＜p＞＜strong＞A sparkling and eye-opening history of the Broadway musical that changed the world＜/strong＞＜/p＞ ＜p＞In the half-century since its premiere, ＜em＞Fiddler on the Roof＜/em＞ has had an astonishing global impact. Beloved by audiences the world over, performed from rural high schools to grand state theaters, ＜em＞Fiddler＜/em＞ is a supremely potent cultural landmark.＜/p＞ ＜p＞In a history as captivating as its subject, award-winning drama critic Alisa Solomon traces how and why the story of Tevye the milkman, the creation of the great Yiddish writer Sholem-Aleichem, was reborn as blockbuster entertainment and a cultural touchstone, not only for Jews and not only in America. It is a story of the theater, following Tevye from his humble appearance on the New York Yiddish stage, through his adoption by leftist dramatists as a symbol of oppression, to his Broadway debut in one of the last big book musicals, and his ultimate destinationーa major Hollywood picture.＜/p＞ ＜p＞Solomon reveals how the show spoke to the deepest conflicts and desires of its time: the fraying of tradition, generational tension, the loss of roots. Audiences everywhere found in ＜em＞Fiddler＜/em＞ immediate resonance and a usable past, whether in Warsaw, where it unlocked the taboo subject of Jewish history, or in Tokyo, where the producer asked how Americans could understand a story that is "so Japanese."＜/p＞ ＜p＞Rich, entertaining, and original, ＜em＞Wonder of Wonders＜/em＞ reveals the surprising and enduring legacy of a show about tradition that itself became a tradition.＜br /＞ Wonder of wonders, miracle of miracles.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Essays exploring the relationship between museums and biographies, with worldwide examples and from the early nineteenth century to the present day.＜/strong＞＜/p＞ ＜p＞Museums and biographies both tell the stories of lives. This innovative collection examines for the first time biography - of individuals, objects and institutions - in relationship to the museum, casting new light on the many facets of museum history and theory, from the lives of prominent curators, to the context of museums of biography and autobiography. Separate sections cover individual biography and museum history, problematising individual biographies, institutional biographies, object biographies, and museums as biographies/autobiographies.＜br /＞ These articles offer new ways of thinking about museums and museum history, exploring how biography in and of the museum enrichesmuseum stories by stressing the inter-related nature of lives of people, objects and institutions as part of a dense web of relationships. Through their widely ranging research, the contributors demonstrate the value of thinkingabout the stories told in and by museums, and the relationships which make up museums; and suggest new ways of undertaking and understanding museum biographies.＜/p＞ ＜p＞Dr Kate Hill is Principal Lecturer in History at the University of Lincoln.＜/p＞ ＜p＞Contributors: Jeffrey Abt, Felicity Bodenstein, Alison Booth, Stuart Burch, Lucie Carreau, Elizabeth Crooke, Steffi de Jong, Mark Elliott, Sophie Forgan, Mariana Fran?ozo, Laura Gray, Kate Hill, Suzanne MacLeod, Wallis Miller, Belinda Nemec, Donald Preziosi, Helen Rees Leahy, Linda Sandino, Julie Sheldon, Alexandra Stara, Louise Tythacott, Chris Whitehead, Anne Whitelaw＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞The difficult and sensitive issue of how museums and other repositories should treat human remains in their possession is here addressed through a number of important case studies.＜/strong＞＜/p＞ ＜p＞How to care for, store, display and interpret human remains, and issues of their ownership, are contentious questions, ones that need to be answered with care and due consideration. This book offers a systematic overview of the responses made by museums and other repositories in the United Kingdom, providing a baseline for understanding the scope and nature of human remains collections and the practices related to their care. The introduction sets UnitedKingdom practices within an international context, while subsequent chapters, all written by leading experts, cover a wide range of topics through key case studies: legislation and ethical obligations; issues of both long-term andshort-term care; differing perspectives associated with human remains collections in different parts of the United Kingdom; a comparison of attitudes and approaches in large institutions and small museums; the creative use of redundant churches; and challenges facing research/teaching laboratories and collections resulting from recent archaeological excavations.＜/p＞ ＜p＞Myra Giesen is Lecturer at the International Centre for Cultural and Heritage Studies, Newcastle University.＜/p＞ ＜p＞Contributors: Myra Giesen, Liz White, Hedley Swain, Charlotte Woodhead, Kirsty McCarrison, Victoria Park, Jennifer Sharp, Mark A. Hall, Rebecca Redfern, Jelena Bekvalac, Gillian Scott, Simon Mays, Charlotte Roberts, Jacqueline I. McKinley, Mike Parker Pearson, Mike Pitts, Duncan Sayer, Margaret Clegg.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Highlights human encounters with the forest and its trees at the time of the European Middle Ages, when their lofty boughs were weighted with meaning.＜/strong＞＜/p＞ ＜p＞Forests, with their interlacing networks of trees and secret patterns of communication, are powerful entities for thinking-with. A majestic terrestrial community of arboreal others, their presence echoes, entangles, and resonates deeply with the human world.＜/p＞ ＜p＞The chapters interrogate the pre-Anthropocene environment, reflecting on trees as metaphors for kinship and knowledge as they appear in literary, historical, art-historical, and philosophical sources. They examine images of trees and trees in-themselves across a range of environmental, material, and intellectual contexts, and consider how humans used arboreal and rhizomatic forms to negotiate bodies of knowledge and processes of transition. Looking beyond medieval Europe, they include discussion of parallel developments in the Islamic world and that of the M?ori, the indigenous people of New Zealand.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Offers a fresh approach to German film studies by tracing key genres -- including horror, the thriller, ＜em＞Heimat＜/em＞ films, and war films -- over the course of German cinema history＜/strong＞＜/p＞ ＜p＞Over the last few decades, the field of film studies has seen a rise in approaches oriented toward genre: studies that look at thematic, narrative, and stylistic similarities between films, contextualizing them within culture andsociety. Although there now exists a large body of genre-based scholarship on international film, German film studies has largely ignored the importance of genre. Even as the last several years have witnessed increasing scholarlyinterest in popular cinema from Germany, very few works have substantively engaged with genre theory.