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Maurice Ravel's operas L'Heure espagnole (1907/1911) and L'Enfant et les sortilèges (1919–25) are pivotal works in the composer's relatively small œuvre. Emerging from periods shaped by very distinct musical concerns and historical circumstances, these two vastly different works nevertheless share qualities that reveal the heart of Ravel's compositional aesthetic. In this comprehensive study, Emily Kilpatrick unites musical, literary, biographical and cultural perspectives to shed new light on Ravel's operas. In documenting the operas' history, setting them within the cultural canvas of their creation and pursuing diverse strands of analytical and thematic exploration, Kilpatrick reveals crucial aspects of the composer's working life: his approach to creative collaboration, his responsiveness to cultural, aesthetic and musical debate, and the centrality of language and literature in his compositional practice. The first study of its kind, this book is an invaluable resource for students, specialists, opera-goers and devotees of French music.
Erik Satie (1866-1925) was a quirky, innovative and enigmatic composer whose impact has spread far beyond the musical world. As an artist active in several spheres - from cabaret to religion, from calligraphy to poetry and playwriting - and collaborator with some of the leading avant-garde figures of the day, including Cocteau, Picasso, Diaghilev and René Clair, he was one of few genuinely cross-disciplinary composers. His artistic activity, during a tumultuous time in the Parisian art world, situates him in an especially exciting period, and his friendships with Debussy, Stravinsky and others place him at the centre of French musical life. He was a unique figure whose art is immediately recognisable, whatever the medium he employed. Erik Satie: Music, Art and Literature explores many aspects of Satie's creativity to give a full picture of this most multifaceted of composers. The focus is on Satie's philosophy and psychology revealed through his music; Satie's interest in and participation in artistic media other than music, and Satie's collaborations with other artists. This book is therefore essential reading for anyone interested in the French musical and cultural scene of the late nineteenth and early twentieth century.
What is the relationship between fashion and modernity, and how is this unique relationship manifested in the material world? This book considers how the relationship between fashion and modernity tests the very definition of modernity and enhances our understanding of the role of fashion in the modern world.
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.
A comprehensive introduction to the life, music and compositional aesthetic of Maurice Ravel.
Debussy's Late Style explores Claude Debussy's musical responses to World War I. This period of composition encompasses the duration of the war and the last four years of Debussy's life. The works that emerged during this time reflect both wartime events and the composer's self-conscious desire to define his own musical legacy as he felt his life nearing its end. Debussy's complete wartime compositions comprise a small but significant body of works, some little known and some now acknowledged to be among the masterpieces of his career. These include the Berceuse héroïque, En Blanc et noir, the Douze Études, the "Noël des enfants qui n'ont plus de maisons," and the three instrumental sonatas (the Cello Sonata; the Sonata for Flute, Viola, and Harp; and the Violin Sonata). Through music analysis, musicology, and cultural history, this study offers interpretive readings of Debussy's late works, focusing in particular on how they reflect the unique cultural milieu of wartime Paris.
"French Music and Trauma Between the World Wars illustrates that coping with trauma was a central concern for French musicians active after World War I. The losses and violent warfare of World War I shaped how interwar French musicians-from those fighting in the trenches and working in military hospitals to more well-known musicians-engaged with music. Situated at the intersections of musicology, history, sound and performance studies, and psychology and trauma studies, Resonant Recoveries argues that modernists' compositions and musical activities were sonorous locations for managing and performing trauma. Through analysis of archival materials, French medical, philosophical, and literary texts, and the music produced between the wars, this book illuminates how music emerged during World War I as an embodied technology of consolation. Resonant Recoveries demonstrates that music making came to be understood by French interwar musicians as a consolatory practice that enhanced their abilities to remember lost loved ones, gave them opportunities to perform their grief publicly and privately, allowed them to create healing bonds of friendship, and soothed them with sonic vibrations and the rhythmically regular bodily movements required in order to perform many French neoclassical compositions. In revealing the importance music making held for interwar French musicians, this book refigures French modernist music as a therapeutic medium for creators, performers, and audiences, while also underlining the importance of addressing trauma, mourning, and people's emotional lives in music scholarship"--
The Habsburg courtier Charles-Joseph Prince de Ligne seduced and symbolized eighteenth-century Europe. Speaking French, the international language of the day, he travelled between Paris and St Petersburg, charming everyone he met. He stayed with Madame du Barry, dined with Frederick the Great and travelled to the Crimea with Catherine the Great. But Ligne was more than a frivolous charmer. He participated in and recorded some of the most important events and movements of his day: the Enlightenment; the struggle for mastery in Germany; the decline of the Ottoman Empire; the birth of German nationalism; and the wars to liberate Europe from Napoleon. He had surprisingly radical views, believing for example in property rights for women, legal rights for Jews and the redistribution of wealth. He was also a highly respected writer and his books on gardens, his letters from the Crimea and his epigrams are considered minor classics of French literature.
