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While European powers were at war with the Ottoman Empire for much of the eighteenth century, European opera houses were staging operas featuring singing sultans and pashas surrounded by their musical courts and harems. Mozart wrote The Abduction from the Seraglio. Rossini created a series of works, including The Italian Girl in Algiers. And these are only the best known of a vast repertory. This book explores how these representations of the Muslim Ottoman Empire, the great nemesis of Christian Europe, became so popular in the opera house and what they illustrate about European–Ottoman international relations. After Christian armies defeated the Ottomans at Vienna in 1683, the Turks no longer seemed as threatening. Europeans increasingly understood that Turkish issues were also European issues, and the political absolutism of the sultan in Istanbul was relevant for thinking about politics in Europe, from the reign of Louis XIV to the age of Napoleon. While Christian European composers and publics recognized that Muslim Turks were, to some degree, different from themselves, this difference was sometimes seen as a matter of exotic costume and setting. The singing Turks of the stage expressed strong political perspectives and human emotions that European audiences could recognize as their own.
An Italian journalist gets wrapped up in the criminality and cultural controversies of modern Turin in this “very funny” satirical novel (The New York Times). It’s October 2006. The northern Italian town of Turin has been rocked by a series of murders involving Albanians and Romanians, and journalist Enzo Laganà is determined to get to the bottom of the crime wave—even if he must invent a few sources to do so. But first he’s been conscripted to mediate the issue of a pig running loose in a mosque. Gino the pig belongs to Enzo’s Nigerian immigrant neighbor, Joseph. The Muslim community wants Gino killed, an animal rights group wants him saved, and Joseph is pleading his pig’s innocence. As Enzo navigates various calamities large and small, he scrambles to keep track of his lies even as he uncovers some uncomfortable truths about contemporary, multicultural Italy. “This very funny novel examines a town’s heightened ignorance and hostility toward foreigners, and what it means to be a “true” Italian, even if the native in question is a small pig.” —The New York Times
The immigrant tenants of a building in Rome offer skewed accounts of a murder in this prize-winning satire by the Algerian-born Italian author (Publishers Weekly). Piazza Vittorio is home to a polyglot community of immigrants who have come to Rome from all over the world. But when a tenant is murdered in the building’s elevator, the delicate balance is thrown into disarray. As each of the victim’s neighbors is questioned by the police, readers are offered an all-access pass into the most colorful neighborhood in contemporary Rome. With language as colorful as the neighborhood it describes, each character takes his or her turn “giving evidence.” Their various stories reveal much about the drama of racial identity and the anxieties of a life spent on society’s margins, but also bring to life the hilarious imbroglios of this melting pot Italian culture. “Their frequently wild testimony teases out intriguing psychological and social insight alongside a playful whodunit plot.” —Publishers Weekly
Translated for the first time into English, this collection of short fiction by one of the leading writers of North Africa details the plight of Algerian women and raises far-reaching issues that speak to us all. Women of Algiers quickly sold out its first printing of 15,000 in France and was hugely popular in Italy, but the book was denounced in Algeria for its criticism of the postcolonial socialist regime, which denied and subjugated women even as it celebrated the liberation of men. It was the first work to do so openly. These stylistically innovative, lyrical stories address the cloistering of women, the implications of reticence, and the significance of language and its connection to oppression (Djebar calls official Arabic "an authoritarian language that is simultaneously the language of men"). Mixing newly written pieces with older ones, Djebar attempts "to bring the past into a dialogue with the present". The stories raise issues surrounding this passage from colonial to postcolonial culture - national literature, cultural authenticity, and the impact of war on both men and women. The book's title comes from a Delacroix painting that depicts a unique glimpse of the harem, an emblem of the dual violation of Algerian women, both colonial and gendered.
In the second volume of his epic trilogy about the liberation of Europe in World War II, Pulitzer Prize-winning author Atkinson tells the harrowing story of the campaigns in Sicily and Italy.