＜/p＞ ＜p＞＜em＞Generic Histories＜/em＞ offers a fresh approach, tracing a series of key genres -- including horror, science fiction,the thriller, ＜em＞Heimat＜/em＞ films, and war films -- over the course of German cinema history. It also addresses detective films, comedies, ＜em＞policiers,＜/em＞ and romances that deliberately localize global genres within Germany - aform of transnationalism frequently neglected. This focus on genre and history encourages rethinking of the traditional opposition (and hierarchy) between art and popular cinema that has informed German film studies. In these ways, the volume foregrounds genre theory's potential for rethinking film history as well as cultural history more broadly.＜/p＞ ＜p＞Contributors: Marco Abel, Nora M. Alter, Antje Ascheid, Hester Baer, Steve Choe, Paul Cooke, Jaimey Fisher, Gerd Gem?nden, Sascha Gerhards, Lutz Koepnick, Eric Rentschler, Kris Vander Lugt. Jaimey Fisher is Associate Professor of German and Cinema and Technocultural Studies, and Director of Cinema and Technocultural Studies, at the University of California, Davis.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞No one composer is at the centre of this fascinating story, but a larger picture emerges of a shift in musical scenery, from the world of the innocent Romanticism of Berlioz and Schumann to the more potent musical politics of Wagner, and of his antidote (as many saw him), Brahms.＜/strong＞＜/p＞ ＜p＞Why 1853? For many leading composers this year brought far-reaching changes to their lives: Brahms emerged from obscurity to celebrity, Schumann ceased to be an active composer, and both Berlioz and Wagner became active again after long silences. By limiting the perspective to a single year yet extending it to a group of musicians, their constant interconnections become the central motif: Brahms meets Berlioz and Liszt as well as Schumann; Liszt is a constant link in every chain; Joachim is close to all of them; Wagner is on everyone's mind. No one composer is at the centre of the story, but a network of musicians spreads across the map of Europe from London and Paris to Leipzig and Zurich.＜/p＞ ＜p＞＜em＞Music in 1853＜/em＞ shows how musicians were now more closely connected than ever before, through the constant exchange of letters and the rapidly expanding railway network. The book links geography and day-to-day events to show how international the European musical scene had become. A larger picture emerges of a shift in musical scenery, from the world of the innocent Romanticism of Berlioz and Schumann to the more potent musical politics of Wagner and of his antidote (as many saw him) Brahms.＜/p＞ ＜p＞HUGH MACDONALD is Avis H. Blewett Professor Emeritus of Music at Washington University, St Louis. He has authored books on Skryabin and Berlioz and has previously published ＜em＞Beethoven's Century: Essays on Composers and Themes＜/em＞ with Boydell/URP.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Sheds new light on how masculinity was understood, lived, performed and viewed during a period of huge change.＜/strong＞＜/p＞ ＜p＞Premodern masculinity was multivalent and dynamic, a series of intersecting, conflicting, and mutating identities that nevertheless were distinct and recognizable to people and their societies. The articles collected here examine a variety of means by which masculinity was constructed, deconstructed, and transformed across time, geographies, and cultures. Articles range across the twelfth to seventeenth century, from western Europe to the Volga-Ural region, from the Christian west to the Muslim east, from Ottomans to Mongols and Persians, from Baudri of Bourgueil to Blaise de Monluc; while topics include the chivalric hero, the effeminate man, beards, and spurs, represented variously in literature, historical documents, and art. Finally, in that period of great transformation that is the sixteenth century, they show how masculinity moved away from the traditional and recognizable to become something different and distinct from its premodern expressions.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Breaks new ground by both analyzing the literary qualities of four recent rewritings of the Noah myth and contextualizing their concern with climate change within the wider crises of the Anthropocene.＜/strong＞＜/p＞ ＜p＞With the rise of concern about global warming in recent years, climate-change fiction, or cli-fi, has become increasingly important both as a publishing phenomenon and as an area of academic study and research. Flood narratives have become a subsection of cli-fi in their own right. This book proposes new readings of four recent rewritings of the Noah myth, ＜em＞Odds Against Tomorrow＜/em＞ by Nathaniel Rich, Margaret Atwood's ＜em＞Maddaddam＜/em＞ trilogy, ＜em＞When the Floods Came＜/em＞ by Clare Morrall, and ＜em＞The Flood＜/em＞ by Maggie Gee.＜br /＞ Helen E. Mundler's book takes into account the wealth of criticism that has appeared on these texts in recent years, acknowledging important contributions from critics including Adam Trexler, Adeline Johns-Putra, and Astrid Bracke. However, her book's strength is that it takes a new approach, going beyond the topicality of the texts and treating them not just as ideological statements but giving them their due as literary artifacts. While the importance of climate change is beyond debate, this book takes a more balanced approach that places it within a wider context of the multiple crises of the Anthropocene.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Explores the use of music as therapy and shows how it operated in the hospital's institutional, social and historical contexts, undergoing change in response to broader cultural and religious movements.＜/strong＞＜/p＞ ＜p＞This book explores connections between the physical care of the sick based on the study of medicine, concepts of healing founded on religious thought, and the practice of music at the Ospedale di Santo Spirito (Hospital of the Holy Spirit) in Rome. The hospital was a unique institution that was regulated by the Roman Catholic Church but simultaneously reflected the significant shifts in scientific thought emerging during the period that coincided with post-Tridentine reforms in the church.