A truly international, authoritative A–Z guide to five centuries of propaganda, in both wartime and peacetime, which covers key moments, techniques, concepts, and some of the most influential propagandists in history. This fascinating survey provides a comprehensive introduction to propaganda, its changing nature, its practitioners, and its impact on the past five centuries of world history. Written by leading experts, it covers the masters of the art from Joseph Goebbels to Mohandas Gandhi and examines enormously influential works of persuasion such as Uncle Tom's Cabin, techniques such as films and posters, and key concepts like black propaganda and brainwashing. Case studies reveal the role of mass persuasion during the Reformation, and wars throughout history. Regional studies cover propaganda superpowers, such as Russia, China, and the United States, as well as little-known propaganda campaigns in Southeast Asia, Ireland, and Scandinavia. The book traces the evolution of propaganda from the era of printed handbills to computer fakery, and profiles such brilliant practitioners of the art as Third Reich film director Leni Riefenstahl and 19th-century cartoonist Thomas Nast, whose works helped to bring the notorious Boss Tweed to justice.
A commitment to modernity is the underlying theme of this volume. Through essays that are interpretive and theoretical, the author seeks to situate the modern in contemporary cultural practice. She sets up an ideological vantage point to view modernism along its multiple tracks in India and the third world.The essays divide into three sections. The first two sections, Artists and ArtWork and Film/Narratives, raise questions of authorship, genre, and contemporary features of national culture that materialize into an aesthetic in the Indian context. The last section, Frames of Reference, formalizes the polemical options developed across the book. The essays here propose resistance to the depoliticization of narratives, and affirm an open-ended engagement with the avant-garde. They explore the possibility of art practice finding its own signifying space that is still a space for radical transformation.Geeta Kapur is an independent art critic and curator living in New Delhi. Her extensive publications on modern Indian art include the book Contemporary Indian Artists (Delhi, 1978), exhibition catalogues and monographs on artists. She is currently writing a monograph on Tyeb Mehta. Her essays on cultural criticism have been widely presented in forums of art history and cultural studies. Her curatorial work includes the show Bombay/Mumbai 1992 2001 in the multi-part exhibition titled Century City: Art and Culture in the Modern Metropolis , at Tate Modern, London, in 2001. Geeta Kapur is a founder-editor of the Journal of Arts & Ideas and advisory editor to Third Text. She has held research fellowships at Indian Institute of Advanced Study, Shimla, Nehru Memorial Museum and Library, New Delhi, and Clare Hall, Cambridge University. For the past three decades, [Geeta Kapur s] has been the singular dominant presence in the field to a point that her writings alone seem to have constituted the whole field of modern Indian art theory and criticism. Tapati Guha-Thakurta, Biblio (Delhi), May June 2001. Geeta Kapur is a magisterial presence in the sphere of modern Indian art. [The] insistence on the primacy of bearing witness to creative practice has been the leitmotif of Kapur s work. . . . Kapur s contribution . . . is best understood by reflection on the radical change that her activity has brought about in Indian art criticism. Ranjit Hoskote, Art India (Mumbai), Vol. VI, 1, 2001. When Was Modernism is a book of essays: imaginative, interpretive, argumentative, polemical, political and, in the combined sense of all these, historical. . . . [It] provides an instance of passionate engagement that, at its best moments, verges on the poetic. Chaitanya Sambrani, ART AsiaPacific (Australia), Issue 30, 2001.