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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.
Examines the way in which Sophocles' play "Oedipus Tyrannus" and its hero, Oedipus, King of Thebes, were probably received in their own time and place, and relates this to twentieth-century receptions and interpretations, including those of Sigmund Freud.
Alexander the Great, according to Plutarch, carried on his campaigns a copy of the Iliad, kept alongside a dagger; on a more pronounced ideological level, ancient Romans looked to the Aeneid as an argument for imperialism. In this major reinterpretation of epic poetry beginning with Virgil, David Quint explores the political context and meanings of key works in Western literature. He divides the history of the genre into two political traditions: the Virgilian epics of conquest and empire that take the victors' side (the Aeneid itself, Camoes's Lusíadas, Tasso's Gerusalemme liberata) and the countervailing epic of the defeated and of republican liberty (Lucan's Pharsalia, Ercilla's Araucana, and d'Aubigné's Les tragiques). These traditions produce opposing ideas of historical narrative: a linear, teleological narrative that belongs to the imperial conquerors, and an episodic and open-ended narrative identified with "romance," the story told of and by the defeated. Quint situates Paradise Lost and Paradise Regained within these rival traditions. He extends his political analysis to the scholarly revival of medieval epic in the late eighteenth and nineteenth centuries and to Sergei Eisenstein's epic film, Alexander Nevsky. Attending both to the topical contexts of individual poems and to the larger historical development of the epic genre, Epic and Empire provides new models for exploring the relationship between ideology and literary form.
A collection of photographs with commentary, by the renowned artist Brassai, documenting the sordid world of Paris brothels, opium dens, underworld taverns, and other hidden places.
This volume brings together Seth Benardete's studies of Hesiod's Theogony, Homer's Iliad, and Greek tragedy, of eleven Platonic dialogues, and Aristotle's Metaphysics. These essays, some never before published, others difficult to find, span four decades of his work and document its impressive range. Benardete's philosophic reading of the poets and his poetic reading of the philosophers share a common ground that makes this collection a whole. The key, suggested by his reflections on Leo Strauss in the last piece, lies in the question of how to read Plato. Benardete's way is characterized not just by careful attention to the literary form that separates doctrine from dialogue, and speeches from deed; rather, by following the dynamic of these differences, he uncovers the argument that belongs to the dialogue as a whole. The "turnaround" such an argument undergoes bears consequences for understanding the dialogue as radical as the conversion of the philosopher in Plato's image of the cave. Benardete's original interpretations are the fruits of this discovery of the "argument of the action."
Madame D'Aulnoy was one of the most widely-read and most popular authors of her time. Seeing Spain at a strange moment in her history, it is the end of a great age. The reader can judge the Spanish character from a witness who saw it.
Originally published in 1931, Old Families of Louisiana was compiled in response to a demand for a comprehensive series of genealogical records of the foundation families of the state--families whose ancestors settled with Bienville in New Orleans at the time the famous old city was laid out in the crescent bend of the Mississippi River. This book also answers the call for information on those who came to Louisiana when the golden lilies of France, the castellated banner of Spain, the Union Jack of Great Britain, or the flag of fifteen stars and fifteen stripes waved over the land.During the compilation of the original data it became apparent that the present book would be greatly augmented in interest and value by the addition of genealogical records of other prominent foundation families besides the French and Spanish. For this reason, information was included on the English, Scottish, and Irish lineages whose representatives now form an integral part of the present-day population of Louisiana.In the seventy years since its first publication, Old Families of Louisiana has exceeded the original scope intended. In order to set a limit to its range, it was agreed that only those families settling in Louisiana before and up to the time of the beginning of the American domination in 1803 should be included. Old Families of Louisiana traces the genealogy of such traditional Louisiana families as Fortier, Claiborne, Kenner, Percy, Wiltz, Chalmette, Landry, Derbigny, Butler, St. Martin, and Wilkinson.
Reprint of the original, first published in 1842.