＜/p＞ ＜p＞The volume discusses the hospital's foundation, architecture and links with the papacy. It also reflects on the then acceptable "ways of knowing" informed by religious concerns and medical traditions. The tripartite relationship between religion, medicine and music within the institution was complex. At times they existed side-by-side, at others they intersected. Drawing on extensive archival research such as financial records, decrees, records of apostolic visits and inventories as well as surviving musical sources (printed and manuscript), the book makes connections between intellectual beliefs about music and actual musical practices. It explores the early use of music as therapy and investigates the musical ideals and practices of the monastic regime which ran the hospital. In a wider sense, the book shows how music operated in the hospital's institutional, social and historical contexts, and how it underwent change over time in response to broader cultural and religious movements.＜/p＞ ＜p＞NAOMI J. Barker is Senior Lecturer in Music at the Open University. She is the author of various articles on late-sixteenth and seventeenth-century music. This is her first book.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞The book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. ＜em＞Music and Soviet Power＜/em＞ offers cultural history told through documents - both colourfuland representative - with an extensive commentary and annotation throughout.＜/strong＞＜/p＞ ＜p＞The October Revolution of 1917 tore the fabric of Russian musical life: institutions collapsed, and leading composers emigrated or fell into silence. But in 1932, at the outset of the "socialist realist" period, a new Stalinist music culture was emerging. Between these two dates lies a turbulent period of change which this book charts year by year. It sheds light on the vicious power struggles and ideological wars, the birth of new aesthetic credos, and the gradual increase of Party and state control over music, in the opera houses, the concert halls, the workers' clubs, and on the streets.＜br /＞ The book not only provides a detailed and nuanced depiction of the early Soviet musical landscape, but brings it to life by giving voice to the leading actors and commentators of the day. The vibrant public discourse on music is presented through a selection of press articles, reviews and manifestos, all suppliedwith ample commentary. These myriad sources offer a new context for our understanding of Shostakovich, Prokofiev and Myaskovsky, while also showing how Western music was received in the USSR. This, however, is only half the story.The other half emerges from the private dimension of this cultural upheaval, traced through the letters, diaries and memoirs left by composers and other major players in the music world. These materials address the beliefs, motivations and actions of the Russian musical intelligentsia during the painful period of their adjustment to the changing demands of the new state.＜br /＞ While following the twists and turns of official policies on music, the authors also offer their own explanations for the outcomes. The book offers unprecedented access to primary sources that have been unavailable in English, or which lay unknown on archival shelves. ＜em＞Music and Soviet Power＜/em＞ offers cultural history told through documents - both colourful and representative - with an extensive commentary and annotation throughout.＜/p＞ ＜p＞MARINA FROLOVA-WALKER is Reader in Music History at the University of Cambridge and Fellow of Clare College, Cambridge; JONATHAN WALKER, who has a PhD in Musicology, is a freelance writer, teacher and pianist.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞How have sociopolitical fears been enacted, represented and performed in societies marked by repression, conflict and abuse of power? And how has this emotion shaped aesthetic and ideological discourses and cultural productions?＜/strong＞＜/p＞ ＜p＞＜em＞Violencia, poder y afectos: narrativas del miedo en Latinoam?rica＜/em＞ ofrece una contribuci?n cr?tica al estudio de las representaciones de los miedos sociopol?ticos en la literatura y el cine contempor?neos. Este volumen estudia las consecuencias inmediatas y de larga duraci?n de la violencia y el terror en las sociedades latinoamericanas desde varias perspectivas te?ricas. Los cap?tulos del libro abordan dos preguntas centrales: ?c?mo se han asumido, asimilado y representado los diversos temores sociopol?ticos que caracterizan a unas sociedades marcadas por el conflicto, la represi?n y el abuso de poder? y ?c?mo este afecto ha marcado los discursos est?ticos e ideol?gicos de las producciones culturales? Mediante el estudio de las obras de escritores y productores culturales contempor?neos incluso M?nica Ojeda, Cristina Rivera Garza, Rodrigo Rey Rosa, Alonso Cueto y Manlio Argueta, los colaboradores de este libro examinan el clima de terror y ansiedad provocados por las guerras civiles en Guatemala, El Salvador y Per?; la guerra de las drogas en M?xico; la invasi?n estadounidense a Panam? en 1989; as? como las din?micas de desigualdad de clase y g?nero en Ecuador y M?xico.＜/p＞ ＜p＞＜em＞Violencia, poder y afectos: narrativas del miedo en Latinoam?rica＜/em＞ offers a critical contribution to studies of the representation of socio-politically inflicted fears in contemporary literature and film. This volume looks at the immediate and long-lasting consequences of violence and terror in Latin American societies from a variety of theoretical perspectives. Chapters of the book engage with two central questions: How have sociopolitical fears been enacted, represented and performed in societies marked by repression, conflict and abuse of power? And how has this emotion shaped aesthetic and ideological discourses and cultural productions? Looking at contemporary writers and cultural producers including M?nica Ojeda, Cristina Rivera Garza, Rodrigo Rey Rosa, Alonso Cueto and Manlio Argueta, the contributors of this volume examine the climate of terror and anxiety resulting from the civil wars in Guatemala, El Salvador and Peru; the war on drugs in Mexico; the 1989 U.S. invasion of Panama; and dynamics of class and gender power imbalances in Ecuador and Mexico.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞An examination of the relationship between sport and its cultural heritage.＜/strong＞＜/p＞ ＜p＞Sport is an integral part of British culture and an important aspect of modern life. Although its importance has been recognised by academic historians, sport has yet to be fully appreciated in the growing and related fields of heritage and museum studies. Sport and heritage have operated as seemingly separate spheres, yet together they can convey powerful messages; convergence between them is seen in the rise and popularity of sports museums, the collecting of sporting art and memorabilia, and popular concern over the demise of historic sports buildings and sport-related sites. These places, exhibitions and activities help to shape our understanding of sport, history and the past.