Winner of the 2015 NSW Premier’s Literary Awards, Christina Stead Prize for Fiction and ACT Book of the Year Award. Paris: 1989. Recently retired Inspector of Police Auguste Jovert receives a letter from a woman who claims to be his daughter. Two days later, a stranger comes knocking on his door. Set in Paris and Japan, The Snow Kimono tells the stories of Inspector Jovert, former Professor of Law Tadashi Omura, and his one-time friend the writer Katsuo Ikeda. All three men have lied to themselves, and to each other. And these lies are about to catch up with them. A quarter of a century after the award-winning bestseller Out of the Line of Fire, Mark Henshaw returns with an intricate psychological thriller that is also an unforgettable meditation on love and loss, on memory and its deceptions, and the ties that bind us to others. Mark Henshaw has lived in France, Germany, Yugoslavia and the USA. He currently lives in Canberra. His first novel, Out of the Line of Fire (1988), won the FAW Barbara Ramsden Award and the NBC New Writers Award. It was one of the biggest selling Australian literary novels of the decade and has been re-released as a Text Classic. The Snow Kimono won the 2014 NSW Premier’s Award for Fiction and Mark Henshaw was the 2015 winner of the Copyright Agency’s Author Fellowship. ‘With agile intelligence, with boldness in what he has imagined and tight control over how it is developed, Henshaw has announced triumphantly that he is no longer a ghost on the Australian literary scene, but one of its most substantial talents.’ Australian ‘Gripping...Like a Japanese puzzle, prized for their infinite solutions and depth of revelation, each chapter builds on the one before, unfolding through levels of story to unpack deeper and deeper truths...Henshaw’s ability to combine such cultural and aesthetic diversity in his fiction is not only an example of what a period of dedicated study can do, but a marker of his ability as a writer.’ Guardian ‘Henshaw’s prose [is] luminous and crisp, like the snowy countryside of Japan or the barren lanes of Algiers...When I finished The Snow Kimono, I raised my head, vaguely surprised that I was at home, in familiar surrounds, and it was still daylight outside. I turned straight back to page one and began again.’ Saturday Paper ‘Henshaw’s effects are consistently magical...[He] has perfected a particular technique for the scenes set in Japan, one we might call leisurely lyricism.’ Sydney Morning Herald ‘A confident, complex, ludic and engrossing performance that will make readers glad Henshaw is back...With agile intelligence, with boldness in what he has imagined and tight control over how it is developed, Henshaw has announced triumphantly that he is no longer a ghost on the Australian literary scene, but one of its most substantial talents.’ Weekend Australian ‘The writing is beautiful: pellucid and wonderfully visual, painting memorable landscape cameos. The reader is compliant, willingly engaged with a story that starts in medias res and branches in unexpected and seemingly unconnected yet complementary directions, ending with a twist that is hard to get one’s head around.’ Adelaide Advertiser ‘An exquisitely written puzzle.’ Jennifer Byrne, Australian Women’s Weekly ‘A triumph.’ Salty Popcorn ‘Henshaw doesn’t offer the easy satisfactions of much puzzle-literature, but the many turns and shifts make for a constantly engaging read...An interesting, engaging work...Fascinating.’ Complete Review
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It's 2005. The Italian secret service has received intel that a group of Muslim immigrants based in Rome's Viale Marconi neighborhood is planning a terrorist attack. Christian Mazzari, a young Sicilian court translator who speaks perfect Arabic, goes undercover to infiltrate the group and learn who its leaders are. Christian poses as Issa, a recently arrived Tunisian in search of looking for a place to sleep and a job. He soon meets Sofia, a young Egyptian immigrant whose life with her husband, Said a.k.a. Felice, an architect who has reinvented himself as a pizza cook, is anything but fulfilling. In alternating voices, with an anthropologist's keen eye and sparkling wit Lakhous examines the commonplaces and stereotypes typical of life in multicultural societies. Divorce Islamic Style mixes the rational and the absurd as it describes the conflicts and contradictions of today's world. Marvelous set pieces, episodes rich in pathos, brilliant dialogue, and mordant folk proverbs combine as the novel moves towards an unforgettable and surprising finale that will have readers turning back to the first page of Lakhous's stunning novel to begin the ride all over again.
Over 200 works of the well-known Edition Eulenburg series of scores from orchestral and choral literature, chamber music and music theatre are now available in digital format. You can now enjoy the yellow study scores digitally with one click in excellent reproduction quality. Über 200 Werke der berühmten Edition Eulenburg Partiturreihe für Orchester- und Chorliteratur, Kammermusik und Musiktheater sind nun auch in einer digitalen Aufbereitung erhältlich. In optisch hervorragender Darstellung kann man die gelben Studienpartituren mit einem Klick jetzt auch digital genießen.