterworks by composers such as Cavalli, Lully, Purcell, Rameau, Handel, Vivaldi, Gluck, and Mozart. In these works, evocations of ethnic and cultural Otherness often mingle attraction with envy or fear, and some pieces were understood at the time as commenting on conditions in Europe itself. Locke's accessible study, which includes numerous musical examples and rare illustrations, will be of interest to anyone who is intrigued by the relationship between music and cultural history, and by the challenges of cross-cultural (mis)understanding.