＜br /＞ The essays in this volume explore sports history as manifested in academic enquiry, museum exhibitions and heritage sites. They deal among other things with the public representation of sport and its significance; its impacton public spheres; the direction of sports heritage studies and their aims; the role of museums in public history; and place, memory and meaning in the historic sports landscape.＜/p＞ ＜p＞Contributors: Jeffrey Hill, Jed Smith,Anthony Bateman, Ray Physick, Neil Skinner, Matthew Taylor, Tim O'Sullivan, Kevin Moore, Max Dunbar, Santiago De Pablo, John K. Walton, Wray Vamplew, Honor Godfrey, Jason Wood, Andrea Titterington, Stephen Done, Mike McGuinness, David Storey, Daphn? Bolz, Jean Williams, Richard Holt＜/p＞ ＜p＞Jeffrey Hill is Emeritus Professor of Historical and Cultural Studies, De Montfort University, Leicester; Kevin Moore is Director, National Football Museum, Manchester; Jason Wood is Director, Heritage Consultancy Services.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Preeminant gamelan performer and scholar Sumarsam explores the concept of hybridity in performance traditions that have developed in the context of Javanese encounters with the West.＜/strong＞＜/p＞ ＜p＞＜em＞Javanese Gamelan and the West＜/em＞ studies the meaning, forms, and traditions of the Javanese performing arts as they developed and changed through their contact with Western culture. Authored by a gamelan performer, teacher, and scholar, the book traces the adaptations in gamelan art as a result of Western colonialism in nineteenth-century Java, showing how Western musical and dramatic practices were domesticated by Javanese performers creating hybrid Javanese-Western art forms, such as with the introduction of brass bands in ＜em＞gendhing mares＜/em＞ court music and West Javanese ＜em＞tanjidor＜/em＞, and Western theatrical idioms in contemporary ＜em＞wayang＜/em＞ puppet plays. The book also examines the presentation of Javanese gamelan to the West, detailing performances in World's Fairs and American academia and considering its influence on Western performing arts and musical and performance studies. The end result is a comprehensive treatment of the formation of modern Javanese gamelan and a fascinating look at how an art form dramatizes changes and developments in a culture.＜/p＞ ＜p＞Sumarsam is a University Professor of Music at Wesleyan University. He is the author of ＜em＞Gamelan: Cultural Interaction and Musical Development in Central Java＜/em＞ (University of Chicago Press, 1995) and numerous articles in English and Indonesian. As a gamelan musician and a keenamateur ＜em＞dhalang＜/em＞ (puppeteer) of Javanese ＜em＞wayang＜/em＞ puppet play, he performs, conducts workshops, and lectures throughout the US, Australia, Europe, and Asia.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞An authoritative survey of music and its context in the Renaissance.＜/strong＞＜/p＞ ＜p＞The sixteenth and early seventeenth centuries - the so-called Golden Age of Polyphony - represent a time of great change and development in European music, with the flourishing of Orlando di Lasso, Palestrina, Byrd, Victoria, Monteverdi and Sch?tz among others.＜br /＞ The chapters of this book, contributed by established scholars on subjects within their fields of expertise, deal with polyphonic music - sacred and secular, vocal and instrumental - during this period. The volume offers chronological surveys of national musical cultures (in Italy, France, the Netherlands, Germany, England, and Spain); genre studies (Mass, motet, madrigal, chanson, instrumental music, opera); and is completed with essays on intellectual and cultural developments and concepts relevant to music (music theory, printing, the Protestant Reformation and the corresponding Catholic movement, humanism, concepts of "Renaissance" and "Baroque"). It thus provides a complete overview of the music and its context.＜/p＞ ＜p＞Contributors: GARY TOMLINSON, JAMES HAAR, TIM CARTER, GIULIO ONGARO, NOEL O'REGAN, ALLAN ATLAS, ANTHONY CUMMINGS, RICHARD FREEDMAN, JEANICE BROOKS,DAVID TUNLEY, KATE VAN ORDEN, KRISTINE FORNEY, IAIN FENLON, KAROL BERGER, PETER BERGQUIST, DAVID CROOK, ROBIN LEAVER, CRAIG MONSON, TODD BORGERDING, LOUISE K. STEIN, GIUSEPPE GERBINO, ROGER BRAY, JONATHAN WAINWRIGHT, VICTOR COELHO, KEITH POLK＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞The first critical study of the life and distinctive artistic vision of Heinrich Neuhaus, a legendary pianist-pedagogue widely considered one of the leading shapers of the renowned Russian piano tradition.＜/strong＞＜/p＞ ＜p＞Heinrich Neuhaus (1888-1964) was one of the most charismatic and sought after pianist-pedagogues of the twentieth century, earning a formidable reputation in the West as one of the pillars of Russian pianism through the success ofhis star pupils Emil Gilels and Sviatoslav Richter, and his book ＜em＞About the Art of Piano Playing.＜/em＞＜/p＞ ＜p＞Maria Razumovskaya's ＜em＞Heinrich Neuhaus: A Life beyond Music＜/em＞ is the first critical study of this masterful artist. It explores what went on in his teaching studio but also seeks to understand the vibrant circumstances that underpinned Neuhaus's unique outlook and approach. These circumstances include his formative years of study in Europealongside Karol Szymanowski (his cousin) and the renowned pianist Artur Rubinstein, the turbulence of life during the Russian Civil War, Neuhaus's meteoric rise to fame in Moscow, and his lifelong friendship with the poet Boris Pasternak.＜/p＞ ＜p＞Razumovskaya's book draws on previously unseen documents relating to Neuhaus's arrest and imprisonment in the infamous Lubyanka for criticizing the Soviet regime. By revealing how these influences helped form Neuhaus's distinct vision of a performer's subjectivity -- what he called an artist's "autopsychography" -- the book emphasizes important aesthetic principles and practices that were adopted by creative artists eager to escape the banality and limitations imposed by Socialist Realism.＜/p＞ ＜p＞MARIA RAZUMOVSKAYA, a recital pianist and researcher, teaches at the Guildhall School of Music and Drama.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞First full-length study of the impact of the Gothic Revival across the arts, from literature and architectural theory to houses, furniture and interiors.＜/strong＞＜/p＞ ＜p＞The Gothic Revival, rich, ambitious, occasionally eccentric, but nonetheless visually exciting, is one of Britain's greatest contributions to early modern design history, not least because for the most part it contravened approvedtaste: Classicism. Scholars have tended to treat Georgian Gothic as an homogenous and immature precursor to "high" Victorian Gothic, and centred their discussion around Walpole's Strawberry Hill. This book, conversely, reveals how the style was imaginatively and repeatedly revised and incorporated into prevailing eighteenth-century fashions: Palladianism, Rococo, Neoclassicism, and antiquarianism. It shows how under the control of architects, from Wren toPugin, Walpole and Cottingham, and furniture designs, especially those of Chippendale, and Ince and Mayhew, a shared language of Gothic motifs was applied to British architecture, furniture and interiors. Georgian Britain was awash with Gothic forms, even if the arbiters of taste criticised it vehemently. Throughout, the volume reframes the Gothic Revival's expression by connecting it with Georgian understandings of the medieval past, and consequently revises our interpretation of one of the most influential, yet lampooned, forms of material culture at the time.＜/p＞ ＜p＞Peter N. Lindfield is a Leverhulme Early Career Research Fellow at the University of Stirling.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞An innovative and incisive reassessment of a seminal figure in nineteenth-century musical life, through a fresh consideration of his aesthetic, critical, and autobiographical writings.＜/strong＞＜/p＞ ＜p＞＜em＞Rethinking Hanslick: Music, Formalism, and Expression＜/em＞ is the first extensive English-language study devoted to Eduard Hanslick--a seminal figure in nineteenth-century musical life. Bringing together eminent scholars from several disciplines, this volume examines Hanslick's contribution to the aesthetics and philosophy of music and looks anew at his literary interests. The essays embrace ways of thinking about Hanslick's writings that go beyond the polarities that have long marked discussion of his work such as form/expression, absolute/program music, objectivity/subjectivity, and formalist/hermeneutic criticism. This approach takes into consideration both Hanslick's important ＜em＞On the Musically Beautiful＜/em＞ and his critical and autobiographical writings, demonstrating Hanslick's rich insights into the context in which a musical work is composed, performed, and received.＜br /＞ ＜em＞Rethinking Hanslick＜/em＞ serves as an invaluable companion to Hanslick's prodigious scholarship and criticism, deepening our understanding of the major themes and ideas of one of the most influential music critics of the nineteenth century.＜/p＞ ＜p＞Contributors: David Brodbeck, James Deaville, Chantal Frankenbach, Lauren Freede, Marion Gerards, Dana Gooley, Nicole Grimes, David Kasunic, David Larkin, Fred Everett Maus, Timothy R. McKinney, Nina Noeske, Anthony Pryer, Felix W?rner＜/p＞ ＜p＞Nicole Grimes is Marie Curie Fellow at University College Dublin (UCD) and the University of California, Irvine.＜br /＞ Siobh?n Donovan is a college lecturer at the School of Languages and Literatures, UCD.＜br /＞ Wolfgang Marx is a senior lecturer at the School of Music, UCD.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞The best new research on medieval clothing and textiles, drawing from a range of disciplines.＜/strong＞＜/p＞ ＜p＞The usual wide range of approaches to garments and fabrics appears in this tenth volume. Three chapters focus on practical matters: a description of the medieval vestments surviving at Castel Sant'Elia in Italy; a survey of the spread of silk cultivation to Europe before 1300; and a documentation of medieval colour terminology for desirable cloth. Two address social significance: the practice of seizing clothing from debtors in fourteenth-century Lucca, and the transformation of the wardrobe of Margaret Tudor, daughter of King Henry VII, upon her marriage to the king of Scotland. Two delve into artistic symbolism: a consideration of female headdresses carved at St Frideswide's Priory in Oxford, and a discussion of how Anglo-Saxon artists used soft furnishings to echo emotional aspects of narratives. Meanwhile, in an exercise in historiography, there is an examination of the life of Mrs. A.G.I. Christie, author of the landmark ＜em＞Medieval English Embroidery＜/em＞.＜/p＞ ＜p＞ROBIN NETHERTON is a professional editor and a researcher/lecturer on the interpretation of medieval European dress; GALE R. OWEN-CROCKER is Professor of Anglo-Saxon Culture at the University of Manchester.＜/p＞ ＜p＞Contributors: Michelle L. Beer, Elizabeth Coatsworth, Valija Evalds, Christine Meek, Maureen C. Miller, Christopher J. Monk, Lisa Monnas, Rebecca Woodward Wendelken＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Uncovers sources from the parish pauper to the gentlewoman to consider relationships with clothing across the social hierarchy in the long eighteenth century.＜/strong＞＜/p＞ ＜p＞Descriptions of women's clothing increasingly circulated across textual genres and beyond in eighteenth-century England. This book explores the significance of these descriptions across a range of sources including wills, newspapers, accounts, court records, and the records of the old poor law.＜/p＞ ＜p＞Attention has rested on women literate and wealthy enough to leave behind textual or material traces, but this book ranges from the parish pauper to the gentlewoman to consider descriptive languages, rhetorical strategies, and relationships with clothing across the social hierarchy. It explores how women described their own clothing, but also looks at how it was described by overseers, family members, retailers, and even strangers. It shows that we must look beyond isolated descriptions to how, why, and who was describing clothing to understand its role. Chapters uncover themes of material obligation, expectation, and entitlement.＜/p＞ ＜p＞This book also contributes to our understanding of the material literacy of eighteenth-century consumers. It traces the role of textual description in this dissemination of knowledge about clothing, but also alerts us to what was happening beyond the written word, drawing attention to the communication of multisensory information. Above all, it demonstrates that there remains much still to be unpicked from textual sources.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Examines the major divisions in criticism of this major African American writer, paying particular attention to the way each critical period defines Baldwin and his work for its own purposes.＜/strong＞＜/p＞ ＜p＞James Baldwin is a widely taught and anthologized author. His short story "Sonny's Blues" remains a perennial favorite in literature anthologies, and all of his essay collections and novels are still in print. His first essay collection, ＜em＞Notes of a Native Son＜/em＞, is a seminal work that led a new generation of African American writers from beneath the shadow of Richard Wright. ＜em＞The Fire Next Time＜/em＞ is widely held as one of the most profound and accurate articulations of black consciousness during the Civil Rights movement. It is difficult to imagine teaching a survey of African American literature or considering the development of black intellectual thought in the twentiethcentury without mentioning Baldwin.＜br /＞ For more than half a century, readers and critics alike have agreed that Baldwin is a major African American writer. What they do not agree on is why. Because of his artistic and intellectual complexity, his work resists easy categorization, and Baldwin scholarship, consequently, spans the critical horizon. Conseula Francis's book examines the major divisions in Baldwin criticism, paying particular attention to theway each critical period defines Baldwin and his work for its own purposes.＜/p＞ ＜p＞Conseula Francis is Professor of English and Associate Provost for Curriculum and Institutional Resources at the College of Charleston.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Shows that while the GDR is generally seen as - and mostly was - an oppressive and unfree country, from late 1989 until autumn 1990 it was the "freest country in the world": the dictatorship had disappeared while the welfare system remained.＜/strong＞＜/p＞ ＜p＞Stephen Brockmann's new book explores the year 1989/1990 in East Germany, arguing that while the GDR is generally seen as - and was for most of its forty years - an oppressive and unfree country, from autumn 1989 until the autumn of 1990 it was the "freest country in the world," since the dictatorship had disappeared while the welfare system remained. That such freedom existed in the last months of the GDR and was a result of the actions of East Germans themselves has been obscured, Brockmann shows, by the now-standard description of the collapse of the GDR and the reunification of Germany as a triumph of Western democracy and capitalism.＜br /＞ Brockmann first addresses the culture of 1989/1990 by looking at various media from that final year, particularly film documentaries. He emphasizes punk culture and the growth of neo-Nazism and the Antifa movement - factors often ignored in accounts of the period. He then analyzes three later semiautobiographical novels about the period. He devotes chapters to dramatic films dealing with German reunification made relatively soon after the event and to more recent film and television depictions of the period, respectively. The final chapter looks at monuments and memorials of the 1989/1990 period, and a conclusion considers the implications of the book's findings for the present day.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞German history films that focus on utopianism and political dissent and their effect on German identity since 1989.＜/strong＞＜/p＞ ＜p＞Since unification, a radical shift has taken place in Germans' view of their country's immediate past, with 1989 replacing 1945 as the primary caesura. The cold-war division, the failed socialist state, the '68 student movement, and the Red Army Faction -- historical flashpoints involving political oppression, civil disobedience, and the longing for utopian solutions to social injustice -- have come to be seen as decisive moments in a collective history that unites East and West even as it divides them. Telling stories about a shared past, establishing foundational myths, and finding commonalities of experience are pivotal steps in the construction of national identity. Such nation-building is always incomplete, but the cinema provides an important forum in which notions of German history and national identity can be consumed, negotiated, and contested. This book looks at history films made since 1989, exploring how utopianism and political dissent have shaped German identity. It studies the genre - including popular successes, critical successes, and perceived failures - as a set of texts and a discursive network, gauging which conventions and storylines are resilient. At issue is the overriding question: to what extent do these films contribute to a narrative that legitimizes the German nation-state?＜/p＞ ＜p＞Mary-Elizabeth O'Brien is Professor of Germanand The Courtney and Steven Ross Chair in Interdisciplinary Studies at Skidmore College.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Presents case studies of "inspiration" in five composers -- Wagner, Mahler, Furtw?ngler, R. Strauss, and Berg -- examining how the supposedly extrarational world of creative inspiration intersects with the highly rational world ofmoney and politics.＜/strong＞＜/p＞ ＜p＞＜em＞Lies and Epiphanies＜/em＞ offers case studies of "inspiration" in five composers -- Richard Wagner, Gustav Mahler, Wilhelm Furtw?ngler, Richard Strauss, and Alban Berg. Their own tales of their epiphanies played a determining role in the reception history of their works: the finale of Mahler's Second Symphony was supposedly born of a "lightning bolt" of inspiration at the funeral of Hans von B?low, while Alban Berg's Violin Concerto was purportedly his direct response to the tragic early death of Alma Mahler's daughter.＜br /＞ Chris Walton looks behind these tales to explore instead the composer's dual role as author and self-commentator, laying bare the fissures and inconsistencieswithin these artists' testimonies and revealing how the putatively extrarational world of creative inspiration intersects with the highly rational world of money and politics. As Walton points out, the composer often imposes on the audience an interpretation of a work and its genesis that is as superficial as the score itself is not. This study seeks to show why.＜/p＞ ＜p＞Chris Walton teaches music history at the Basel University of Music in Switzerland.He is the author of ＜em＞Othmar Schoeck: Life and Works＜/em＞ (University of Rochester Press, 2009) and ＜em＞Richard Wagner's Zurich: The Muse of Place＜/em＞ (Camden House, 2007).＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞＜em＞Marching to the Canon＜/em＞ examines the history of Schubert's ＜em＞Marche militaire no.1＜/em＞ from its beginnings, through its many arrangements, to its impact on dance, literature, film, and music.＜/strong＞＜/p＞ ＜p＞＜em＞Marche militaire＜/em＞ is Franz Schubert's most recognizable and beloved instrumental work. Originally published for piano four hands in 1826, this tuneful march -- Schubert's first of three military marches -- was arranged, adapted, and incorporated into new incarnations over the next two centuries. Its success was due to its chameleonlike ability to cross the still-porous borders between canonic and popular repertories, creating a performance life thatmade deep inroads into dance, literature, and film, and inspired quotations or allusions in other music＜br /＞ ＜em＞Marching to the Canon＜/em＞ examines the history of Schubert's storied Marche militaire from its modest beginnings as aduet published for domestic consumption to its now-ubiquitous presence. After detailing the composition, publication, and reception of the original march, the book analyzes the impact of transcriptions and arrangements for solo piano, orchestra, band, and other settings. In addition, it considers the ways the march was used symbolically, even manipulated, during the Franco-Prussian War and the two world wars, as well as the diverse creative uses of the piece by significant figures as varied as Willa Cather, Isadora Duncan, Walt Disney, and Igor Stravinsky. This study of the reception and impact of the ＜em＞Marche militaire＜/em＞ offers a unique narrative illuminating the world that enshrined this remarkable score as one of the most memorable musical works of the nineteenth century.＜/p＞ ＜p＞Scott Messing is the Charles A. Dana Professor of Music at Alma College, and the author of two works available from theUniversity of Rochester Press: ＜em＞Neoclassicism in Music＜/em＞ and the two-volume ＜em＞Schubert in the European Imagination＜/em＞.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞This book examines Ian McEwan's ability to discern in his writing sentiments that easily resonate with musicians, explores the value of music in exhibiting McEwan's views on the world, and presents his perspective on religion's role within society.＜/strong＞＜/p＞ ＜p＞The majority of characters in Ian McEwan's novels are educated members of the middle class, but without any great private financial means and certainly no great affluence. Despite different occupations, whether scientist (＜em＞Solar＜/em＞), musician (＜em＞On Chesil Beach＜/em＞, ＜em＞Amsterdam＜/em＞) or surgeon (＜em＞Saturday＜/em＞), they are faced with moral, ethical, religious and personal dilemmas that bear resonance to a contemporary audience.＜/p＞ ＜p＞Classical music is present throughout McEwan's writings (including his recent ＜em＞Lessons＜/em＞, 2022), mostly not as an accompanying theme but as a necessary part of life's pleasures and for some, essential needs. The combination of music and the unforgettable narrative moments create a unique space for McEwan to translate his views on the world. The value of music, not least as a complementary presence to silence, is portrayed not just as the source of comfort but as a known presence that is dependable to an individual on a near spiritual level. Within his writings there is also a clear understanding of the role of the Church of England as a societal, cultural and established presence within British society. In the literary descriptions of McEwan and other authors this often extends beyond the immediate theological and ecclesiastical concerns of the day. McEwan's writings demonstrate a perceptive knowledge of the nuances of this highly specific cultural dynamic.＜/p＞ ＜p＞McEwan's ability to discern sentiments that easily resonate with musicians place his contribution to the field of music and literature studies in a singular position among living writers discussing classical music in Britain. This book provokes questions for those who encounter these areas for the first time in McEwan's writings, and it offers a place of sustained enquiry for those who have experienced these fields first-hand, whether as listeners, performers, congregants, audience members or scholars across literary, musical or ecclesiastical fields. Iain Quinn's book will be of interest to scholars and students of contemporary British literature, as well as those interested in words and music studies more generally.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞This book examines the progress of the British musical in the twentieth century as it struggled to find an identity, stepping out of the shadow of its American counterpart. With a wealth of contemporary photographs and memorabilia, it looks at the contribution of key figures - from Ivor Novello to Lionel - in lively and engaging prose.＜/strong＞＜/p＞ ＜p＞＜em＞A Tanner's Worth of Tune＜/em＞ is the first book to be written on the post-war British musical, and the first major assessment of the British musical for a quarter of a century, reviving interest in a vast archive of musicals that have been dismissed to the footnotes of theatrical history. This timely reappraisal of the genre and its social background, before the "international" British musicals began appearing in the 1970s, argues for a radical understanding of the shows and their writers, and a rethinking of our attitude towards them.＜br /＞ The musical plays of Ivor Novello and Noel Coward - both pre- and post-war - are discussed in detail, as are the two composers who came todominate the 1950s, Sandy Wilson and Julian Slade, and the little school of ＜em＞plein air＜/em＞ musicals that threaded through that decade. The book brings together 'adopted' British musicals, discusses the rise and fall of the British "verismo" and the biomusical, whether of Dr Crippen or the Rector of Stiffkey, finally charting the collapse of the British musical's nationalism in the 1960s as witnessed by John Osborne and Lionel Bart. The book draws on Adrian Wright's lifelong passion for British theatre music, its writers, composers, performers and craftsmen. Provocative, idiosyncratic and unfailingly entertaining, ＜em＞A Tanner's Worth of Tune＜/em＞ makes a compelling plea for a rediscovery of an era of pleasures which have too long been forgotten.＜/p＞ ＜p＞ADRIAN WRIGHT is the author of Foreign Country: The Life of L.P. Hartley [(1996), John Lehmann: A Pagan Adventure (1998), ＜em＞The Innumerable Dance: The Life and Work of William Alwyn＜/em＞ [2008] and the novel ＜em＞Maroon＜/em＞ (2010). He lives in Norfolk, where he also runs Must Close Saturday Records, a company dedicated to British musical theatre.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞The first extended study of seven beloved French symphonic masterpieces, from Saint-Sa?ns and Franck to d'Indy and Dukas.＜/strong＞＜/p＞ ＜p＞In this first full-length study of the symphony in late nineteenth- and early twentieth-century France, Andrew Deruchie provides extended critical discussion of seven of the most influential and frequently performed works of the era, by Camille Saint-Sa?ns, C?sar Franck, ?douard Lalo, Vincent d'Indy, and Paul Dukas. The volume explores how these symphonists modernized the art form yet preserved many of the formal and rhetorical conventions of the canon, reconciling, in particular, Beethoven's symphonic legacy with the musical culture, intellectual environment, and political milieu of fin-de-si?cle France. Drawing on contemporary criticism, music histories, composers' prose, and unpublished sketches, Deruchie's readings offer fresh insights on issues of musical form and technique, and also move beyond the notes to consider questions of meaning.＜/p＞ ＜p＞Andrew Deruchie is a lecturer in musicology at the University of Otago (New Zealand).＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞Examines both academic and popular assessments of Conan Doyle's work, giving pride of place to the Holmes stories and their adaptations, and also attending to the wide range of his published work.＜/strong＞＜/p＞ ＜p＞Twenty-first-century readers, television viewers, and moviegoers know Arthur Conan Doyle as the creator of Sherlock Holmes, the world's most recognizable fictional detective. Holmes's enduring popularity has kept Conan Doyle in the public eye. However, Holmes has taken on a life of his own, generating a steady stream of critical commentary, while Conan Doyle's other works are slighted or ignored. Yet the Holmes stories make up only a small portion of Conan Doyle's published work, which includes mainstream and historical fiction; history; drama; medical, spiritualist, and political tracts; and even essays on photography. When Doyle published - whatever the subject - his contemporaries took note. Yet, outside of the fiction featuring Sherlock Holmes, until recently relatively little has been done to analyze the reception Conan Doyle's work received during his lifetime and since his death.＜br /＞ This book examines both academic and popular assessments of Conan Doyle's work, giving pride of place to the Holmes stories and their many adaptations for print, visual, and online media, but attending to his other contributions to turn-of-the-twentieth-century culture as well. The availability of periodicals and newspapers online makes it possible to develop an assessment of Conan Doyle's (and Sherlock Holmes's) reputation among a wider readership and viewership, thus allowing for development of a broader and more accurate portrait of Doyle's place in literary and cultural history.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞A translation of three works from the second half of the 13th century: Rutebeuf's ＜em＞Renart le Bestourn?＜/em＞*,* the anonymous ＜em＞Le Couronnement de Renart＜/em＞ and Jacquemart Giel?e's ＜em＞Renart le Nouvel＜/em＞*.* These savage and highly entertaining satires are in a league of their own, and ＜em＞Renart le Nouvel＜/em＞ contains important music which is reproduced in the text.＜/p＞ ＜p＞Rarely can a medieval work have resonated with the mood of the present as uncannily as do these three satires. Acerbic, raging and finally apocalyptic, these poems from the second half of the thirteenth century, richly entertaining and wickedly comic though they are, express a vision of the world and its descent into corruption and disaster which mirrors our own state of rampant alarm.＜br /＞ The animal tales of the 12th- and 13th-century ＜em＞Roman de Renart -＜/em＞ the Romance of Reynard the Fox - were immensely popular. Any satire in those original tales was generally light of touch, but the characters created in them, fox and wolf and ass and lion to name but four, were an open invitation to anyone of a more scathing satirical bent. The poet Rutebeuf, in his short but startling ＜strong＞＜em＞Renart le Bestourn?＜/em＞ ('Reynard Transformed')＜/strong＞, deploys the beasts to make a venomous attack on the mendicant orders and on 'Saint' Louis IX of France. The anonymous ＜strong＞＜em＞Le Couronnement de Renart＜/em＞ ('Reynard Crowned')＜/strong＞ then has the Fox crowned king, establishing a reign of every vice. And most ambitiously of all, Jacquemart Giel?e in his ＜strong＞＜em＞Renart le Nouvel＜/em＞ ('The New Reynard')＜/strong＞, gripped by an increasingly pervasive sense of apocalypse, ends his poem with the Fox, the epitome of deceit and lying, not merely crowned king, but seated in permanent, malign control of the world atop a chocked, unturning Fortune's Wheel.＜br /＞ ＜em＞The New Reynard＜/em＞ is of special interest not only to students of medieval literature but also to musicologists. Music, in the form of numerous songs, plays an important part in ＜em＞Renart le Nouvel＜/em＞'s satirical and apocalyptic message, and the poem is renowned as the most abundant source of late medieval refrains. The notations have survived, and the music is edited in this volume by Matthew P. Thomson.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞This book draws on architectural and archaeological analysis to consider the form, function, use and meaning of late medieval lodging ranges.＜/strong＞＜/p＞ ＜p＞While we know a great deal about most elements of the late medieval great house, we understand very little about their lodging ranges, and even less on their contributions to the lived experience of the household and wider society. Why were lodging ranges built, for example, and how were they used?＜/p＞ ＜p＞It is this gap in our knowledge which the present book aims to fill. It draws on archaeological and architectural analysis of lodging ranges to show that they were some of the finest living spaces within the great house, built as accommodation for high-ranking members of the household. Their low-, even single-, occupancy rooms, accessible via individual doors, were innovatory, showing how the idea of privacy developed. The explicit displays of uniformity upon the lodging ranges' symmetrical facades were juxtaposed with variations within.＜/p＞ ＜p＞Surviving lodging ranges (including Wingfield Manor, Middleham Castle and Dartington Hall) are examined, alongside the lost example of Caister Castle, demonstrating how lodging ranges simultaneously reflected and shaped medieval life; the author argues that their very form and stones, and their manipulation of space, enabled them to have multi-faceted functions, including the representation of multiple and even conflicting identities.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。

＜p＞＜strong＞This book draws on architectural and archaeological analysis to consider the form, function, use and meaning of late medieval lodging ranges.＜/strong＞＜/p＞ ＜p＞While we know a great deal about most elements of the late medieval great house, we understand very little about their lodging ranges, and even less on their contributions to the lived experience of the household and wider society. Why were lodging ranges built, for example, and how were they used?＜/p＞ ＜p＞It is this gap in our knowledge which the present book aims to fill. It draws on archaeological and architectural analysis of lodging ranges to show that they were some of the finest living spaces within the great house, built as accommodation for high-ranking members of the household. Their low-, even single-, occupancy rooms, accessible via individual doors, were innovatory, showing how the idea of privacy developed. The explicit displays of uniformity upon the lodging ranges' symmetrical facades were juxtaposed with variations within.＜/p＞ ＜p＞Surviving lodging ranges (including Wingfield Manor, Middleham Castle and Dartington Hall) are examined, alongside the lost example of Caister Castle, demonstrating how lodging ranges simultaneously reflected and shaped medieval life; the author argues that their very form and stones, and their manipulation of space, enabled them to have multi-faceted functions, including the representation of multiple and even conflicting identities.＜/p＞画面が切り替わりますので、しばらくお待ち下さい。 ※ご購入は、楽天kobo商品ページからお願いします。※切り替わらない場合は、こちら をクリックして下さい。 ※このページからは注文できません。